"Once upon a time, there was a girl, and the girl had a shadow. The two were connected, tethered together. So whatever happened to the girl happened to the shadow…" This line comes from the pivotal moment from the climax of the movie Us, Jordan Peele's sophomore outing as a writer/director.

Us is about a family vacationing in Santa Cruz, and their world is turned upside down when their doppelgängers appear and terrorize the community. Adelaide and her family are trying to figure out why these people are terrorizing the world. Along the way, Adelaide discovers a shocking truth that she's bottled up since childhood.

Spoiler Warning: This reveals the plot.

Get Out is Jordan Peele's freshman outing as a writer/director. It's a psychological thriller that follows a young black man who visits his white girlfriend's parents and discovers a hidden truth about the family. Jordan Peele doesn't leave the twist until the end of the movie. The big twist is revealed at the apex moment around the sixty-minute mark. Throughout the movie, he has many twists to help create the art of the twist. What Jordan Peele does so well is setting everything up early on.

Trapped in a body that was failing her, supervised by physicians who failed her worse, Meredith Post had to face the fact that her life and career were on hold. But, despite her mental and physical anguish, the fire that burned in Meredith's soul refused to dim. Her physical form was trapped in a hospital bed, but her mind and heart could still travel to the furthest corners of her imagination. Whether on paper or in her mind, Meredith never stopped writing, editing, and perfecting her stories.

Typically, a new writer's first goals are simple: write something and then sell it… right? As writers for film and TV, we hope selling a script will lead to our big break in the industry. But what happens next? Overnight success and steady work until we retire rich and respected by all? Unfortunately, it's not always that simple. Even when a writer makes it to the top of the mountain, it doesn't mean they're guaranteed to stay there, as I learned from my screenwriting mentor, showrunner Meredith Post. When an unexpected tragedy halted her skyrocketing career, she was faced with a series of obstacles that made the young screenwriter wish she could rewrite the most personal story of all: her life. For most people, the obstacles in her path would have meant the end of their careers. But Meredith Post is not most people.

You may have heard the phrase before, but — what is script coverage?

Maybe you just wrote your first draft. Or you think you finished your script, but you don’t know what else it needs. What’s next? Do you submit it to contests? Seek representation or producers to get it produced?

Dear AMPTP and top studio executives,

We know you don't know us, and why would you? We're not industry-known writers, even though we count ourselves a part of the community. We are not members of the WGA or any other union. We are just a small group of word nerds who love screenwriting and are doing what we can to break into the Hollywood machine. However, what is going on with the film and TV industry, the strikes, the unrest around labor, it all concerns us. Whatever the outcome is, it will affect our future and the lives of millions of others. Hell, let's throw in the whole world, as the art and stories we create or don't create affects them as well.

The intention of this letter is not to place blame or accuse any one person of greed or an abuse of power. All we want to know is why.

So, why?

I’m not sure where any of this is going. I just felt like I should get out another rambling of sorts. I guess it’s time to go back to the method that has always been tried and true for helping me find something to write about—good ol’ free-writing.

Every great writer strives to create strong, compelling characters that make a great impression on their readers. Whether you’re penning a magnificent superhero or breathing life into a vengeful villain, every writer aspires to create characters that stand out on the page.

Drafting unique, engaging characters can be a challenge. Sometimes your characters might become flat and predictable. Sometimes it can even be hard to tell them apart in the ensemble of your characters.

One of the best ways to create fantastic characters is by using personality tests. These psychological tests can not only help you better understand yourself, but they can also help you create more realistic and meaningful characters.

When you think of structure, what comes to mind? Am I talking about structure of a building? Well, structure does involve building blocks, and like architecture, structure needs a blueprint or foundation when applying it to scripts and writing. In scripts, structure is the blueprint for the overall story. Every good script has a structure to it.

Last month, we discussed the importance of studying the first ten pages of successful (and unsuccessful) screenplays before starting a first draft of our own. (See FIRST TEN ZEN.) This is because many producers and executives will have made a decision about your script by the time they reach page ten, and if your script hasn't engaged them, inspired their imaginations, and made them see dollar signs lining their pockets, they're likely to stop reading and move onto the next script.

As an exercise, let's examine two different drafts of a blockbuster film and the cornerstone for a successful franchise of sequels and spinoffs to come, The Conjuring, written by Chad Hayes & Carey Hayes. I found one draft, undated, at ScriptSavant.com and another draft dated November 8, 2011.

Developing strong characters in your screenplay creates a more engaging story for your readers. Whether your leading character is a mysterious villain, a sleuthing anti-hero, or a goody-two-shoes protagonist, we all connect to a story when we build relationships with the characters. We might love ‘em or hate ‘em, but finding ways to create dynamic characters in your screenplay is a must!

One way to draft intriguing characters is by drawing inspiration from personality tests.

I'm a horror fan, and my favorite twist ending comes from Scream, the first one. That ending truly shocked me as I watched it unfold. I couldn't believe that Billy and Stu were Ghostface yet. It’s very believable for the movie. When you rewatch the movie, you realize they hinted at it the entire time. For a twist to truly work, you want your audience to go, “Damn. That was unexpected.” So how do you get this reaction from your audience? Well, you have to learn from the best.

Mystery movies are great to study when it comes to twists. Mysteries have to have a shock and awe moment. Every beat of a mystery movie has to reveal new information about the case that leads to a suspect familiar to the story. So, not only do you get the surprise twist endings, but you get many plot twists throughout the entire script.

In an age where technology continues to evolve at an accelerated rate, the Writers Guild of America (WGA) has, by necessity, evolved with it. From the emergence of television, cable TV, and home video, the Guild has been there to protect its writers and their place in the industry like a brave superhero. But, just like in an epic super hero film, the opposition has only grown more powerful and daunting. And now, with the advent of Artificial Intelligence (A.I.) at their disposal, big studios threaten to minimize the Guild’s working writers even further. Regardless of how it ends, the current WGA strike has kicked off a showdown for the ages, and when the dust settles, nothing will ever be the same.

Since the beginning of May, both WGA members and non-members have been hard at work picketing in an effort to change the way studios do business with “new media” and streaming services. But, though earning a fair wage from streaming services is an important battle, it’s just the tip of the iceberg. Many studios have reduced the number of writers utilized in their writer rooms (called “mini-rooms”), increased their workload without increasing their pay, and look to A.I. to write a percentage of scripts and teleplays. So how does this all apply to us writers?

It's said that producers and executives often know whether or not they will pass on a script by the time they finish reading the first ten pages, which is why it is imperative that our scripts open strong. It is not enough to be error-free in terms of grammar and punctuation (though they, too, should be immaculate), but your protagonist and his/her/their goal should be introduced in a memorable and compelling way that helps set the tone for the story. These preliminary pages are also your opportunity to show off your skills, talents, and style as you establish your world and theme — but remember — you may only have ten pages to do it. (No pressure!)

It's pretty simple, actually; budget. Other than that, there's no difference, really.

Yes, a Hollywood film may have big sets, stunning CGI, precision-executed special effects, massive explosions (thank you, Michael Bay, may I have another), ticket-selling actors, and crazy camera shots that look like money (and they are), but that's not story. That's what's on the screen as dictated by what's in the writing, sometimes.

Ted Lasso has become the hero that we didn’t know we needed. He graced our hearts with his upbeat nature, and now with season three looming over our heads, we wonder what will be next for A.F.C. Richmond. Well, I can tell you one thing that I am genuinely excited for is a real villain that the show needs for its third and potentially final season. Some may hate to see this show go so soon, but to quote Ted Lasso from the first season, “Next year, we come back and get promoted, and then we’ll do something no one ever thought we could do. Win the whole fuckin’ thing.”

Every season, we’ve had a villain. Rebecca is the villain of season one. She wants to destroy the club because her ex-husband loves the club so much. Ted will become a great confidant to her, and Rebecca will regret ever being the villain. In season two, the villain is Ted himself. His mental state causes his problems but also creates the problem. The problem being Nate the Great. The Wonder Kid…

Walter White. James Bond. Rocky Balboa. Forrest Gump. Paired with an engaging storyline, compelling characters are why we fall in love with movies and TV shows. Whether they’re a likable protagonist or mischievous anti-hero, strong characters are the driving forces behind a powerful screenplay.

So, how do you create compelling characters? There are several elements you can incorporate to create rich, multi-dimensional characters. Even if your script has an exciting plot, creating strong characters will take your screenwriting to the next level.

I believe that everyone has it in them to tell a moving and compelling story. Be it a personal story about authentic experiences you have gone through or ones where everything is a fantasy, and the characters bear no resemblance to you or others you know.

With proper study, guidance, and willingness to get it done, anyone can write a script. Will you be as good as the great and powerful Aaron Sorkin? Potentially. I know I probably won’t, but you may.

Quick, name your favorite rom-com. I have mine. It’s 50 First Dates with Adam Sandler and Drew Barrymore. It’s a classic rom-com that, no matter how many times I watch it, it always makes me laugh. But, the big thing that this movie has going for it is that it is well structured.

First, let’s define a rom-com because, throughout the years, the genre has grown into probably the most diverse genre of all. Every rom-com revolves around a relationship between two individuals, whether romantic or even friendship.