How To Write A Screenplay! Why you should NEVER google that.

HOW TO WRITE A SCREENPLAY IN 2026!  .

The answer to how to write a screenplay is essentially: FIND YOUR STORY. THEN PLOT IT. THEN WRITE IT...  in this episode I delve deeper into that idea and more specifically the properties of writing CINEMATICALLY.  

This is an updated version of the episode I did in 2021, with information relevant to today's screenwriting landscape and my newfound love for alternate story structures. 

If you are unfamiliar with the terms I speak about on this podcast, consider my 16 Steps to a Screenplay Starter Kit which contains explainers on every thing I mention in this podcast plus the step by step system I use to finish a screenplay. 

Learn more about the Starter Kit PDF Bundle here: https://www.amandamoresco.org/starterkit

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Learn more about 16 Weeks to a Screenplay here: 

https://www.amandamoresco.org/pricing-plans/16WeeksWorkshopEnroll

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https://www.instagram.com/p/DafSPPbkQdZ/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==

About Story Love

Story Love is a podcast for writers and anyone who loves to hear about creative processes, and writing experiences.  

Hosted by screenwriter, director, and story consultant Amanda Moresco, the show is a space to talk honestly about the writing life, the emotional highs and lows, and what it really takes to keep going. Because no writer is an island. Writing is hard. Writers need love.

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Transcript

How to write a screenplay 2026

[00:00:00] 

[00:00:00] Why You Shouldn't Google How to Write a Screenplay

How to write a screenplay and why you should never Google that for 2026. This is an updated version of an episode I recorded back in 2021. Times have changed. My view on structure has changed since then, and I thought it would be great to update this episode, especially since it was one of my most downloaded episodes.

So cutting right to the chase here, here's the answer to the question: how do you write a screenplay? The answer is at least 100 different ways, and unfortunately, that is the truth You're gonna Google, "How do I write a screenplay?" And a million different books and processes and formulas are gonna bombard your search results.

And so, you know, you have to really understand that after spending 20 years working as a writer's assistant, then a writer myself, more than 20 really, um, [00:01:00] and then even becoming a teacher in 2020, I decided I'm gonna take everything that I know and I'm gonna l- teach it. And, um, after spending five years really working with so many writers from all over the world, I've realized that, you know, it's not one size fits all.

And emotional storytelling sometimes gets hindered with something like the Hero's Journey, which is not formulaic, but it can be formulaic if you use it incorrectly. So I started to do some more research into, um, different kinds of structures and what would happen if I was telling just an emotional story that really truly did not have a plot.

You know, um, uh, I used to roll my eyes at things like that. "Oh, we're gonna have a movie where we talk for two hours." Okay, well, when I became a teacher, I realized it's not my job to judge. It's my, it's my job to help you write the best screenplay you can write. So I embraced it, I did a lot of [00:02:00] research into other types of structures, and I found other options that really appeal to me.

And they don't work against the monomyth, they're not the opposite of the monomyth, they work in conjunction with it. And so, um, I decided to update this episode here on my podcast. 

[00:02:21] AI And Screenwriting

Another reason why I really thought I needed to update, uh, this episode is because, you know, we're, we're in this new world now where AI exists, Claude, ChatGPT, you name it.

They all... They're out there, and I've gotten lots of writers telling me that they are using this to help them write screenplays. And I have a lot of feelings about that, and so I'm going to try to just tackle it in 30 seconds right here at the top, just because it needs to be spoken about if we're gonna really talk about how to write a screenplay.

Do you use AI or not? Okay, well, number one, [00:03:00] no, don't. You know, don't use AI to write your screenplay. That's number one. I think that we can automatically assume that if you ha- are even on this podcast interested in my answer to the question of how to write a screenplay, we've already jumped forward towards you're not gonna use AI to write screenplays.

So, you know, um, aside from ethical reasons, right? There's lots of ethical reasons why you shouldn't use AI for anything. R- It's destroying the planet, it's, it's, it's- depleting the earth of, of water. That really is more about regulation than whether or not AI should exist, because we're not putting the genie back in the bottle.

So let's veer away from the ethical questions about regulating how we use it environmentally, and now we'll talk about how we use it morally in our writing, because you don't want to support AI replacing writers, right? The idea is that someday we're afraid that AI is going to replace us. All right. Um,[00:04:00] 

in this business, in the entertainment business, there has always been bad actors, and I don't mean actors as a profession. I mean players in this world of the entertainment business who are going to do bad things, literally morally bad things where they're gonna wield their power to hurt people, uh, to ego trip, to belittle people.

We... Da- unfortunately, that's just a part of this business, and I guess, you know, it's part of any business really. E- every job's gonna have people who abuse their power. That's not just the entertainment business. Um, there are producers who are going to try to make the most money with the least effort.

Well, those producers are the same people who, before AI, are gonna pay someone $100 to write a screenplay. It's the same exact person who's now going to say, "What's the cheapest way I can get a screenplay? Oh, I'll give it to a robot." Those people are gonna always do bad [00:05:00] things But the producers out there and directors who are looking for quality writing, they are not going to ask AI to write their screenplays.

So I know that that seems naive, but I do believe that if you are a writer who wanted to be an amazing writer from the very beginning, you're not gonna be replaced by AI. If you are a writer who got into it because you wanna make a lot of money and you think this is a great way to make a lot of money is to write movies, well, first of all, you are sadly and poorly mistaken and have gone down the wrong path.

But you might be replaced by AI, right? Um, so okay, that's it. That's, that's AI. Use it for research. By all means, if you're not using it for research, you're probably behind in the world, right? Because it's just, um, too valuable of a search engine at this point to not use it for research. Um, if I'm going to use it in my writing in any way, I have even stopped using it for grammar corrections because [00:06:00] guess what?

It's also recording your questions and your writing. Anything you type into your AI, it's, it's using it to train other AIs, right? So remember that. Um, but I do use it for, um, research. You know, please scour the internet and tell me everything you can find on this topic, and, um, I always preface with, "Is there research out there that you can find where you can show me proof of this?"

And they'll scour the entire internet and give you some resources. I do not ask it to use its imagination. It desperately wants to try to create and, and use its, quote-unquote, "non-existent imagination" and make things up. It's always terrible. So another, uh, trick that I have to use AI if I'm, if I'm asking questions and, um, it, it wants to get creative with its answers is I say, "Please give me the textbook response.

Please give me the alt edit." You know, I, I, I, I give it the prompt that will take out its poetic [00:07:00] license, right? Uh, i-t- the irony is that the AI takes poetic license, right? And you will take it right back away and say, "Yes, I don't, I only want you to be a computer. You are a super computer, and that is what you are."

Um, and that is how we leave it, and so we use it for research. That's that. I am no longer going to discuss AI. Um, we are in 2026, so I felt it needed saying. Here we go. 

[00:07:21] Cinematic Writing Basics

So let's assume you are a writer who wants to write a screenplay. I'm gonna share with you the way I learned to write a screenplay in professional writers' rooms over the course of my career as a, as a writer's assistant, a staff writer, and then a writer myself.

All right. Well, here you go. Let me tell you, I'm gonna assume from this moment on, we are kindred spirits. We are writers at heart. We dream up scenarios. We hear people talking in our heads. We see visuals, and we wanna scribble them down on a page. You know, [00:08:00] whoever you are, you're a writer. Great. Um, the reason why screenwriting is so different than any other writing is because it's cinematic.

That's the difference. You have to learn how to write cinematically. Cinematically ultimately means visually. You are writing visuals. You're not writing imagination. When you get to the part where you're writing your screenplay, what you are writing are visuals on a page that I will watch on a screen, and those visuals will show me the story it's very difficult when you boil it down that way to do.

So what I've learned and the process that has worked for me and for all of the writers that take my workshop is we break cinematic writing up into three different processes. Tell me what I need to know for a reason [00:09:00] in the least amount of words possible. That is cinematic writing. Tell me what I need to know for a reason in the least amount of words possible.

All right Those are three different ideas, and each one comes with a different process. 

[00:09:19] Know The Ending First

And that is why I say you can't just wake up tomorrow with an idea and start writing a screenplay. What you would be writing is a guess. First, we have to figure out exactly what it is you want me to know. Tell me what I need to know.

Show me what I need to know really, right? You have to decide what is the visual that I need to see so that I can see your story. Well, if you don't know what your whole story is, how can you decide right now what to show me on page one? You can't. You can't. You're guessing. You're guessing that this is what you want me to see on page one.

But if you don't know what happens at the end [00:10:00] of act two, how could you know what you need to show me in the beginning of the story? I'm gonna explain this further. So tell me exactly what I need to know for a reason means, okay, that the reason why you're showing it to me on page one is because it comes back into the story at the end of act two.

Everything has a purpose. Every single thing in a screenplay is a setup for a payoff, and if it's not, you're wasting my time because that is the other limitation that you are dealing with when you're writing a screenplay, attention span. You've got my attention for 90 minutes to three hours tops if you're a master.

That's a short amount of time. That means I do not have the attention span to give you for, for paying attention to details that don't matter. So tell me what I need to know, but for a reason, and that means that everything you're telling me on [00:11:00] page one has a payoff at the end. And that is why I say you cannot write page one until you know what happens at the end of act two because all you're doing is setting me up for the end.

Your entire screenplay is setting me up for the end. You have to know what your story is before you start writing. Okay? The way that I have learned how to find my story and then plot it and then write it is what I'm going to share with you now. 

[00:11:30] Find Your Story

I have learned that the very first part of screenwriting is to find your story.

That means a beginning, a middle, and an end. On a general level, on a general basis, right? In broad strokes, what happens in your story? That's what we're talking about here. So finding your story, how do you do it? 

[00:11:55] Hero Journey Reframed

Well, this is the part where I used to think you used Joseph Campbell's monomyth. [00:12:00] The monomyth, I won't take too much time on this podcast explaining it.

You can Google it. I talk about it in a many, many places. Basically, Joseph Campbell was a guy who studied all the great myths, and he realized that every great story usually follows the same journey, and it's the journey of your hero in transformation, and that transformation is cathartic. It produces an emotion in us because we put our hero through trials and tribulations, and they come out the other end, or they don't.

And the reason why a lot of people found it to be formulaic back in the '80s when it really started to explode because George Lucas used it for Star Wars, is because, uh, you could use it as paint by numbers. So, so very quickly I will say this: it opens with an ordinary world. That means your setup. Then there is a call to action, which some people like to call inciting incident, [00:13:00] meaning the journey begins.

Uh, there is a reason for your hero to not want to go on the journey, because we need the journey to be hard. If it's easy, we will not care. So there's a refusal of some sort. There are many different ways that you can show a refusal, but if you're using it formulaically, well, it means that the hero says, "I don't wanna go.

I wanna stay on my aunt and uncle's farm." And then the mentor comes and convinces the hero that he must go, and then something happens to push your hero over the edge, and they cross the threshold from the old world into the new world. And formulaically, that means a new environment. It means they leave their old planet, and they go into space.

Um, and then, you know, there is a trial period where they have allies and they have enemies. Sometimes they don't know who their allies or enemies are, and they are tested. They are usually tested three times. [00:14:00] Every time they pass a test, they get a reward. Every time they fail a test, they get a repercussion, and the stakes get higher and higher with every test, and then they really start to encounter the dangerous area where we go, "Oh, they might not make it out of this alive."

And then they battle the dragon. There's a, a dragon that they must battle at the end of act two. If you are writing this formulaically, it is literally a dragon It is literally the Jabberwocky. It's literally Darth Vader. I mean, it's, it's a, it's a monster, right? Um, and then once you get past the supreme ordeal, it is what Joseph Campbell calls it, you come out the other side and you, you, you make your way back to the start of the story because cyclical storytelling is always the most satisfying.

So you go back to the old world as your new self. Sometimes there's one more battle to be had before you can make it back home. In other stories, there's not. [00:15:00] That is Joseph Campbell's monomyth or the hero's journey in a nutshell. And after everyone found out that George Lucas used it, everyone started using it in the way I just described, formulaically, where you do not vary, you do not take those signposts as if they are suggestions.

You take them as if it's a literal map, and every mentor is the old man. Um, you know, you're literally fighting a monster. But the thing is, the thing about the, the hero's journey is those stages, the stages of the hero's journey, metaphorical, right? So, you know, the reason why there needs to be a refusal is because we need to show that the journey's hard.

The reason why there has to be a mentor is to show that in the beginning of the story, your hero is too weak to go on this journey alone. We have to show that it will be difficult. But there are so many variations [00:16:00] on how you can interpret each stage of the monomyth. And by the way, the reason why there's only 12 stages for screenplays is because Chris Vogler came in and took Joseph Campbell's teachings on the monomyth.

Listen, it's a guide, it's a map, it's a suggestion. We do not have to do this blindly. It is very hard to find the beginning, the middle, and the end of a story. There are maps out there. You should use them, but you should not use them blindly. You should not use them as if they are absolute directions, instructions, paint by numbers.

It's suggestive, right? 

[00:16:38] Tools For Emotional Stories

So I always use to say, "Let's find a way to use the hero's journey." I'm gonna give you a couple examples of other tools that I have embraced fully in the past five years that have really helped all of the writers that I've worked with who want to tell more emotional stories, meaning it's not a quest.

Not [00:17:00] all stories are an actual literal quest to save the world. Um, and so when you're dealing with a story that might not be that, how do you find your beginning, your middle, and your end? Um, the first small little tool that I love, that I go back to time and time again, is Kurt Vonnegut did a, um, a paper for college, believe it or not, a thesis on the shapes of stories.

He says every story has a shape. If you Google Kurt Vonnegut's shapes of stories, you can find the YouTube video. I highly recommend watching the full one. There's lots of little shortened ones, but watch the full explanation of it that he does on, on YouTube. It's, it's phenomenal. And, and just having the idea of what your story's shape is will help you find the beginning, the middle, and the end.

So off the top of my head, you know, one is a rise, one is a fall, there's a Cinderella story, there's an Oedipus story. And, and if you Google it, you'll [00:18:00] see he graphs what it looks like. So a fall starts at a high point, ends at a low point. A rise starts at a low point, ends at a high point. And so that right then and there is your beginning, your middle, and your end.

You start when we meet your character at their low point. In the middle is when we realize they're going to succeed, but they must face probably a cou- one more battle, and then they succeed. That's a very simple story, it's a rise. And then there's all kinds of variations on that. Once you know the shape, you can then figure out your beginning, your middle, and your end.

So the beginning is the setup. The middle is when the story changes. Your hero changes to a point where they'll never go back to who they were at the beginning of the story. The world can never go back to who, what it was at the beginning of the story, perhaps. Whatever variation on that fits your story, it's when things change and they can't go back to the way they were.

And then how do we get to the resolution, which is the end of your story?[00:19:00] 

Kurt Vonnegut's Shapes of Stories can help with that. Another tool that I love, love, love is Dan Harmon's Story Circles, and it's a wonderful tool for emotional story. So if you really, truly, you're writing a story that does not have a journey, there is no quest, the entire story takes place one night at a house party, right?

Then using Dan Harmon's Story Circles to find the emotional journey for your characters is really helpful because again, it helps you construct this beginning, middle, and an end. Another little cool tool that I came up with myself is co- uh, finding a container for your emotional story. So if, if, if Dan Harmon's helping us find the journey of the emotional story, right?

We still need some sort of container, and I mentioned house party, right? So the house party would be a container. That means the beginning of the story begins at the beginning of the house party. The middle you have to come up with, and then the end of the story is when the [00:20:00] house party ends. Lots of different containers exist.

A road trip is a classic, right? Um, there's lots of things that happen to this group of kids while they're on this road trip. The road trip is the journey. No, they're not gonna battle a dragon, but you can still find the beginning, the middle, and the end based on when the trip begins and then when the t- when they get to where they're going, or they don't.

Um, uh, uh, containers like that are just so helpful. Sometimes a container is an actual event, a wedding, a funeral, dealing with a death. You know, what, what is the beginning, middle, and end based on an ev- one event that happens within the story is also very helpful. So these are all ways that you can find your beginning, your middle, and your end.

But before you ever think about writing interior or exterior You have to know in a broad sense what your beginning, your middle, and your end is. In my workshop, I teach all of those tools. Uh, we spend four weeks [00:21:00] finding your beginning, your middle, and your end. Lots of wonderful ways to, to find each different story's beginning, middle, and an end.

Not w- every story will be the same. No one writer will tell the same story even twice. 

[00:21:17] Plot With Index Cards

The second phase of, of, of, of figuring out what to write, tell me what I need to know for a reason, is plotting. So story is what happens, broadly, broadly, what happens in the beginning, what happens in the middle, what happens at the end.

Well, now it's time to plot. If you're a novelist, you can take your story that you just found in a broad way and start to write it. In screenwriting, I do not recommend this, and that is because we have, like I said, a major pacing issue, major pacing problem. We, we have 90 to 120 minutes, most of us, to tell our stories.

That [00:22:00] means we cannot waste time. That means I need my viewer to be on the edge of their seat at all times wondering what is going to happen next. If you have your viewer asking, "What's gonna happen next?" You're winning, and if you don't, you're losing, and they've probably left the theater, changed the channel, whatever.

So how do you take a story with this massive beginning, middle, and an end, because by this time you probably have s- you know, pages and pages and pages of notes on all of these ideas, how do I distill that down into one visual? That's incredibly difficult. So the way that we do it is we plot. Plot is how I tell the story.

So if I know that, you know, my story ends with a battle, uh, between good and evil, well, at the very beginning, I [00:23:00] have to set up who's the good and who's the evil. That's my job. That's what I have to show you for a reason, right? Now, how am I going to tell that? Am I gonna open with the main character? Am I gonna open with the villain?

Are we gonna open on a, a, which planet do we show first? So many decisions to be made when the only way that you can tell me the story is through a visual on the screen. You can only show me. You can't ask me to imagine anything. You have to decide what visual do I open this movie with based on the story that I know I need to tell?

And again, I just wanna remind you, how could you possibly decide how to open your movie if you don't know the story you're telling? You're just guessing. You're just by... At this point, you're just being a poet, right? And, and poetry's fun and poetry's nice, but poetry's not for screenwriting. You can be a poet, and you will be a poet.

I will ask you to be a poet later when we execute [00:24:00] our story and our plot. All right. So at this point, you've found your story, um, and now it's time to plot. The way that I learned to do this is with three-by-five index cards and a corkboard. You can Google, um, Lynch talking about this. He talks about it.

It's a, it's a fun, you know, video when he explains what this means to him. Lots of, um, writers have experience being in writers' rooms with, with carding boards, um, and if you do, that's great. You're, you're way ahead of writers who've never seen this before. If you've never seen this before, uh, hop on over to my Instagram page, amandamoresco.wxs, and check out the breakdowns that I have done, story DNAs for some of the most popular movies, where I show you what the cards would've looked like for their act ones.

Um, cards map out the events of your story. So let's pause [00:25:00] right here when I say the word event. 

[00:25:03] Aristotle Cause And Effect

If you are a screenwriter and you don't know the difference between an event and a scene, you are not actually a screenwriter yet

Screenwriting is about writing with a cause and effect structure. So I said you want your audience to be on the edge of their seat wondering what's going to happen next. The way that you achieve that is that wr- is by writing within a cause and effect structure. Okay? I'm not gonna take too much time because again, I talk about it in a lot of other places.

In my workshop, we spend four more weeks plotting. So we spend four weeks finding the beginning, middle, and end of your story in broad strokes, and then we spend four weeks getting the events of your story on index cards using Aristotle's cause and effect structure. Cause and effect means[00:26:00] 

in every scene, my hero will make a decision. They will take some sort of action, and based on that action, there will be a repercussion, a chain reaction. What causes the next thing to happen? That is what goes on the card, the event. This is what my character does because, as Aristotle tells us, your story is an action.

So plotting is really all about Aristotle and what you can learn from poetics. You can take every other book you've ever read about screenwriting and throw it right out the window, right? If you're not looking for a shortcut, right? Talking about other screenwriting books like, you know, Robert McKee's Story.

I don't recommend that book often because it's just too difficult to read. If I'm gonna, if I'm gonna bang my head up against the wall trying to understand a book, it's gonna be Aristotle's Poetics. I have, [00:27:00] um, broken down Aristotle's Poetics on this podcast in three different episodes with just the things that you need to understand as a screenwriter from Aristotle's Poetics, so check that out.

And if you do, um, take my workshop or purchase the starter kit, which is all the digital materials that, that go with the work that we do in the workshop, uh, there is a, a poetics cheat sheet in there. But all you need to know right now is in terms of plotting, Aristotle says if you take one beat out, the whole would collapse.

You cannot take one beat out, because if you did, the whole would collapse. To do that is very difficult. But if you do that, if you sit there and you look at your pages and pages of notes of your story and you say, "Okay, I need to show this story through the actions of my hero because Aristotle told me [00:28:00] that my story is an action.

Well, how can I show this story through the actions of my hero? What does my hero need to do first? What do they do first?" That's the work. That's, that's what makes great movies so great. It's because they're showing our heroes taking action, making decisions that either bring them harm or bring them rewards, and they're hard.

There's a wonderful rule of writing. I will love or hate a character in direct correlation to what they are willing to give up to get what they want. So not only are they taking action, they're taking action that's costing them things. That's how you create stakes. That's how you get me to care about a character, how you get me behind a character so that when I go to the movie, I lean in and I go, "Oh, oh, wow, what's going to happen next?"

So that's plotting, right? So first you find your story, then you plot it, [00:29:00] right? Let's say you've taken my workshop, we've spent four weeks finding your story, we've spent four weeks plotting so that now we have a corkboard with every single beat in your story on that corkboard. And not, I'm not talking about scenes.

There are no interiors, there are no exteriors, there are no scene descriptions. All it says is Luke agrees to go with Obi-Wan Kenobi. That is it. Luke comes home to find his aunt and uncle dead. That's all the card says, right? Luke battles Darth Vader. That's what's on the card. That's it. It's hard, but if you do it, if you do it, you're gonna write an incredible screenplay.

[00:29:44] Execute The Draft

And now comes the part for writing, right? Cinematic writing. We're gonna execute on the page. So here we go. You are gonna tell me exactly what I need to know for a reason in the least amount of words possible. We've made it to this place. Y- well, you know exactly what I need to know. [00:30:00] You've gone through it twice.

You have it in tons and tons of notes, in broad strokes with every single idea of dialogue and what would be said in raw form. I'm never asking you to not have those creative ideas. I'm just asking you to keep them messy in note form before you try to write it, because you've distilled them down into events on a corkboard so that now you go, go to sit down, when you write interior, you are well-informed.

You know exactly what you need to tell me for a reason, because you know exactly how it's going to pay off. You are empowered. It's actually impossible to have writer's block at this point. Writer's block is just a writer sitting down, trying to find the story and plot it, and also be a poet and write it well at the same time.

You couldn't possibly do that. Of course, you have writer's block. It's called gridlock is what it is, right? No. No. You have your story. That came out organically [00:31:00] through inspiration and ideas scribbled down in some notes here. You're looking at your corkboard. You can see your whole movie on the corkboard.

You know exactly where it's going. Now you get to be the poet, and you need to choose your words so specifically because you also know you have to tell me these things in the least amount of words possible. So you can't just, you know, choose any words. You have to choose the right words. And this is where you get to be a poet, but you're a poet for a reason.

You're a poet with a purpose. That's cinematic writing. Now your writing is gonna fly off the page. There's nothing more rewarding for me than being at, you know, the, the ninth week of the workshop where we've done all of this grueling work, and then the writer who's never done this before sits down and their eyes open up and they go, "I have never had such an easy time writing."

And it's like, yeah, because you did all the hard work first. The writing's the fun part. The, when writing is hard, it means you have not done your work [00:32:00] yet. 

[00:32:00] Rewrite Without Chaos

Now, that's not to say that, you know, you're not ever gonna sit at the, at the computer and go, "Oh, I hate this. You know, I thought when I was, when I was plotting, you know, that was all brain work.

Now that I'm sitting here and I'm living in this character's shoes, they wouldn't say this. They wouldn't act like this. I, I, I've got a different take now that, now that I've spent so much time." That's a part of the process, too, and that's okay. That means, oh, I've changed my mind, but I gotta go back now and look at my cards and say, "If I make this change here, how does it affect everything else?"

Well, guess what? You have your whole movie on a corkboard. It's very easy to see how it changes. But if you didn't, you know what you'd do? You'd write a whole draft with this change and get to page 80 and go, "Oh my God, I didn't realize that if I made that change on page 40 it would affect this here because I wasn't thinking that far ahead.

So I tried this. Now I have this draft that's useless." That doesn't [00:33:00] happen when you do this work. 

[00:33:03] Wrap Up And Workshop

So that is my very long-winded response about why you should never Google how to write a screenplay, and how I write a screenplay and how I teach others how to write a screenplay using this process in my 16 Weeks to a Screenplay workshop.

Um, if you're interested, check it out. I'll put the links in the show notes. But yeah, how do you write a screenplay? That's how I write one