In the quiet afternoon of the Animation Division, Ethan Gray was hunched over a desk, dissecting a script with Rose Jennings. Since joining the Writers' Circle for The Unlucky Bear, Rose had shown remarkable growth, her prose becoming sharper and her structural sense more refined. Yet, she still possessed the stubborn "newbie" habits that plagued every fledgling screenwriter.
Old Hartley, the veteran head of the Script Review Board, had once described her perfectly: “The girl has a mind like a firework—dazzling and full of light, but prone to exploding in ten directions at once.” Her fundamental skills were shaky at best, which wasn't surprising given her background. She had majored in English Literature, a field that shared a border with screenwriting but didn't actually speak the same l
