Before I became an aerospace software and systems engineer I earned a degree in film and TV production. The degree helped in several ways whenever I was forced to take management jobs, oddly enough. Screenwriting has a lot of overlap with task and project planning, for instance. It overlaps even more with novel writing, of course, and understanding screenplay architecture can help with both creating and critiquing novels. Screenwriters (and directors and editors) must learn to think in hierarchical terms. Several frames of film make up a "shot," a series of images captured by a camera from a particular point of view. Shots show some low-level act such as opening a door. Several shots make up a "scene," where several actors perform a higher-level act, such as bursting inside a house to arrest a criminal. Scenes have a definite beginning and ending in time and space, where the time scale might be in milliseconds or millennia and the space might stretch over a path inches or parsecs long. Several scenes make a "sequence" with some unifying scheme. In action-adventure films it might be: bad guys do bad things to a good guy's family, s/he discovers the atrocities (and so has an excuse to do bad things to bad guys), and begins a journey to find the bad guys. Finally, sequences make up an "act." Stage plays typically have three acts (with two intermissions). Hour-long TV shows might have a one-three minute "tease" act and three acts before the half-hour and three after, with possibly a one-three minute "tag" or (more usually) next-week "prevue." Screen-plays usually have a 20-30 minute "launch" act, three-seven "flight" acts of various lengths, and a 20-30 minute "landing" act. That last act usually begins with a "climax" sequence and ends with a "resolution" sequence. Sound pretty artificial? All art is artifice, but a skilled artist can smooth the edges to hide the joints. And make their customers apprehend their works as "organic" and alive and more than the sums of their parts.