Screenwriting Goldmine

Cut through the crap. Write like a professional.

Step by step guide to writing a screenplay.

‘Your Complete, Detailed, Step By Step Screenwriting Book That Leads You From Blank Page All The Way To Your Completed First Draft…’

Screenwriting Goldmine

‘I’ve been a professional screenwriter and story editor at the very top of the UK television industry for nearly fifteen years. I’ve poured all my experience into this intensive, highly readable, intensely focused, super high quality screenwriting system. I’ve held nothing back in creating a simple step by step method to guide YOU all the way from blank page to completed first draft…’

What Is It?

The Screenwriting Goldmine is possibly the closest thing you will find to a bullet proof approach to writing screenplays.

It’s not quite a turn-key solution (because apart from hiring Charlie Kaufman what ever could be?) but this step by step method guides you in detail from the blank mind before the blank page, all the way through to printing your (blissfully readable) first draft.

I spent months watching myself write. I analyzed every detail of the hidden, innermost processes I go through at every stage of creating a script.

I then boiled every detail down, keeping only the direct, most useful, information, and poured the results into a single, easy to read, creative guide for anyone who wants to unleash their writing potential.
So What’s Inside?

Here’s what you will discover when you read it:

How to make sure that your story is the BEST possible story you could tell about your hero. Every character has one supreme story to be told about them and I tell you how to find that. (Page 11)
The one REAL definition of drama. Forget all the high minded discussion that doesn’t help you when it comes to it. This is a simple sentence you should never let out of your mind. (Page 9)
The one software tool you should buy, plus the other two that you need and how you can get them for free. (Page 9, and page 61)
The 4 Tent Poles of your story that you MUST find before you start writing. (Page 13)
The simplest way to create your Hero (Page 11) and why you don’t need pages of backstory for them. (Page 54)
How to find so much story material you will have trouble deciding what to leave out. (Pages 15-20)
A simple formula for a logline that helps YOU, not the studio. A big trap is to try to second guess people you have never met. Use this formula to stay true to yourself. (Page 25)
A specific template for your Act 1 that means you NEVER have to worry about how to start a story again. Imagine how it would feel to have the fear of the blank page softened by the knowledge that all you have to do is follow the story shape here and you will have a UNIVERSALLY APPEALING start to your story. (Page 26)
Why writing scenes and dialogue too early is a CRITICAL mistake that could SINK your screenplay. Writing is like an iceberg. Most of it happens with little visible result. I show you what’s going on underwater. (Page 58)
The crucial beat that will send your audience spinning into the final section of your story hungry to get to the end. Miss this one and your story stops dead in its tracks way before you want it to finish. (Page 39)
The right way to end your story so that your audience are left happy and satisfied. Miss this stage out and you will leave people uneasy without knowing why. (Page 44)
The single most important principle of telling a story that you must never forget. (Page 12)
A simple way to raise the stakes of the story to get your audience involved even more. It’s something very particular you do to your Hero. And it works. (Page 38-39)
The Right Attitude! There is nothing in this book that hasn’t contributed to a real life screenplay that sold and got made. You don’t waste your precious time down blind alleys. Studying this book can take YEARS off your learning curve!
The FOUR Essential Tools for creating the best possible story. (Page 23)
The three particular types of problem you should give your hero early to take the struggle out of building story. (Page 36, and previous).
A simple yet effective device that is ESSENTIAL if you are to create a dramatic hero. (If you don’t know this one, your hero will never reach the heights of true drama.) (Page 51)
A SIMPLE TRICK for researching ‘impossible’ topics, such as historical drama, or science fiction. (Page 18)
What people who are misguided, inexperienced, or just plain wrong say about story structure. After you’ve read this book you’ll never make their mistake – and you’ll have a head start over them forever. (Page 14).
A simple – and obvious – cover story that will GET YOU PAST MOST OF THE GATEKEEPERS of the places you need to research (Page 17)
Why you should never EVER think of writing a script without a beat sheet – and how you go about creating one with no wasted effort. (Pages 22-49)
The BEST SORTS OF IMAGES to find when you are setting up your screenplay. (It’s easy to fill your script with pictures that just don’t hold attention. This simple rule of thumb gives you the best chance of filling your pages with images that are BOLD and DRAMATIC) (Page 9)
The simple, yet FATAL mistake you can make that means the life blood of your story starts to slip away – and your audience with it. (Page 31)
7 simple ways to GENERATE IDEAS. (Page 8)
The best possible ratio for your different acts. Once you’ve heard it you’ll never forget it, and it will inform your writing forever. (Page 26)
The most effective way to write a treatment. Don’t beat around the bush. This is the shortest route from A-B. (58-59)
How to locate people who will give you VIVID STORY MATERIAL without wasting your time. (Page 17)
How you create your Antagonist – and how to make sure they are the best possible villain for your story. (Page 12)
The 14 beats you MUST have in your story if you want it to GRIP YOUR AUDIENCE. These are general beats, and work across any story, any genre.
9 simple Rules of Thumb that you must never forget while you are performing the mysterious art of writing scenes and dialogue (Page 63-64)
A simple trick to put in early on to propel your story forward and rivet your audience to their seats. (Page 33-34)
Why an attack on the Hero from this unlikely source is one of the best things you can do to RAISE THE INTENSITY of the drama. Plus whereabouts in the script you should make it happen. (Page 39)
One specific scene that raises your hero’s focus, and attention, and commitment, until he is like AN UNSTOPPABLE MACHINE who is STEAMING TOWARDS THE CLIMAX. (Page 42)
Why doing your research on the Internet can KILL your script. (Page 15)
Why you MUST integrate one crucial aspect of your hero’s character into the final moments of the script – and how to set your hero up from the start to make that happen. (Pages 44 and 51-53)
The FOOLPROOF sign it’s time to stop researching and START WRITING. (Page 18)
How Desire is CRUCIAL to your character, and how it should change in the course of the story. This is the thread that holds your story together. I show you how to use it. (Page 13)
A simple trick to play with minor characters to give your script masses MORE LIFE and APPEAL. (Page 50)
Why relying on real life for your endings may be one of the biggest mistakes you could make. (Page 43)
The ONLY 8 facts you must know about your hero before you start to write – and why they have almost nothing to do with writing any kind of biography for them. (Page 51-53)
A simple trick for creating POWERFUL characters that leap off the page at you and are remembered FOREVER. (Page 54-55)
The ONE SCENE that the WHOLE OF THE SCRIPT HAS BEEN WAITING FOR – and how to avoid making a critical mistake when you stage it. (Page 42)
The ONLY reason you should show what you have written to your friends. (Page 59)
Where best to lay out the conflict between your protagonist and your antagonist so that it PUNCHES the audience hardest. (Page 37)
How much time you should allow yourself to write the scenes and dialogue per hour of screen time. Don’t rush it, or let it drag on for ever. I give you an industry standard time to shoot for. (Page 64)

Plus “Action Step” Chapter Summaries after every chapter to summarise what exactly you have to do at that stage.

And much, much, much more…

The best part is you don’t have to wait for this book to come in the mail, or go into town and search it out in your local shops. For just £29 you can download it right to your computer.
You’ll Also Get These STUNNING Bonuses!

BONUS 1. Essence of Television

One of the things you’ll constantly be asked after a meeting is to “put together a few pages” on what you have just discussed. These treatments can take any form, and, depending on what they want from you, be of any length. But there are common standards you’d be unwise to ignore. I’ve put together notes on the best way to approach this critical task, plus five full examples of my own treatments, each aimed at a different slot and/or genre, to give you an idea of the different approaches available.

BONUS 2. The Eternal Toolbox

You may already know about Joseph Campbell’s pioneering work on storytelling and how his book “The Hero With 1,000 Faces” has influenced Hollywood ever since it was published back in the 1940s. I’ve personally found his ideas intensely useful, but I’d be the first to admit the book is not the easiest of reads. So I decided to do the hard work for you.

“The Eternal Toolbox…” is a bite sized digest of that book.

I’ve written a clear, concise, essential introduction to Campbell’s ideas.

And, even more usefully, I give you easy to understand summaries of the 17 story beats that crop up over and over again across the recorded history of human story telling.

These are killer moments that will add power, depth and resonance to almost any story you care to write.

BONUS 3. The Screenwriting Goldmine Cribsheet For People In A Rush

I firmly believe that the method I detail in the Screenwriting Goldmine text book is a class A, supercharged way to producing the best, most commercial, most reader energising version of your story possible.

But I’m also a realist. I recognise that my way takes a lot of work, and sometimes you just want a quick fix.

If you’re feeling lazy, I’ve put together a question sheet to get you into the right ballpark with your story.

If doing all the steps of my method seems like climbing Everest in flip flops right now, then the very least I can do is push you out for a quick jog round the screenwriting park.

In NO WAY are these questions any kind of substitute for the extended process.

But they’re far better than nothing, and if you answer them fully then you’ll be in a better place to do the whole method when you feel more energetic.

Don’t start writing till you have written down answers to all twelve! I mean it!

BONUS 4. The Screenwriting Goldmine Audio Edition MP3 Book

And finally, a feature length, unabridged and super desirable Mp3 version of the Screenwriting Goldmine text book. Read by Victoria Gould, who is an experienced film and tv actress, and is currently artistic collaborator with the world famous Complicite theatre company, this is the main Goldmine textbook cut into bite sized chapters, entirely suitable for uploading to your Mp3 player of choice. This means you can study the method on the way to work, at the gym – or while you should be doing your day job.


Here’s How It Works…

When you click on the Paypal Logo on this site, you’ll go to the secure order page for your credit card or Paypal information. After you have used the secure order form, you’ll be able to download the books immediately as an Adobe Acrobat PDF file, and the audio book as assorted Mp3 files.

Your transaction is secure – I am using the latest complex encryption technology I can find to ensure complete and total privacy and security.

You may have to wait a second or two for the Paypal servers – they can be slow sometimes – but stay with it and you’ll be reading the book in under ten minutes.
Bookmark this page! (Ctrl+D)



Final Draft’s Script Magazine May-June 2009

Phil Gladwin reviewed by DVD Times Jan 2009

Creative Screenwriting Sep-Oct 2008

Creative Screenwriting Jan-Feb 2008

SFX Oct 25th 2007



‘The book is WONDERFUL. Concise, clear, and uber-informative, to coin a phrase. You should only sell millions of copies…’ Joe Whyte, Walt Disney Feature Animation, Los Angeles, USA

‘Phil has a comprehensive understanding of dramatic structure and genre, enthusiasm for developing and strengthening stories, extensive knowledge of the development process, an understanding of the inner workings of drama commissioning across all channels – and first hand experience as a writer of the tricks and traps of the trade.’ Kath Mattock (Double Bafta winning producer of ‘The Cops’, ‘Buried’ and ‘The Queen’s Sister’), London, UK

‘Phil Gladwin is a patient, inspiring and practical script editor. He’s an original, imaginative and disciplined screen writer. His ability to draw on both disciplines equips him exceptionally well to assist both new and established writers achieve the full potential of their screenplays.’ Sophie Balhetchet (Producer, Cougar Films; Former Chairman of the Independent Programme Producers’ Association), London, UK

“I listened to many coverage providers, which pushed me into a direction where I was getting lost and my vision was eroding. And I read too many screenwriting books that placed me in deep depression. These books are not being honest, they just want to make quick money and don’t really care to tell you the truth about screenwriting. Then I came across your Screenwriting Goldmine book. It’s uniquely honest and works on a sub-concious level. It awoke the giant in me. I still refer to it and read random chapters for inspiration… I only trust Screenwriting Goldmine right now. Your book is to the point and cuts out all the bunk. You’re not a film professor, you’re a screenwriter with brains, heart and soul and realism.” Benjamin Ray, Toronto, Canada, Winner of the 2007 Pacific Northwest Screenwriting Competiton

‘I’m a published playwright with an award behind me. Your tips and pointers are the best I’ve found. For me it’s like having a touchstone. Your treatment pointers came as if God sent. I was so close to what I was writing that my view was tainted and I was getting lost… I was able to make cuts and trims easily. It felt like I’d turned an overweight flabby piece into a slim pert booty of a piece!’ Gill Adams, Hull, UK

‘As senior media executive in the states with over 20 years experience producing TV and running a major TV/Recording Studio I’ve recently dedicated myself to writing full time. With numerous awards and credits under my belt I see incredible value and insights in Phil’s newsletters and book. You need not look further to find proven steps to help take your project to the next level. I’m incorporating Phil’s work into my original feature projects, and already can see and feel an improvement. And this is just the start for me… I’m thrilled I found Phil… You will be too!’ Andy Kadison, New York, USA

“I think what you have released stands to change the industry forever… In your opening chapter you’ve opened my imagination to the reality of how to develop material by looking into my own experiences, memories, and examining the things that have had substantial impacts on my emotions and using them as a source of material. Anything that helps me see the resource that I personally carry around — in such a way that I can imagine new ways to connect with others — is huge whether I turn it into a play or not. I believe that skills can be taught but art must be inspired so that our latent creativity is stimulated. It seems that the very process of such is contained within the structure you’ve presented.”
Douglas, USA

“…the book is indeed a ‘Screenwriting Goldmine’ for aspiring writers…”
DM, Seattle, USA

“Anyhow, by the end of next week, thanks to your tent poles and golden nuggets, I should have my story in place… Because I don’t want to bombard your mailbox if I have any questions whatsoever you’ll be receiving something that resembles a Chinese take-out menu with possibly a fortune cookie for good luck… I am foreseeing a smooth road ahead.”
DA, New Jersey, USA

“Goldmine truly has been a treasure to me. I have so gained so much confidence from the knowledge and application it has provided for me. Because there is such a wealth of OPINION out there in Cyberland it made it very hard for me to be settled and really KNOW which way to go… Immediately I began to read the book things began to click and I knew any question I had would soon be answered as I continued to read. Any time I questioned your step or technique, I would go through my mind to an amazing movie that I had seen and I would see that what made this movie amazing, was the very thing you spoke of… so, wow! I’ll most definitely use this book as a constant reference.”
Kandi Kernan, USA

“Bonjour. I’m very proud of being your student, thank you so much. Hope I can be better every each time I read your news letter.”
IR, Wyoming, USA

“I have a bunch of screenwriting books on my shelf. And I’ve even read some of them. (Including Philip’s, which is the best of the lot). But [one of the free Newsletters] just distilled all the best ideas into 10 incredibly clear and simple steps that really got my brain unstuck and made me run to the keyboard and start writing. The stuff is super-practical anyway, but with the “Blank Page to Screenplay in 10 Steps,” I now have a feeling for what I have to do to turn this story in my head into something that could come alive for an audience. I’m excited, because even if my story isn’t good enough yet, at least I know what I need to do to create something that makes sense to the people to whom I want to sell it. If you haven’t bought his eBook, buy it. And if you aren’t on his mailing list, get on it.
Charles Richardson, Friday Harbor, USA

“I’m learning more about the art of screenwriting from you and your book than from all of my writing instructors and college professors. No joke!”
Jennifer Hawkins, USA

“I found it very helpful and easy to read. It is simple with sensible and specific guide lines. It takes the thinking away and reminds you to think of the story and the feeling behind the words! I hope we can stay in touch; I wish you best of luck with this.” Best wishes,
Darin “Scorpio” Torres, NY, USA

“I read everything that you send me twice and I print it out so I won’t forget.”
PW, Detroit, USA

“Well done on your book — I especially like the way you incorporate the character’s arc of emotional ‘opposites’ as a major building block toward breaking the plot. I studied screenwriting in New York, read just about every book around on screenwriting, even been to the McKee courses, but I’ve never seen that particular method put forward before. Fascinating. Love it… There’s most definitely a certain poetry inherent in your method — and that alone will elevate a script from the pile. Great insight. Also love the tip about Google Spreadsheets! 5×4 cards and the Final Draft software just don’t do it for me so I’ve been searching for a new physical methodology toward my outlining process… and lo and behold, this one works like a charm — and it’s free, beautiful! It is a terrific book, wonderfully insightful. Aspiring screenwriters would simply be smart to buy it. So go for it! All my best,”


So What Do You Get Again?

1. “Screenwriting Goldmine”. My screenwriting manual.

2. The Essence of Television booklet.

3. The Eternal Toolbox booklet.

4. The Screenwriting Goldmine Cribsheet.

5. The soothing tones of Victoria Gould reading the main Screenwriting Goldmine textbook.
All for just £29!

What if this knowledge helps you improve your script so that it opens the door of just one production company? Just ONE. What would that be worth to you?

What if there’s even a chance that this book can actually short cut the process of learning to write in a way that tips the balance and finds you the one piece of the jigsaw you are missing, so that from then on you are able to write the way you want to write – and have people clamouring to read what you have written?

How much would that be worth to you? A thousand dollars? Ten thousand?

More? For most writers I know, it would be priceless.

Just the POSSIBILITY of having this kind of writing success would be worth the investment. I personally invested ten years and hundreds of dollars before I ever wrote something that anyone showed more interest in than ‘it’s a slow week, we’ll publish this guy’s thing’.

I wish that I could have bought this knowledge, insight and experience for £29 when I started. And I know you’ll be glad you made the investment in yourself once you see what it can do for your writing.

This much is for sure: For the rest of your life you’re going to be writing. And you’re going to be seeing movies or TV shows that you love, and thinking, oh, I could do better than that – and yet never quite proving it. Or you’re going to have finished what you think is your best script ever and you aren’t going to be able to get anyone to read it…

I’ve been there, and I’m going to show you the way. Think about it…

Download Here:

Just click on the Visa/Mastercard logo to invest in your screenwriting future. It will take you to Paypal’s secure servers, where you can use all major credit/debit cards or your Paypal account. You will then be taken to a secure download page, where you can download the entire package to your computer. You could be reading and absorbing these inside techniques within ten minutes.

If you’ve got any questions just send Phil an email.

Important – If You’re Still Undecided

If you’re serious about wanting to know how to write better screenplays, but have still not ordered, you’re probably hesitating for one of the following reasons.

Reason #1: You’re interested, and you’ve even bookmarked this page, but now isn’t the right time. You’ll come back another day.

That is a risky strategy. It’s common knowledge among script readers that the standard of the average unsolicited script is far higher than it was a few years ago. There’s more screenwriting information out there than ever before, and the average writer is far better educated about the mechanics of writing scripts than they ever have been. Writers who take their education seriously are raising their game with every screenplay they create. This means all the time you are not actively learning you’re not standing still, you’re actually falling further and further out of the loop. How much ground can you bear to lose?

Reason #2: You’ve bought a lot of Screenwriting Manuals before but you never actually get round to doing anything with them – they just sit on shelves making you feel vaguely guilty.

Screenwriting Goldmine is designed to inspire you to take action. It’s broken down into 14 easy, sequential steps with ultra clear directions, and action steps at the end of each chapter, with an indication of the time you should spend on each Action Step.

Each Action Step is a clearly defined task on its own, and I guarantee that after you’ve read each of the Chapters you will want to jump up, implement a tactic, and get closer to that goal of your dream screenplay.

My bet is that the book will not only inspire you – it will motivate you to act, to take action, and to do something about writing your screenplay. I guarantee that within an hour you’ll be looking at your writing practise from a entirely new perspective. How valuable will that be?

Reason #3: You’re still new to screenwriting. You’re afraid that a detailed and comprehensive course with advanced secrets may overwhelm you with too much information.

I won’t lie to you – writing a great screenplay is not a simple process. But that’s why writing is one of the most rewarding occupations in the world, and why it’s worth pursuing with your whole heart.

Screenwriting Goldmine is not a quick fix. This is a big, comprehensive package, that contains many, many years’ experience. You shouldn’t download it, skim it once, and expect to have knocked out an Oscar winner by a week next Tuesday. But it is written with everyone in mind. I explain in precise, simple language the simple ideas that I use every day. I care about getting the basics right.

You get a highly readable method that goes step by step through every stage in the process, holding your hand all the way, and taking the shortest possible line to get you to that elusive saleable first draft.

The process of writing itself is literally one of the most enjoyable things I know, and there is nothing like the sense of accomplishment you get when you finish a good screenplay. If you’ve been bitten by the bug you will know what I mean.

But you know what? If you’ve been bitten by the writing bug then you’ll also know there is NO ESCAPE! You will go on writing for the rest of your life, because, simply, that’s what you do. So why would you make that future writing any harder for yourself by refusing this rare opportunity to short circuit that learning process?

How long are you going to wait before you learn how to write properly?

Reason #4: You’re busy and you want to know what you need to do RIGHT NOW. Can this course in Screenwriting help you?

The book at the centre of this package is 65 clearly written pages packed with detailed instruction, professional insight, and step by step guides to getting your initial vision on paper in the best possible way. There is no fluff in this book, it’s all highly targeted practical information, designed to get you through the process with as little fuss as possible. I won’t pretend that writing doesn’t take time, but there’s no way round that. But because my book cuts straight to the chase and gives you only what you need, you get the very best shot at making the most efficient use of your limited hours.

Reason #5: You’re thinking to yourself: ‘I’m American. What can a British guy possibly teach me about storytelling?’

Shakespeare was British. Didn’t do him much harm. Aristotle was Greek, and he knew a thing or two about storytelling.

More recently, what about The Third Man? Brief Encounter? Lawrence of Arabia? All Hitchcock? Alfie? If…? Get Carter? A Clockwork Orange? Don’t Look Now? Gregory’s Girl? Chariots of Fire? Ghandi? Local Hero? The Killing Fields? Brazil? Withnail and I? A Fish Called Wanda? Truly Madly Deeply? The Remains of the Day? Secrets and Lies? Sense and Sensibility? Lock Stock and Two Smoking Barrels? Trainspotting? Four Weddings and a Funeral? The English Patient? Shakespeare In Love? The Full Monty? Billy Elliot? Harry Potter? Lord of the Rings? 28 Days Later? Hotel Rwanda? Dead Man’s Shoes? Descent? Shaun of the Dead? Snatch? Slumdog Millionaire? 127 Hours?

Not bad for a load of British screenwriters…

Storytelling is universal. A good story is a good story wherever it comes from – and I teach you how to write a very good story.

When it comes to questions about industry specifics, like “what types of story are in vogue at the moment”, or “what kind of characters should I be writing” the answers are always the same, WHEREVER you are:

Never write for the market. The market is ALWAYS ahead of you.
Good stories are always in vogue.
People always want to watch fascinating characters.
Good scripts break through. Bad scripts die. End of story.

Screenwriting Goldmine gets you there. Quickly, and effectively.

REASON #6: You believe writing can’t be taught. You think it’s an indefinable thing, that depends on personality and other mysterious elements. You think you need natural ability.

You could say exactly the same thing about painting. But there seem to be an awful lot of art schools around.


What is this ‘natural ability’ anyway?

All my life I’ve thought I’ve was tone deaf. I’ve never been able to sing a note, which has always been a great sadness to me. I just assumed I had no ‘natural ability’.

Recently I heard about a book that was supposed to cut through all that. It was recommended by a couple of actors I know who needed to sing better to extend their chances of working. I bought the book, read it cover to cover a few times, and been working with the CD. And been amazed by, for the first time in my life, realising how singing works. I can actually pitch notes now. I can even sing simple tunes. It’s going to be a long time, and take me a lot of work, but I’m confident I will one day be able to hold a real, complicated tune and join in as and when I feel like it.

So I’m heading from ‘no natural ability’ in an area in which I had believed was closed to me forever, to being able to express myself in a way I never dreamed of, all because I found the right teacher.

What more need I say..?


No Questions Asked Refund, Guaranteed!

This is possibly one of the most important investments you’ll ever make in your writing life.

I assure you that you’ll be able to use the things that you’ll learn in my eBook to write better screenplays.

This book may have the one exact piece of advice you need, but I want you to be absolutely sure about it. That’s why you must know you have six whole weeks to see for yourself what it can do for you.

When you click on the button below, you’ll be taken to a secure order page where you can download the book.

Read the book from cover to cover and you’ll find strategies you can use RIGHT AWAY to start getting your writing sorted out.

If, after you’ve read the book you decide that it’s not for you, or you didn’t find any useful information in it for your situation, simply send me a message forwarding the email confirmation you’ll receive when you download your copy of the book, write ‘cancel’ in your message subject line, and I will issue you a refund directly.

Just click on this button above to invest in your screenwriting future.

If you’ve got any questions send Phil an email.



P.S. Every step of this Screenwriting Goldmine method is a BATTLE TESTED winner. I use every one of them personally in my day job as a professional screenwriter, and I’m sure they can work for you, too.

P.P.S. Remember to take a look at the blog at and read my newsletters. There’s some great tips to be had there.

So what are you waiting for? Cut through the crap. Write like a professional TODAY.

Short. Is. Better.

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