Craig and John look at why certain genres of movies — mid-budget thrillers, adult dramas and romantic comedies — aren’t getting made, and whether there’s any way to get them back.
John and Craig take an in-depth look at turnaround and reversion, and how screenwriters get their scripts back from a studio.
From Wolverine to The Rock, male action heroes have literally gotten bigger over the last decade. Craig and John look at how that impacts story. Is there hope for the the ordinary man in an extraordinary situation? Will we ever get back to Kurt and Keanu?
Craig and John discuss finding your way back to your story — and your enthusiasm — when writing your second draft. Craig has tips and suggestions. John has sympathy and war stories.
John and Craig dig into the listener mailbag and take questions on TV producer credits, jealousy over other writers’ success, writing tight vs writing long and plenty of other follow up.
This week, Craig and John discuss recent events that seem custom-designed to make Craig furious.
Craig and John discuss backup plans, camera directions, and becoming so good they can’t ignore you. Plus we answer two listener questions about specificity in scene headers and how to indicate that a script is intended for animation.
For the first time ever, John and Craig spend an entire episode on a full-length original screenplay, K.C. Scott’s THIS IS WORKING.
On Tuesday’s episode of Scriptnotes, we’ll be looking at K.C. Scott’s original screenplay “This Is Working,” a former Three Page Challenge entry. Listeners can download the script now so they can read it over the weekend.
Craig and John wrap up many plotlines from previous episodes, with follow-up on Three Page Challenges, diversity numbers, Road Runner and other rules, plus the Gravity lawsuit in light of the Blurred Lines verdict.
It’s fascinating to look at something so old yet so familiar. Most modern televison writing goes through an outline stage, at which point the studio and network signs off on the story — or sends it back with notes.
John and Craig discuss this year’s screenplay Oscar winners, including the success of Birdman’s outside-the-box approach and Graham Moore’s speech.
From Harper Lee to Sony to the Wheel of Time, it was a big week for studios trying to hold onto intellectual property. John and Craig discuss why those deals take such strange turns, including 1:30 a.m. airings on cable.
John and Craig discuss exploding scripts and stock scenes. Then in the second half of the show, we welcome two very special guests.
John and Craig pick up loose ends, with follow-up on previous episodes about “friends,” conflict, improv, Kindles, and defibrillation.
A screenwriter friend just emailed me to ask how she could get one of her scripts to look good on the Kindle. You can’t. It’s the wrong tool for the job.
John and Craig start the new year by discussing Chuck Palahniuk’s advice to avoid thinking verbs. Then it’s a new round of the Three Page Challenge.
Craig and John discuss the qualities of the perfect reader, whether it’s a studio professional or your screenwriting buddy. What should a reader look for, and how should she communicate her thoughts?
John and Craig look at the nature of fluke hits, everything from #alexfromtarget to huge spec sales. Is luck just luck, or is it about how often you play the game? Where does talent fit in?
Vineet Dewan, who was nice enough to co-star in the Kickstarter video for Writer Emergency Pack, decided to film his own version pitched at development executives.
After four years of discussion, three complete do-overs and two print runs, we finally launched Writer Emergency Pack. It’s a deck full of useful ideas to help get your story unstuck.
Craig and John shake off their Halloween candy hangovers by taking a look at three new Three Page Challenges, full of post-apocalyptic portals and strange signals.
Craig and John discuss the 31 superhero movies slated for the next few years. Is it good business or a trainwreck in the making?
John and Craig were delighted to join the Slate Culture Gabfest on stage to talk about the gulf between critics and creators. We have the audio from that, and additional thoughts on the issue.
Craig and John discuss that delusional period in which you’re convinced your script is the best thing ever written — and the inevitable heartbreak when someone tells you it isn’t. (TPS is close cousins to the Oscar Speech in the Shower.)