A Twitter follower asks for an explanation of animation residuals.
John and Craig talk about everything that comes after the oft-discussed First Three Pages, speculating on the kinds of issues they’d spot if they were looking at full scripts.
Craig and John dive back into the Three Page Challenge entries, along with an overview of the 500+ contenders that have been submitted.
Director Michael Mohan writes about the process of making Save the Date, his bigger-budget follow-up to One Too Many Mornings.
Craig and John ret-con the Austin Film Festival, placing themselves on panels in which they didn’t participate. It’s a chance to give the answers they would have given without the bother of moderators (and other people’s opinions).
On a recent podcast, Craig and I discussed press junkets from the screenwriter’s perspective. Tim from London wrote in to offer the view from the other side of the roundtable.
A reader shares his notes on a Amazon Studios panel at this year’s Austin Film Festival.
John and Craig talk about the new show John sold to ABC, which leads to a conversation about the differences between studios and networks, and how writers end up having relationships with both.
What’s the difference between a reader and a producer? Much more than one high-profile online reader seems to believe. John and Craig discuss what producers do, and how one plausibly gets started.
My 2006 Mac Pro couldn’t be upgraded to Mountain Lion, so I needed to get a new computer. I ended up with Ryan’s old MacBook Pro, which has worked out mostly well.
Screenwriters are often not the healthiest folk. We do our work at computers, surrounded by snacks, so it’s no surprise many of us get fat. But it doesn’t have to be that way.
The guy who made that Phil Coulson fan film — and wrongly credited me — thinks I was out of line to complain so much.
John and Craig talk critics, and how trying to anticipate their reviews can cause paralysis. It’s funny how the screenwriter only seems to get mentioned in negative reviews. Well, not funny, actually. Frustrating. And possibly statistically verifiable, so listen in if you’re looking for a research project.
A listener wonders if the lack of female screenwriters stems in part from the social part of the profession, specifically confidence in one’s ability.
Adam Davis wrote one of the original First Person posts for the site back in 2007, when he first moved to LA. Five years later, it’s time for an update.
On the 41st Scriptnotes, John and Craig discuss screenwriting software, knowing when to start, and the Game of Thrones finale. But before moving on to new business, they update us on two topics of podcasts past.
Chip Street looks at why an offer to be featured on the “consider” list must be considered carefully.
Since the launch of the Highland public beta last week, we’ve gotten great feedback. Thank you to our second-wave testers. I’m particularly happy with how our report card system is working. By gathering the information in one place, we’ve been able to see some clear patterns.
FDX Reader, our app for reading Final Draft scripts on the iPad and iPhone, came out a year ago today. It feels like much longer ago. I have some theories why.
Jay Faeber writes in with an update on his earlier First Person post, this time detailing his first year on the writing staff of Ringer.
In response to the discussion Craig and I recently had about the perceptions of nepotism and wealth in the film industry, a listener wrote in to share his experience of being quite literally a trust-fund screenwriter.
Greg Tung applied for my Director of Digital Things position. His blog post about not getting the job is a good lesson on why it always hurts and it’s never the end of the story.
While we wait for the Mac App Store to enable a system for volume licensing, we’ve created a special version of Bronson Watermarker for business wanting to buy 100 or more copies.
Celebrating Leap Day, John and Craig play the game of “What If?” Specifically, what if we each were handed the reins of a major Hollywood studio?
Our new screenwriting utility, Highland, converts between three major formats screenwriters use: PDF, Fountain and Final Draft. It’s in beta today.