Nothing is cut-and-dried this week. John and Craig talk Game of Thrones rape, allegations against director Bryan Singer and the new report showing the same low employment numbers for female writers in film and TV.
Cameron Bonde wants the App Store to take a page from YouTube and Twitter, allowing users to subscribe to app developers.
Grimm’s fairy tales offer uniformly terrible marriage advice.
John and Craig talk with WGA President Chris Keyser about the tentative deal reached between writers and the studios, and why it’s more groundbreaking than it might appear at first glance.
Craig delights as John gets @-napped in a Twitter thread about copyright infringement. Then they talk disruption in television, and how it affects writers.
John and Craig talk Lab Rats, multi-cam, and what scenes might mean in their imaginary screenplay format. Craig clarifies what “spec writing” is, and when it’s permitted, both legally and ethically.
John and Craig discuss how you create a fictional universe for your story, and the limits of how much can fit on the page. From location to language to wardrobe, choosing which details to make explicit is a crucial early decision. Too little detail and the reader doesn’t know how your story is special; too much detail and the story gets lost.
Every episode of Scriptnotes starts with the same five notes: Beginning with episode 98, every episode ends with a new listener-created outro, each one a variation on that same five-note theme. We’ve had some amazing outros, both because our listeners are geniuses and the basic melody is so adaptable. You can hear all of them […]
John and Craig tackle the greatest controversy in screenwriting: how many spaces to put after the period. From there, it’s follow-up on the Final Draft episode, including some behind-the-scene details.
On their website, Final Draft claims to be the preferred format for WGA registration. But that doesn’t gibe with the WGA’s own site.
Craig and I are doing a live episode benefiting the Writers Guild Foundation on December 19th.
Final Draft emailed me to recommend an alternate workflow to convert a screenplay PDF to FDX.
Through Friday, November 15th, we’ll be taking orders for a new batch of shirts. They’ll ship starting December 2nd, in time for the holidays. Like last time, we’ll only print what people order, so if you want a shirt, you need to order now.
Many listeners have asked how Craig and I record our weekly podcast, so here’s a quick rundown of our standard operating procedure.
The producers have agreed to restore my SCRIPT discount code for Big Fish on Broadway, but only through December 22nd — and they might pull the offer at any time.
Often, the best backup strategy is giving it away.
Back in May, I hosted a panel on behalf of The Academy on Storytelling in the Digital Age. I meant to post my introduction, but promptly forgot until now.
John and Craig discuss what it feels like to finish a project — the combination of excitement and relief, joy and sadness — as Craig advises John which project he should write next now that Big Fish is set to open.
A listener makes the case that modern screenwriting style has changed how scenes themselves work.
John and Craig welcome their largest live audience yet for a conversation about Kickstarter, movie pilots and musicals. Joined by special guest Andrew Lippa, they talk about the special challenges and opportunities that arise when characters break into song.
Beginning with episode 98, we asked Scripnotes listeners to send us their take on the Scriptnotes theme for us to use as an outro. Here are the ones we’ve used so far.
John and Craig reveal their Myers-Briggs secrets as they discuss Kevin Spacey’s comments on the state of television, Eric Garcetti’s plans to address runaway production, and the WGA election.
Almost every week on the Scriptnotes podcast, Craig and I each share a One Cool Thing. Now you can find all of these recommendations on a single page.
The Kickstarter campaign for the Yank! cast album, which I blogged about earlier this week, cleared its $35,000 target this morning. Thanks to everyone who contributed.
John and Craig discuss Damon Lindelof’s interview about how plot stakes have escalated lockstep with budget, perhaps to the point of absurdity.