Craig and John do a deep-dive into the world of screenwriting credits, explaining the entire process from the Notice of Tentative Writing Credits, to arbitration to review boards. The system can be confusing, but most produced screenwriters will find themselves facing it at some point, so it’s important to understand how it works.
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.
Craig and John talk with the owner of Scripped.com to investigate what happened when the online screenwriting site suddenly went down this week, erasing four years of screenwriters’ work. When things went south, why did he try to distance himself from the debacle, and what comes next? It’s a candid discussion — but far less uncomfortable than the Final Draft episode.
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.
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 do a deep dive on Tess Gerritsen’s lawsuit concerning Gravity, using the case as a way to talk about contracts, chain of title, adaptation and corporate ownership. Spoiler: It’s really complicated, but it’s really interesting too.
In a special bonus Scriptnotes, we sit down with writer-actress Rebel Wilson and author-columnist Dan Savage to talk sex, television, swearing, and poop.
Aline Brosh McKenna joins John and Craig to discuss the how movies featuring good mentors (Dead Poet’s Society, To Sir with Love) differ from films with bad mentors (Whiplash, The Devil Wears Prada). It’s not just that the teachers are bad guys; rather, the stories are structured completely differently.
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.
John and Craig offer advice to a director taking the plunge, with guidance on both getting the work done and getting the performances you want. From there, we segue into a discussion of the Perfect Director, the next installment of our Perfect series.
John and Craig talk about where to start a story — how far back should you go? The decision about whether to meet the hero as a child, in their normal rut, or mid-crisis fundamentally changes the narrative, so it’s worth exploring fully.
As part of their Creative Spark series, The Academy shot a video with me talking about my creative process.
What are the odds that fivethirtyeight.com’s statistical analysis of screenplays will make Craig angry? Always bet on umbrage. Fortunately, he just finished a script, so we talk about that, and John’s new gig writing Scary Stories to Tell in the Dark (which was the project he described phone-pitching the past few episodes).
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.)
We’ve re-opened the John August Store with new shirts for Scriptnotes and Highland, plus our first ever hoodie.
We have very few Scriptnotes t-shirts left in the store. We’re considering printing a new batch, but we’re not sure which color listeners would actually want. The first round of shirts came in Umbrage Orange and Rational Blue. The second batch came in only Basic Blacklist. For the new t-shirts, we’re considering revisiting one of […]
We’re hiring a full-time UI designer for Quote-Unquote Apps. I have a hunch we’ll find someone amazing.
John and Craig discuss why most characters are liars, and how that’s actually a good thing. John offers seven suggestions for picking character names that will help your readers. Then we look at a three page challenge that’s been filmed to see what worked on the page versus on screen.
At the live Scriptnotes show on May 15th, we’ll be conducting a Three Page Challenge with special guest judge Susannah Grant. Tuesday was the deadline for entering. All of the entries are now available for reading, both on Weekend Read and here. Once you’ve had a look, vote for your favorite(s) — you can choose […]
You can’t have a superhero movie without epic theme music. Likewise, we can’t have a Scriptnotes live show about superheroes without a suitably giant arrangement of our piddly five-note jingle.
We’re doing a live episode of Scriptnotes on Thursday, May 15th at the Writers Guild Theater in Beverly Hills. This time, we’re featuring some of the biggest names behind the biggest superhero movies.
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.
House of Cards creator Beau Willimon wonders if “television” is a good word for describing what we’re seeing in long-form storytelling: If you start thinking, well a TV show is a half-hour to an hour long and it’s in chunks, and a [movie] is an hour to two hours and it has a beginning, middle, […]
We have a new app. It’s called Weekend Read. It’s for reading scripts on your iPhone, and it’s free on the App Store right now.