John and Craig look at the implicit contract made between screenwriters and readers — and ultimately, movies and their audience. That’s a natural introduction to our Three Page Challenge and the three new entries we look at this week.
John and Craig took a look at Final Draft 9 and the futility of Twitter arguments before launching into three brand-new Three Page Challenges.
John and Craig offer advice for super-rich aspirants about the film and television industry. If you have enough money to do anything, what should you do first? Do you want to make money, or make art? Or do you just want to hang out with famous people? No judgements.
Explicit language warning! Even the titles of this week’s Three Page Challenge entries are filthy, so John and Craig let the f-bombs fly.
John and Craig debate the perils and possibilities of bringing iPads into movie theaters. Is Disney’s Little Mermaid iPad app a way to breathe new life into a classic, or a slippery slope towards cinematic ruin? It’s a conversation with plenty of umbrage — but from an unexpected source.
John and Craig tackle three new entries in the Three Page Challenge, ranging from space drama to killer hookers to brassy defense attorneys. Along the way, they find some awkward scene description and a few misused semi-colons.
Craig and John take a look at one investor’s campaign against Sony Pictures, and George Clooney’s strong reaction. From there, we examine why studios have multiple labels — TriStar is back! — and how that affects writers.
Live from WGF Craft Day, Craig and John tackle three new Three Page Challenge entries…with the writers on hand!
Has a statistician cracked the code on successful screenplay formulas? John and Craig cast a skeptical eye at a New York Times article on Vinny Bruzzese, who claims to have done exactly that.
John and Craig discuss the odd dislocation writers experience when writing movies in coffeeshops and windowless offices. We’re literally “someplace else” with our characters, but learning how to work in less-than-ideal circumstances is part of the screenwriter’s trade.
Craig is sick and John is in the middle of tech rehearsals, but nothing will stop them from discussing another batch of Three Page Challenges.
Craig and John take a look at an old post that found new life this week when it got picked up on Twitter and Reddit. We go beyond the bullet points to look at the process of writing a scene, from asking the basic questions to getting the words on the page.
Aline Brosh McKenna joins John and Craig for a conversation about what writers mean by a “voice,” and how it develops.
With last week’s news that home video stopped its free-fall and actually grew a little bit in 2012, John and Craig discuss whether studios might ease off on one-step deals and other development austerity measures.
John and Craig talk about perspective — both within a scene and the overall story. It’s not always obvious to the reader which characters are in the driver’s seat, so it falls on the screenwriter to make that clear.
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.
Every few weeks, Craig and I look at three or four entries to the Three Page Challenge for the podcast. But my assistant, Stuart Friedel, has read more than 500. So I asked him to write up a post discussing the patterns, problems and common themes among what he’s read.
Craig and John dive back into the Three Page Challenge entries, along with an overview of the 500+ contenders that have been submitted.
John and Craig discuss Frankenweenie and Superhero! before cracking open the mailbox to answer listener questions.
In the spirit of Looper, Craig and John take a journey back in time, looking at the first scripts they read, the first scripts they wrote, and the common pitfalls of many first screenplays.
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.
John and Craig are all action this week, looking at how screenwriters write those things characters do in a movie.
John and Craig answer four listener questions, on topics ranging from scene headers to ticket sales. And which is better for an aspiring screenwriter: a low-level job at a major agency, or a steady 9-to-5 job that allows time to write?
Craig and John look at the results of the WGA screenwriter survey, which found widespread reports of bake-offs, prewriting and other shenanigans.