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.
This week, we time-travel back to our first centennial, a live show in Hollywood with special guests Aline Brosh McKenna and Rawson Thurber. We discuss the rise of the “writer-plus,” the importance of early mentors, and the emails that outline the very origin of Scriptnotes.
Craig and John tackle a single topic: bad movies and how they happen. Having experienced the process first-hand, they report on how bad ideas make it to the screen, and how good ideas go wrong. There’s no single answer, but a range of patterns that end in terrible movies.
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.
Canadian screenwriter Ryan Knighton joins John and Craig to discuss how you sustain a career writing for Hollywood studios while living a flight away. Knighton’s first screenplay was the adaptation of his memoir about going blind. He’s since written for several studios, including a new project for Ridley Scott.
Writing for The New Yorker, Oliver Sacks recounts his interactions with monologist Spalding Gray, and how his death was connected with Big Fish.
Danny Manus warns that screenwriters are unwittingly being drawn into cults. Yet most popular podcasts inherently cult-like.
This week, Craig and John discuss recent events that seem custom-designed to make Craig furious.
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.
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.
John and Craig dig into the overstuffed mail bag to answer listener questions about scenes, stagnation, subtitles and script breakdowns. Plus we reveal the consensus opinions on whether we should have ads, and look at possibilities for the Full Script Challenge.
Jacob T. Swinney built a supercut comparing the first and last shots of 55 notable films.
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.
Linda Holmes examines what we mean when talk about Cinderella.
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.
As longtime readers know, I love me a supercut. This one by Roman Holiday explores the trope of characters sitting up in bed after a nightmare.
John and Craig take a look at the self-imposed rules behind the Road Runner cartoons, and how limiting one’s choices is different than following dogma.
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.
Screenwriter Malcolm Spellman joins Craig and John to talk about his big break, blown opportunities, and getting momentum back. Now part of the smash hit Empire, he talks about the changes and challenges African-American writers face both on the small screen and the big screen.
In some cases, you’ll absolutely want to use (cont’d) to indicate a character is still speaking. But it’s not always the right choice, which is why we don’t do it automatically in Highland.
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.
John and Craig discuss exploding scripts and stock scenes. Then in the second half of the show, we welcome two very special guests.