A writer can get away with quite a few things on stage that are tough to pull off in movies.
An episode of Grey’s Anatomy might have the same title as your spec. That’s not even close to being plagiarism.
If you’re looking to put your story out into the world, paper beats film, hands down.
The big villain in Spider-Man 3 was a plague of coincidence. Here’s how they could have avoided it.
The Motaba virus sounds bad, but the cure — heavy doses of Dustin Hoffman — is arguably worse.
No. But getting a movie made is worth a lot more than any award.
I spent a few days in Chicago to see the workshop of my friends’ new musical, Asphalt Beach. And then I wrote a play.
You rarely see clinical depression in movies and TV, despite being much more common in real life than, say, retrograde amnesia.
In all likelihood, it’s not — you just think it is.
The vast majority of memoirs are written by vain, delusional nutjobs, so there’s no reason you shouldn’t be entitled to your six-figure advance.
You’ve never met an undead blood-sucker, and neither have I. Yet we can both agree on quite a few characteristics of these non-existent beings.
There is definitely room in the film universe for a uber-geek movie, be it a thriller, a drama, a comedy or whatever.
This “knowing when it’s done” sense only develops with experience.
I want to know that no one’s hurt, but even more, I want to know what the hell I saw.
A useful guide to super-villainy.
It’s surprisingly difficult for any villain — even a powerful alien race — to actually destroy the planet.
Welcome to the world of experimental film, where you invite mocking simply based on hubris.
The right genre is the one that will actually get you to fire up your word processor, rather than surf the internet.
Nail down characters, tone and action come before plot and structure.
Yes. So write one.