Robin Sloan wonders whether all-at-once seasons like House of Cards work against the shows by denying viewers the joy of anticipation.
Screenwriter Kelly Marcel joins John and Craig to play Fiasco, resulting in a tale of art, murder and sexual blackmail in the Hollywood Hills.
I wondered if a filmmaker could pull a beyoncé and release a film without any advance notice. I speculated a filmmaker like JJ Abrams or Joss Whedon probably could pull it off. Then a few weeks ago, Whedon seemed to just that with In Your Eyes. But is it really a beyoncé, or a new variation on direct-to-video?
It can be strangely satisfying to surrender your ego and imagine yourself as a wholly different writer.
Dara Resnick Creasey writes about her first time being the [staff writer on set]
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.
Hey, come in, come in. Wherever you like. Nice to finally meet you. I’m a big fan. Big fan.
Any time you refer to a place — be it “the supermarket,” “school,” or “Boston” — you create a natural expectation that we will visit that place at some point in the story.
Craig and John play marriage counsellor between writers and their scripts, looking at both the first spark of attraction and how to rekindle the flame when the fire has gone out.
John and Craig visit Ben Blacker’s Nerdist Writers Panel for a special crossover episode, recorded in front of a live audience on April 13, 2014.
Grimm’s fairy tales offer uniformly terrible marriage advice.
In an interview with Billboard, producer Patrick Leonard talks about writing “Like a Prayer” with Madonna. Their process is a great example of actually making things.
Ben Schott answers all your questions about those uppercase names at the bottom of movie posters.
Maybe I’m hyper-aware because yesterday was the 15th anniversary of Go, but I’m encountering sorts of references to past projects this week.
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.
Michael Arndt explains some of the things he learned while working on the screenplay for Toy Story 3.
RJ Andrews turned Currey’s data on creative work hours into infographics, because that’s what we do in 2014.
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.
For a writer, being jerked out of the process by a ringing phone or car alarm or a question from a well-meaning spouse can be devastating.
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.
David Shariatmadari looks at several of the reasons English has shifted, both in spelling and pronunciation.
John has questions about the questions Craig answered on his Reddit AMA, but that’s just the tip of the iceberg as we answer six great listener questions.
John and Craig pay their respects to Harold Ramis with an episode devoted entirely to Groundhog Day.
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.