John and Craig discuss the death of the film industry as foretold by four prominent filmmakers. Is the way we make movies unsustainable? Is the system fundamentally broken, or just changing into something new? And why don’t we make romantic comedies anymore?
John and Craig tackle the bursting mailbag, answering listener questions on topics ranging from the variable length of the TV season to underachieving agents to embarrassing IMDb credits.
John and Craig discuss the polarizing potentate of Deadline Hollywood Daily, then segue into what a healthy entertainment journalism ecosystem might look like.
Chuck Wendig offers ten writing tricks, including an old standby that shouldn’t be forgotten.
Craig and John spend an entire episode discussing and dissecting 1989’s THE LITTLE MERMAID, looking at both its structure and scene work.
James Harbeck analyzes some of the common annoying sounds in teenage speech, many of which are hard to portray in dialogue.
The 22-year old twins at the center of my 1999 TV show D.C. were named Mason and Finley. Rare names at the time, but increasingly common.
It’s a week of pondering other people’s opinions. First, Craig and John take a look at the Bechdel Test: is it a useful metric for screenwriters, or just meaningless checkbox-ticking?
Justin Marks offers a look at what it’s like to be a working screenwriter you’ve never heard of.
How you get from one scene to the next can be just as important as the scenes themselves. Craig and John talk techniques and tactics for making those cuts count.
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 when to stop rewriting a project and accept that it’s just not going to become a movie. Then we go bigger to look at when to give up on the dream of being a screenwriter — which starts with a hard look at why people seek out the career in the first place.
For screenwriters, John McWhorter’s TEDTalk on texting grammar is a useful reminder of the differences between how people talk and how they write. Speech is made up of word clusters with no discrete punctuation. Because speech is almost always dialogue — you’re usually speaking with somebody — it’s structured in a way that allows interruption. […]
Craig leads the discussion on how to survive a notes meeting. As screenwriters, our instinct is to defend, deny and debate — but these are almost always the wrong choice. By reframing the discussion about the movie rather than the script, you can often end up at a better place.
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 and John look at two recent court decisions that could have a big impact on how movies get sold and resold — and how writers get paid. First-Sale Doctrine is one of those intractable issues that involves freedom and control, bits and atoms, creators and consumers.
Writer Derek Haas (Wanted, 3:10 to Yuma) joins John and Craig to discuss gay slurs, refrigerator logic and his TV show, Chicago Fire.
Craig and John discuss the big Veronica Mars/Kickstarter news in one of the more contentious podcasts to date. If you like umbrage, this is the show for you.
A Reddit user uncovered some [blunt Blade Runner notes, which are not at all uncommon.
John and Craig talk homesickness and daddy issues before diving into a discussion on what Rhythm and Hues’s bankruptcy means for the film industry — and similar scenarios screenwriters might face down the road.
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.
Craig and John take a look at the class-action suit over Hollywood’s unpaid interns, then discuss envy and jealousy and other unproductive emotions.
John and Craig discuss spec scripts, pitches and how it feels when your movie gets brutal reviews.
Aline Brosh McKenna joins John and Craig for a conversation about what writers mean by a “voice,” and how it develops.
John and Craig give heroes the week off and talk bad guys. Not every movie needs a villain, but if you have one, he better be good.