Eric D. Snider looks at patterns in 2012 movies.
This week, I’ve been working on a feature, a TV pilot and the stage musical of Big Fish. It’s gotten me thinking about the nature of different forms of dramatic writing.
John and Craig return from the holidays to look at the WGA nominations, the perennially high costs of movies, scene headers and acceptable fonts for treatments.
Robert Jackson Bennett looks at the benefits and drawback of writing fiction in the present tense.
Craig and John start the year with a look back at three very early episodes not currently on iTunes, discussing outlines, agents and the Good Boy Syndrome.
It’s Christmas, so John and Craig are exchanging the gift of answers, tackling listener questions on topics ranging from musical books to punch-up sessions.
Craig and John chat with Lindsay Doran, a producer and former studio exec who’s made terrific movies, ranging from Sense and Sensibility to Stranger than Fiction.
Craig and John look at the logic and fallacies of one-step deals for screenwriters, along with advice on reading screenplays and enjoying Skyfall.
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.
TV writing team Leo Chu & Eric S. Garcia discuss their workspace and work habits.
Family Guy writer (and YA novelist) Cherry Chevapravatdumrong discuss her workspace and work habits.
John and Craig discuss the big movie news of the week: Disney buying Lucasfilm, and with it, the rights to Star Wars.
Craig and John ret-con the Austin Film Festival, placing themselves on panels in which they didn’t participate. It’s a chance to give the answers they would have given without the bother of moderators (and other people’s opinions).
A reader shares his notes on a Amazon Studios panel at this year’s Austin Film Festival.
Recording live at the Austin Film Festival, John and Craig take a look at The Black List’s pivot to a paid site, and what it means for screenwriters and the industry. Black List creator Franklin Leonard joins us for questions and criticism, as well as screenwriter Aline Brosh McKenna.
Franklin Leonard, creator of The Black List, has announced a new incarnation of his site that allows screenwriters to upload their scripts for review and rating — for a fee.
John and Craig discuss Frankenweenie and Superhero! before cracking open the mailbox to answer listener questions.
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.
Josh Friedman and I just set up a new show called Chosen, produced by 20th Television for ABC. I’ll write the pilot, and if the show goes to series, Josh will run it.
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 tackle eight questions on the profession of screenwriting, ranging from studio execs to sharing credit to pitching via video.
John and Craig are all action this week, looking at how screenwriters write those things characters do in a movie.
Craig and John celebrate one year of the podcast by going H.A.M. on the passive voice, the present progressive and reductive nonsense rules.
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?
Can you sell a spec screenplay but retain the characters for other uses?