Aline Brosh McKenna joins Craig and John to talk about the difficult journey through pages 70-90 of your feature. After that, we talk about procrastination, the Panic Monster and our inner Instant Gratification Monkeys.
A reader’s understanding of a given moment is hugely dependent on what you’ve already established. That’s why the first few pages of a script are so important: you’re teaching the reader how to read your script, and what’s important.
John and Craig talk about what screenwriters can learn from the structure of classical music, then invite journalist Scott Tobias on to discuss how day-and-date video-on-demand releases make it hard to know how indie films are doing, individually and as a group.
I really like Dan Harmon’s advice to young writers in the sidebar to THR’s showrunner feature.
Robin Sloan wonders whether all-at-once seasons like House of Cards work against the shows by denying viewers the joy of anticipation.
Dara Resnick Creasey writes about her first time being the [staff writer on set]
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.
Grimm’s fairy tales offer uniformly terrible marriage advice.
A screenwriter sees a trailer that matches the premise of something he wrote ten years earlier. Was it idea theft, or just a good idea.
Megan McArdle wonders if procrastination stems largely from a fear of failure.
It’s a week of big egos as Craig and John take a look at when (or whether) filmmakers will be able to pull a Beyoncé and surprise-release a feature film, and what Mrs. Carter’s tussle with Amazon and Target means for the future of retail DVD.
Guinevere Turner doesn’t want to talk to you, not when she’s writing.
Jake Malooley tracks down writer-director Paul Brickman, who more or less vanished after Risky Business.
John and Craig sit down with screenwriter-turned-psychotherapist Dennis Palumbo to discuss writer’s block, procrastination, partnerships and more. It’s a can’t-miss episode for aspiring writers and professionals alike.
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.
A listener wonders if the lack of female screenwriters stems in part from the social part of the profession, specifically confidence in one’s ability.
In response to the discussion Craig and I recently had about the perceptions of nepotism and wealth in the film industry, a listener wrote in to share his experience of being quite literally a trust-fund screenwriter.
Craig and John take a brief look at the misguided Girls backlash and complaints about nepotism in Hollywood, before segueing to a bigger discussion of spec scripts and positioning.
Burn one minute and twenty-seven seconds with this nice motion graphic by Ryan Perera.
Lauren Bagby offers an office PA’s perspective how it feels when your show gets cancelled.
Over at Tom the Dancing Bug, Ruben Bolling looks at how journalists have a faulty memory when it comes to past award seasons.
I’d missed this piece from November by Jesse Lasky in which he describes his first experience pitching a TV show.
Pivoting of the discussion Craig and I had about Charlie Kaufman’s speech, Josh Barkey outlines a path that may lead screenwriters to resent their audiences.
Screenwriter and TV scribe Christine Boylan talks through her work habits and tools.
At the end of any day in which I’ve had to keep up in French, I’m zombie-tired. Research Daniel Kahneman has the explanation.