Like Devin Faraci, one death in Jurassic World stuck out for me, because it didn’t feel deserved. But was does “deserved” really mean?
Writing for The New Yorker, Oliver Sacks recounts his interactions with monologist Spalding Gray, and how his death was connected with Big Fish.
Danny Manus warns that screenwriters are unwittingly being drawn into cults. Yet most popular podcasts inherently cult-like.
John and Craig talk about where to start a story — how far back should you go? The decision about whether to meet the hero as a child, in their normal rut, or mid-crisis fundamentally changes the narrative, so it’s worth exploring fully.
Over the last eight years, I’ve become more famous within a subset of people. Because of Scriptnotes, my voice is actually recognized as often as my face. Because of Twitter, I end up interacting with strangers much more often. And because of both outlets, people who recognize me know a lot more about me — at least, a version of me who hosts a popular podcast about screenwriting.
The project I’m writing centers on trust. The more I think about the word and the concept of trust, the more complicated it becomes.
John and Craig revisit one of their favorite episodes, in which they 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.
Maybe Impostor Syndrome is a good thing.
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.