Explorations of ownership in a corporate environment.
You made a movie. Get the most you can out of it, then get cracking on doing the next project.
Superhero politics should remain abstract.
Making your movie. Keeping your soul.
Why did Edward Bloom leave Ashland? Does beginners luck exist? Shocking answers revealed, inside!
Killing backstories, writing out lyrics and why you will always want to be writing something else (amongst other topics), explored.
Confronted with a bad script, step back and ask the right questions.
Capitalize on people’s affection for your script to find something that pays money.
A tough question. Here are some signs that you should quit or stick with it.
How to write when it suddenly seems to become a trivial pursuit.
Every intern has a script. So tread lightly.
Obey the muse, whatever the timing, or risk her departure.
When other people have the same ideas and act on them, it helps me clear my slate.
How to deal with the waiting cycle. The good/bad news: no screenwriter, at any level, is immune.
Get over it. No one wants to steal your crappy idea.
You rarely see clinical depression in movies and TV, despite being much more common in real life than, say, retrograde amnesia.
Eventually, you learn that you can’t depend on strangers for validation.
This is one of the worst things about being a screenwriter: you ultimately have very little control over the movie that gets made. Here’s how to deal.
A political quiz helps understand characters whose beliefs are different from my own.
The process of adding and dropping friends and colleagues isn’t unique to this business. It sucks for them. It sucks for you. Accept that and move on.
It’s just as important to read bad writing as good.
Embracing the chaos and letting go.
Rejoice and learn from the suckiness. Their low standards make your great script all the more unusual.
Tricks to get you back in the mood of your screenplay.
Methods for breaking through the self doubt and general madness when you’ve lost your way to the end of your story.