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.
I don’t think you have to be nuts to be a good writer. Nor do I you should use writing as an excuse for not getting help when you need it.
Important steps for the beginner who’s ready for the next level.
Pretend you’re confident. Eventually, you will be.
The flip side of Insecurity tends to be Arrogance. I highly recommend the former over the latter.
When you don’t think you deserve to be in the room, no one else will, either.
Don’t wait for flow. It might come; it might not. But it’s your job to keep writing anyway.
Starting a career in film is difficult at any age, so if it’s 15% more difficult at 35 than 25, I can’t imagine that would deter you.