This week, we time-travel back to our first centennial, a live show in Hollywood with special guests Aline Brosh McKenna and Rawson Thurber. We discuss the rise of the “writer-plus,” the importance of early mentors, and the emails that outline the very origin of Scriptnotes.
For the first time ever, John and Craig spend an entire episode on a full-length original screenplay, K.C. Scott’s THIS IS WORKING.
On Tuesday’s episode of Scriptnotes, we’ll be looking at K.C. Scott’s original screenplay “This Is Working,” a former Three Page Challenge entry. Listeners can download the script now so they can read it over the weekend.
Jacob T. Swinney built a supercut comparing the first and last shots of 55 notable films.
Linda Holmes examines what we mean when talk about Cinderella.
It’s fascinating to look at something so old yet so familiar. Most modern televison writing goes through an outline stage, at which point the studio and network signs off on the story — or sends it back with notes.
John and Craig discuss this year’s screenplay Oscar winners, including the success of Birdman’s outside-the-box approach and Graham Moore’s speech.
Aline Brosh McKenna joins John and Craig to discuss the how movies featuring good mentors (Dead Poet’s Society, To Sir with Love) differ from films with bad mentors (Whiplash, The Devil Wears Prada). It’s not just that the teachers are bad guys; rather, the stories are structured completely differently.
Craig and John discuss conflict — why it’s bad in real life but essential in screenwriting. We define six forms of conflict common in movies, then look at ways to sustain conflict within a scene and throughout a story.
It’s a clip show! John and Craig discuss cutting pages from your script, fixing plot holes, and what we’d do if we ran a studio. We’ll be back with all new episodes in 2015, the year of post-outrage rationality.
Tony Zhou looks at how character choice is framed as going left or right.
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.
Vineet Dewan, who was nice enough to co-star in the Kickstarter video for Writer Emergency Pack, decided to film his own version pitched at development executives.
John and guest host Susannah Grant sit down with Richard Kelly, Cary Fukunaga, Peter Gould, Dan Sterling and Mike Birbiglia to discuss the role of a writer/director, the wonder of television, and the purpose of table reads.
We’re getting close to launching a new project called Writer Emergency Pack. It’s designed as a survival tool for writers. It’s not an app or a book. It’s more like a crowbar for getting unstuck. It’s for screenwriters, novelists, playwrights, students, writing teachers — anyone who deals with story.
Craig loves the 1990 blockbuster Ghost. John? Ditto. Written by Bruce Joel Rubin and directed by Jerry Zucker, Ghost set the template for the modern romantic drama. It was Twilight before Twilight, Titanic before Titanic. It won hearts, weekends and Oscars, including best screenplay.
John and Craig take a look at four new entries in the Three Page Challenge, ranging from galactic drama to medieval comedy. Along the way, they talk about the nature of one-hour teasers, trust, plausibility, and how to properly address religious authorities.
John and Craig talk structure and escalation. Structure is simply what happens when. Escalation is how things get tougher.
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.
John and Craig discuss why most characters are liars, and how that’s actually a good thing. John offers seven suggestions for picking character names that will help your readers. Then we look at a three page challenge that’s been filmed to see what worked on the page versus on screen.
Writer-Director David Wain joins John and Craig to talk about the long journey to bring They Came Together to the screen (on June 27th), the changing nature of spoofs, and the seminal summer camp film Wet Hot American Summer.
Screenwriter Kelly Marcel joins John and Craig to play Fiasco, resulting in a tale of art, murder and sexual blackmail in the Hollywood Hills.
Any time you refer to a place — be it “the supermarket,” “school,” or “Boston” — you create a natural expectation that we will visit that place at some point in the story.
Michael Arndt explains some of the things he learned while working on the screenplay for Toy Story 3.
John and Craig pay their respects to Harold Ramis with an episode devoted entirely to Groundhog Day.