John and Craig consider a new master class in screenwriting taught by Aaron Sorkin, and a very old Greek word (anagnorisis) championed by Aristotle. Both are useful!
There’s not much to learn from “we have to stop the evil genius before he blows up the world.” But drama, both in the real world and in fiction, comes from interaction with characters who are theoretically on our side.
Jonathan Groff — the Black-ish writer/producer, not the actor — joins John and Craig to explain the new vocabulary of television and why companies are all about ownership.
It’s a craft episode, with Craig and John discussing allies and allegiances in film and television. Enemies are easy; friends are difficult. We talk through the types relationships characters find themselves in, and strategies for making the most of them.
Remember the live show in Austin, when we promised we’d read one lucky listener’s script and talk about it on the air? This is that episode.
John and Craig sit down with screenwriting legend Lawrence Kasdan to discuss Star Wars, Raiders, The Bodyguard and how he’s shaped some of the most iconic big-screen stories and characters of our lifetime.
John and Craig welcome writer-director Lorene Scafaria to talk about her new movie The Meddler and some of the unique challenges faced by female directors.
John and Craig look at the non-screenplay things screenwriters end up writing, most notably outlines and treatments. We discuss some of the ones we’ve written (with examples), and offer advice on writing your own.
With John and Craig both on spring break, it’s a clip show this week. We discuss why movie heroes are rarely ambivalent, why villains are so appealing, and why movies with two primary characters require careful attention.
In an episode consisting entirely of answers to listener questions, John and Craig discuss David Mamet, internet trolls, post-credit scenes and English actors attempting American accents. Plus, who would win in an all-out brawl to the death? The answer will probably not surprise you. Links: David Mamet’s memo to writers of The Unit Craig’s Twitter […]
Michael Tabb takes a deep look at defining the premise of your story, but “premise” might not be the best word for what he’s describing.
Craig and John play “How Would This Be a Movie?” looking at three articles in the news.
Craig and John discuss the impact of Star Wars knocking down all the records, both for the industry and big-screen sci-fi.
With Craig out of town, John invites Aline Brosh McKenna and Rawson Marshall Thurber over to discuss three of the best-picture contenders and their unusual scripts. None of them have classic protagonist-antagonist setups, and all three upend expectations of narrative structure. We talk about both how they work and why they work.
In preparation for our live show with screenwriter Lawrence Kasdan, we’re re-running this episode from the Scriptnotes archive.
Craig and John discuss epic world-building, and the promises and pitfalls for writers attempting to create fictional universes.
John and Craig talk romantic comedies with screenwriter Tess Morris, whose film Man Up is unapologetically part of the genre.
The Martian is marketed as a story of survival and ingenuity, but on a screenwriting level it’s a series of carefully-structured hopes denied.
John and Craig look at how writing feature films is fundamentally different than writing television, and how that difference begins at the point of story inception. It’s not just that movies are longer; they’re also built to be unique events, with characters embarking on once-in-a-lifetime journeys. We discuss how to decide whether an idea is better suited for features or series, and lessons learned from properties that have existed in both worlds.
In addition to today’s normal Scriptnotes episode, premium subscribers can find a half-hour interview I did with Black Mass screenwriter Mark Mallouk. We discuss the film’s long journey from book to screen, including how the sudden reappearance of Whitey Bulger in 2011 changed both the script and the production.
John and Craig discuss the PG-13 rating, its effects and what screenwriters have to keep in mind when dealing with it. Then it’s a conversation about healthy and unhealthy relationships between writers and their representatives.
Craig and John tackle another installment of “How would this be a movie?” with a look at the Kentucky clerk, the French train bros, Uber and Deflategate. Who are the heroes and villains, and would there be enough plot to support the running time?
John and Craig sit down with Marielle Heller, the writer and director of the acclaimed feature Diary of a Teenage Girl, to talk about the journey of getting her movie made, from optioning the novel to the Sundance Labs through production.
John and Craig discuss why movie heroes — unlike those in novels or musicals — generally don’t profess internally conflicting views. In reality, our feelings on a topic are likely shades of gray. On the big screen, characters tend to articulate a single point firmly.
In most stories built around a heroic quest, the big confrontation comes at the end. But moving it earlier can pay off.