Have first acts gotten shorter, or does it just feel that way? John and Craig discuss the pressure on screenwriters to “get to it” faster, and why that’s often the wrong goal.
Craig and John spend an entire episode discussing and dissecting 1989’s THE LITTLE MERMAID, looking at both its structure and scene work.
It’s a week of pondering other people’s opinions. First, Craig and John take a look at the Bechdel Test: is it a useful metric for screenwriters, or just meaningless checkbox-ticking?
Craig and John discuss the big Veronica Mars/Kickstarter news in one of the more contentious podcasts to date. If you like umbrage, this is the show for you.
Craig and John take a look at an old post that found new life this week when it got picked up on Twitter and Reddit. We go beyond the bullet points to look at the process of writing a scene, from asking the basic questions to getting the words on the page.
John and Craig give heroes the week off and talk bad guys. Not every movie needs a villain, but if you have one, he better be good.
The hyenas from The Lion King are hungry, yo.
Craig and John spend the entire episode discussing and dissecting RAIDERS OF THE LOST ARK, looking at both its structure and scene work.
John and Craig discuss Frankenweenie and Superhero! before cracking open the mailbox to answer listener questions.
Emma Coats’s list of 22 story rules moves from useful to delightful when illustrated with Lego.
Chuck Wendig has 25 things you should know about antagonists.
It’s two parts craft and one part business as Craig and John discuss the alarming earnings report coming out of the WGA, plus a deeper look at setting and POV.
John and Craig look at how to write satisfying third acts. That doesn’t necessarily mean a happy ending, but rather one that feels earned.
Craig and John take a look at the difference between plot and story with some help from the Littlest Pet Shop and Game of Thrones.
Craig and John discuss the screenwriter’s role in casting, then segue to the New York Times profile of producer/executive Lindsay Doran’s approach to story.
All movies exist in unreal time, not because of cuts and gimmickry, but because the experience of watching a movie involves surrendering to that film’s reality. We go into dream mode, especially when watching something on a giant screen in a dark theater.
So, hey, you’re pregnant. And it’s not welcome news, because you’re in college and hope to go to medical school. But before you marry scruffy-cute ukelele guy, maybe think about adoption.
Roger Kamien’s description of the sonata form, a building block of the classical symphony, will seem familiar to screenwriters.
Most stories end one of two ways: resolution or logical exhaustion.
Nick’s heard from the experts is that you need character arcs and all that jazz but he just doesn’t see that in Ferris Bueller’s Day Off.
Is there a unspecified limit as to how much face time a main character gets on screen?
Figuring out what the audience needs to know — and when they need to know it — is one of the trickiest aspects of screenwriting.
Ostracism is a handy motivation for both heroes and villains.
If you’re making a movie on a limited budget, it may put real constraints on your locations, schedule and cast size. But that frugality doesn’t need to limit your story. Story is free.
The protagonist is the character that suffers the most.