The New Yorker has a terrific piece about screenwriter-director Tony Gilroy.
On storytelling in games.
David Mamet argues that even high-minded goals like social commentary ultimately become Cameron Diaz’s swirling ass — attractive distractions that ultimately lessen a movie. And he’s got a point.
A useful visual reference for that adventure tale you can’t work out.
Killing backstories, writing out lyrics and why you will always want to be writing something else (amongst other topics), explored.
Dedicate one day a week to disassembling good movies.
A short film, like a short story, can’t waste any time. Here’s what to include, and what to leave out.
How to outline and structure a non-linear story.
In all likelihood, it’s not — you just think it is.
The vast majority of memoirs are written by vain, delusional nutjobs, so there’s no reason you shouldn’t be entitled to your six-figure advance.
Videogame-makers need to stop trying to ape Hollywood blockbusters, and instead focus on creating playable stories. A link to an article detailing the differences between the storytelling needs and styles.
Mostly the main character is all three. But the terms apply to separate functions in the story.
Predictability in structure does not necessarily doom the story to boredom or sameness.
An “idea” is essentially unprotectable. What is protectable is the execution: the plot, the characters and all of the details.
A question of fair use in the treatment of tragic events.
Why do movies suck?
Paramount has just bought a project that sounds horribly similar to yours? Remember that there’s a vast chasm in scriptland between being bought and being made.
Be happy you also thought of a great, marketable idea and move on.
Taking the “character driven story” idea too literally can derail your story.
Theme defined. Its function explored.
Hollywood is making a lot of bad movies, but Hollywood has always made bad movies.
Matching the right name to the character while keeping them distinct from one another.