Aline Brosh McKenna joins John and Craig for a conversation about what writers mean by a “voice,” and how it develops.
Robert Jackson Bennett looks at the benefits and drawback of writing fiction in the present tense.
John and Craig talk about everything that comes after the oft-discussed First Three Pages, speculating on the kinds of issues they’d spot if they were looking at full scripts.
Craig and John ret-con the Austin Film Festival, placing themselves on panels in which they didn’t participate. It’s a chance to give the answers they would have given without the bother of moderators (and other people’s opinions).
John and Craig are all action this week, looking at how screenwriters write those things characters do in a movie.
Craig and John celebrate one year of the podcast by going H.A.M. on the passive voice, the present progressive and reductive nonsense rules.
John and Craig answer four listener questions, on topics ranging from scene headers to ticket sales. And which is better for an aspiring screenwriter: a low-level job at a major agency, or a steady 9-to-5 job that allows time to write?
I quite like Colson Whitehead’s tongue-and-cheek writing advice.
This week’s episode finds Craig and John answering questions about agent etiquette, business cards and those troubling rewrites that unravel everything.
Ongoing TV shows often develop their own esoteric writing styles, which you notice in scene description.
For work this afternoon, I needed to read a screenplay written in the early 1970s. I think it’s the earliest-dated script I’ve read that wasn’t reprinted in a book.
Comparing Archer’s actual script to my transcript-y approximation shows a little bit more about how Adam Reed’s show works.
Archer does a strange thing I haven’t seen in many shows: the final line of a scene often serves as the first line of the next scene.
A new browser extension points out an interesting and esoteric problem in English: “her” functions as both an objective pronounce and a possessive one.
Pronunciation jokes have a tendency to feel cheap and hoary. But when they work, they work — and it’s easy enough to show them on the page.
In a screenplay, you’re not going to write every punch. Rather, you need to get specific about what makes this fight unique to this moment and this movie.
The Tiny Protagonist has a good interview with Javier Grillo-Marxuach (a writer/producer on LOST and many other shows), talking about how he got started and the craft of television.
If you’re staying in one location — or a series of similar locations — you don’t need individual sluglines.
College was the first time I started writing how I speak. Or, more accurately, college was when I stopped trying to write the way I thought I should write.
As a screenwriter, with no aspirations of getting behind the camera, how hard is it, or would it be to sell a spec script, that could possibly be a 100-110 min movie, but only a 65-70 page script? Understanding that execution is key, is it even possible to get your screenplay looked at, with it being so short?
I’m reading more network pilot scripts this year than in years past, so I can’t say whether this is a new trend or just something I was unaware of: What’s with all the swearing?
Movie characters hang up the phone earlier than actual people would.
You have several choices for situations in which one character interrupts another.
Eric Heisserer offers a good example of why you need to make sure to read dialogue aloud.
A helpful tutorial on apostrophes.