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.
A reader’s understanding of a given moment is hugely dependent on what you’ve already established. That’s why the first few pages of a script are so important: you’re teaching the reader how to read your script, and what’s important.
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.
Today’s one awesome thing comes from the Internet Archive: Herbert Case Hoagland’s 1912 book How to Write a Photoplay: To write a photoplay requires no skill as a writer, but it does require a “constructionist.” It requires the ability to grasp an idea and graft (please use in the botanical sense) a series of causes […]
It can be strangely satisfying to surrender your ego and imagine yourself as a wholly different writer.
Nothing is cut-and-dried this week. John and Craig talk Game of Thrones rape, allegations against director Bryan Singer and the new report showing the same low employment numbers for female writers in film and TV.
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.
John and Craig visit Ben Blacker’s Nerdist Writers Panel for a special crossover episode, recorded in front of a live audience on April 13, 2014.
Craig delights as John gets @-napped in a Twitter thread about copyright infringement. Then they talk disruption in television, and how it affects writers.
John and Craig talk Lab Rats, multi-cam, and what scenes might mean in their imaginary screenplay format. Craig clarifies what “spec writing” is, and when it’s permitted, both legally and ethically.
John and Craig discuss how you create a fictional universe for your story, and the limits of how much can fit on the page. From location to language to wardrobe, choosing which details to make explicit is a crucial early decision. Too little detail and the reader doesn’t know how your story is special; too much detail and the story gets lost.
David Shariatmadari looks at several of the reasons English has shifted, both in spelling and pronunciation.
John has questions about the questions Craig answered on his Reddit AMA, but that’s just the tip of the iceberg as we answer six great listener questions.
John and Craig look at the implicit contract made between screenwriters and readers — and ultimately, movies and their audience. That’s a natural introduction to our Three Page Challenge and the three new entries we look at this week.
Craig and John get in your head to talk procrastination, pageorexia and generalized anxiety. They also move beyond the psychopathology to discuss all the changes in the industry, from cable mergers to lawsuits to disruptive technologies. You’re not as paranoid as you think you are.
John and Craig tackle the greatest controversy in screenwriting: how many spaces to put after the period. From there, it’s follow-up on the Final Draft episode, including some behind-the-scene details.
Using a scene from my 2003 pilot “Alaska,” I thought it would be interesting to compare the written scene to what it looked like in the final version.
John and Craig take an extended look at how sound works in movies, and how screenwriters can take advantage of it on the page.
Craig and John go back to basics with an all advice episode, looking at the Dear J.J. recommendations for Star Wars, Tony Gilroy’s advice to screenwriters and whatever’s up with Max Landis.
A listener makes the case that modern screenwriting style has changed how scenes themselves work.
John and Craig discuss the impact of author Orson Scott Card’s personal toxicity on Ender’s Game, and what it means for that movie and how it will this affect studio decisions moving forward.
John and Craig discuss Damon Lindelof’s interview about how plot stakes have escalated lockstep with budget, perhaps to the point of absurdity.
In this special bonus episode, John and Craig answer listener questions from the 100th episode with help from guests Rawson Thurber and Aline Brosh McKenna.
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.
John Hess gives a terrific overview of the history of the screenplay format, and how changes in the film industry changed how the words are arranged on the page.