In their first-ever live streaming episode, John and Craig open the mailbag to answer a bunch of listener questions.
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.
I’ve reformatted my 2007 post on How to Write a Scene into something you can print or pass out to a class.
Craig and John play marriage counsellor between writers and their scripts, looking at both the first spark of attraction and how to rekindle the flame when the fire has gone out.
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.
In an interview with Billboard, producer Patrick Leonard talks about writing “Like a Prayer” with Madonna. Their process is a great example of actually making things.
John and Craig talk with WGA President Chris Keyser about the tentative deal reached between writers and the studios, and why it’s more groundbreaking than it might appear at first glance.
Michael Arndt explains some of the things he learned while working on the screenplay for Toy Story 3.
RJ Andrews turned Currey’s data on creative work hours into infographics, because that’s what we do in 2014.
For a writer, being jerked out of the process by a ringing phone or car alarm or a question from a well-meaning spouse can be devastating.
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.
‘Twas the Holiday Scriptnotes and at our behest, Craig and John were joined by our six favorite guests.
Writer/director/actor/comedian Mike Birbiglia joins John and Craig to talk about writing for yourself, and how his one-man shows have translated into his films Sleepwalk With Me and My Girlfriend’s Boyfriend. We talk movies and television, stand-up and screenplays, and the upside of failure.
Aline Brosh McKenna joins John and Craig to discuss watching movies with an open mind and why it’s important to befriend other writers.
Craig and John head to the Austin Film Festival for another live edition of Scriptnotes. Everything is bigger in Texas, including the crowd for this packed show featuring Looper writer/director Rian Johnson and Saving Mr. Banks screenwriter Kelly Marcel.
Guinevere Turner doesn’t want to talk to you, not when she’s writing.
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.
John and Craig sit down with screenwriter-turned-psychotherapist Dennis Palumbo to discuss writer’s block, procrastination, partnerships and more. It’s a can’t-miss episode for aspiring writers and professionals alike.
Joss Whedon’s productivity advice is to figure out what you actually need to do, then do the most fun stuff first.
Chuck Wendig offers ten writing tricks, including an old standby that shouldn’t be forgotten.
John and Craig discuss the odd dislocation writers experience when writing movies in coffeeshops and windowless offices. We’re literally “someplace else” with our characters, but learning how to work in less-than-ideal circumstances is part of the screenwriter’s trade.
Writer Derek Haas (Wanted, 3:10 to Yuma) joins John and Craig to discuss gay slurs, refrigerator logic and his TV show, Chicago Fire.
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.
I quite like Colson Whitehead’s tongue-and-cheek writing advice.