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.
John and Craig open the 36th Scriptnotes with a brief discussion about contracts, and then face writer’s block head on.
This week in the podcast, Craig and I follow up on our earlier comment about kids being the death of screenwriters, then dive into the process of outlining a script, from index cards to whiteboards to spreadsheets. Along the way, we discuss Curious George, Torchwood and V.
Michael Agger looks at scientific studies on writing to find reasons why it’s so damn hard, and slow.
Bruce Sterling publishes a list of Lovecraft’s undeveloped story ideas.
A reader asks whether it’s wrong to skip the outline stage. It’s not.
A reader asks: How you read scripts these days? Do you print, or read it on a device?
Your hands shouldn’t hurt after writing. If they do, you need to check your ergonomics and habits.
You’ll notice big changes if you read the earliest drafts. But the later ones give you a better sense of how words on the page translate to the screen.
When approaching a big rewrite, should you start from the existing script or a blank page?
Before you start writing any screenplay, make a playlist of music that feels like the movie. It’s a fundamental part of my process.
If you’re having a hard time finding a character’s voice, get him talking about something unrelated to the scene at hand.
“Theme” is a word screenwriters use without defining it clearly, but here’s a good way to think about it.
One of the joys of screenwriting is putting childhood terrors into words. But nihilism is not a crowd-pleaser.
In defense of fake tears and the emotional work screenwriters do.