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John and Craig compare mystery and confusion, and how you can have more of the former with less of the latter. We use these lessons as we look at at three new entries in the Three Page Challenge.

John and Craig come to the defense of montages in screenwriting, giving examples of how and when the much-maligned device can be employed to benefit the story.

John and Craig reprise their roles as development execs in “How Would This Be a Movie?” Looking at four true crime stories, the duo discuss what makes a great screenplay idea, and conversely, which stories work better as a serialized TV drama.

John and Craig dive into Netflix’s Stranger Things, investigating what made the show such a hit with fans and critics.

John and Craig discuss obstacles, those things your characters hate but desperately need.

Craig and John speak with agent Peter Dodd about what he looks for in a writer client, and how he sees the relationships between writers and agents and managers and executives.

John and Craig introduce “The 100 Most Frequently Asked Questions about Screenwriting,” a curation of questions from screenwriting.io.

John and Craig apply the principles of Marie Kondo’s “The Life-Changing Magic of Tidying Up” to screenwriting. How can screenwriters learn to let go of beloved scenes, characters, and entire scripts?

Craig and guest host Mike Birbiglia discuss Mike’s new film, Don’t Think Twice, a comedy about life as an improv performer. The two explore the current state of independent film and the challenges facing aspiring filmmakers.

John and Craig implore screenwriters to think twice before using the phrase “begs the question.” We know it’s a losing battle, but if we learned anything from 300, sometimes those are still worth having.

Matt Selman (EP of The Simpsons) sits down with Scriptnotes favorites Aline Brosh McKenna and Rawson Marshall Thurber to discuss what went down in the season finale.

In the season finale of Scriptnotes, John and Craig reveal big changes to the podcast.

John and Craig take a look at three new entries in the Three Page Challenge, with scripts tackling kidnapping, dystopia and parkour hackers. We look at both how the writing works on the page, and what the writers seem to be trying to say.

Craig and John look at unforgettable villains, screenwriter billions, and a parallel world with two Nathan Fillions. (The last part is not true.)

John and Craig consider a new master class in screenwriting taught by Aaron Sorkin, and a very old Greek word (anagnorisis) championed by Aristotle. Both are useful!

With credits ranging from Captain Phillips to The Hunger Games, plus several stints in WGA contract negotiations, Billy Ray knows as much as any screenwriter about the realities of working writers and the turmoil in the industry. He joins us to talk about his new Amazon pilot, The Last Tycoon, which charts the behind-the-scenes drama at a 1930s Hollywood studio.

John and Craig welcome Kate McLennan and Kate McCartney, the Australian creator/stars of The Katering Show (a previous One Cool Thing).

Jonathan Groff — the Black-ish writer/producer, not the actor — joins John and Craig to explain the new vocabulary of television and why companies are all about ownership.

It’s a craft episode, with Craig and John discussing allies and allegiances in film and television. Enemies are easy; friends are difficult. We talk through the types relationships characters find themselves in, and strategies for making the most of them.

John and Craig look at how the push to increase diversity in TV writing rooms impacts writers looking to staff for the first time.

Remember the live show in Austin, when we promised we’d read one lucky listener’s script and talk about it on the air? This is that episode.

John talks with Rachel Bloom and Aline Brosh McKenna, co-creators of Crazy Ex-Girlfriend, about how they pitched and wrote their critically-acclaimed show.

John and Craig discuss open writing assignments, and how to best pitch to producers and studios looking to hire a writer for a specific property. Most of the work happens before you set foot in the room, so proper planning is essential.

John and Craig sit down with screenwriting legend Lawrence Kasdan to discuss Star Wars, Raiders, The Bodyguard and how he’s shaped some of the most iconic big-screen stories and characters of our lifetime.

John and Craig welcome writer-director Lorene Scafaria to talk about her new movie The Meddler and some of the unique challenges faced by female directors.

John and Craig look at the non-screenplay things screenwriters end up writing, most notably outlines and treatments. We discuss some of the ones we’ve written (with examples), and offer advice on writing your own.

Phil Hay and Matt Manfredi join us to talk about their new movie The Invitation, and what’s it’s like to go from writing tentpole action films (like Clash of the Titans) to comedies (like Ride Along) to chamber-drama thrillers.

With John and Craig both on spring break, it’s a clip show this week. We discuss why movie heroes are rarely ambivalent, why villains are so appealing, and why movies with two primary characters require careful attention.

Craig and John welcome back Aline Brosh McKenna to discuss what she learned going from writing features to show-running Crazy Ex-Girlfriend — and what’s waiting for her back in movie-land. The three of us came into the business at the height of the spec market, but everything is different now.

Craig and John look at three stories in the news for another installment of “How Would This Be a Movie?” From fake scientists to figure skaters, we pitch our takes before some actor’s production company buys the rights. Speaking of rights, a new lawsuit targets the makers of Creed for stealing the idea. The case […]

In an episode consisting entirely of answers to listener questions, John and Craig discuss David Mamet, internet trolls, post-credit scenes and English actors attempting American accents. Plus, who would win in an all-out brawl to the death? The answer will probably not surprise you. Links: David Mamet’s memo to writers of The Unit Craig’s Twitter […]

It’s an all-craft episode as John and Craig discuss what they mean when they say good writing. Quality isn’t an objective measurement but rather a subjective experience. It’s the relationship between the reader and writer. From vulnerability to voice, consistency to surprise, good writing shares many characteristics with good acting. We then look at three […]

Dana Fox joins John and Craig to discuss her role as both screenwriter and producer of How to Be Single. Like Simon Kinberg and Chris Morgan, Dana is one of a handful of feature writers taking responsibility for delivering not just the script, but the finished movie. We look at how and why she made […]

John and Craig look at how to introduce characters in a screenplay — and how to avoid being mocked by a Twitter feed for it. We go back through previous Three Page Challenges and several of the screenplays nominated for awards this year to examine trends and techniques.

John and Craig examine why almost all of the top-grossing movies are part of a franchise — and the chicken-or-egg question at the heart of it. You don’t get Minions without Despicable Me.

With a live audience in downtown Los Angeles, Craig and John welcome actor/director Jason Bateman to discuss what he looks for when considering a script, and how to best work with a writer on a script.

Where do screenplays go when they die? John and Craig take a look at their movies that never were, looking for patterns among dozens of their unproduced works. What can screenwriters learn from the dead, and is it ever worth trying to resurrect these flatliners?

Craig and John play “How Would This Be a Movie?” looking at three articles in the news.

Craig and John discuss the impact of Star Wars knocking down all the records, both for the industry and big-screen sci-fi.

With Craig out of town, John invites Aline Brosh McKenna and Rawson Marshall Thurber over to discuss three of the best-picture contenders and their unusual scripts. None of them have classic protagonist-antagonist setups, and all three upend expectations of narrative structure. We talk about both how they work and why they work.

In preparation for our live show with screenwriter Lawrence Kasdan, we’re re-running this episode from the Scriptnotes archive.

Doc McStuffins creator Chris Nee joins Craig and John to answer listener questions that have nothing to do with screenwriting.

John and Craig welcome special guests Malcolm Spellman, Natasha Leggero, Riki Lindhome and Alan Yang to the third annual Scriptnotes Holiday show, recorded live on December 9th, 2015 in Hollywood.

Craig and John discuss three new entries in the Three Page Challenge, looking at how simple mistakes and confusing word choices can hurt the read.

Craig and John discuss epic world-building, and the promises and pitfalls for writers attempting to create fictional universes.

John and Craig talk romantic comedies with screenwriter Tess Morris, whose film Man Up is unapologetically part of the genre.

John and Craig take an in-depth look at two scenes in Damien Chazelle’s WHIPLASH to see how conflicts were structured — and what changed from script to shooting.

John and Craig look at some of the least helpful notes screenwriters receive, and strategies for dealing with them.

Craig and John return to the Austin Film Festival for a supersize live show with guests Nicole Perlman and Steve Zissis.

Craig and John get to the bottom of William Goldman’s famous quotation about Hollywood, which is so often misapplied. Then it’s a discussion of zombie cars, wind-tunnels, blockbusters, and the paradox of choice.

John and Craig discuss the trend of hiring multiple writers to work concurrently on tentpole features. Can movies be written like television, and should they?

Aline Brosh McKenna joins us to talk through the launch of Crazy Ex-Girlfriend, and what she’s learned since she introduced us to the show nearly a year ago. Brian Lowry of Variety raves that it is “one of the fall’s most promising hours.” We’re not surprised at all.

John and Craig look at how writing feature films is fundamentally different than writing television, and how that difference begins at the point of story inception. It’s not just that movies are longer; they’re also built to be unique events, with characters embarking on once-in-a-lifetime journeys. We discuss how to decide whether an idea is better suited for features or series, and lessons learned from properties that have existed in both worlds.

John and Craig discuss the WGA election results, and take a look at the issues that dominated the campaigns. What is a paper team? Do screenwriters really retire? And why does it take us so long to get paid?

Craig and John take an extensive look at best practices when coming in to rewrite an existing script. How do you take the reins when you weren’t the first screenwriter? Whether you’re starting over at page one or executing some surgical fixes, we discuss the psychology and reality of being the subsequent writer.

John and Craig discuss the PG-13 rating, its effects and what screenwriters have to keep in mind when dealing with it. Then it’s a conversation about healthy and unhealthy relationships between writers and their representatives.

Craig and John tackle another installment of “How would this be a movie?” with a look at the Kentucky clerk, the French train bros, Uber and Deflategate. Who are the heroes and villains, and would there be enough plot to support the running time?

Craig and John open the mailbag to answer questions on acronyms in dialogue, off-the-air specs and international WGA jurisdiction. Plus we look at the growing trend of non-disclosure agreements on studio projects, and whether the nature of film requires less complex characters.

John and Craig sit down with Marielle Heller, the writer and director of the acclaimed feature Diary of a Teenage Girl, to talk about the journey of getting her movie made, from optioning the novel to the Sundance Labs through production.

Craig and John look at how movies are translated, including an interview with a guy who does subtitles for a living. Plus, how Pixar and other companies are localizing movies for international audiences, and what happens when China becomes the largest film market.

John and Craig discuss why movie heroes — unlike those in novels or musicals — generally don’t profess internally conflicting views. In reality, our feelings on a topic are likely shades of gray. On the big screen, characters tend to articulate a single point firmly.

Craig and John look at best practices for screenwriters promoting their films, both in traditional media and online. We’re not subtweeting anyone, and neither should you.

John and Craig take a deep look at how descriptive audio for the blind works, with clips from Daredevil and an interview with a woman who does it for a living. It’s a fascinating form of writing, with many of the same challenges screenwriters face.

Reshoots used to be a sign that something had gone horribly wrong. But not anymore. John and Craig look at the reasons why Hollywood movies often go back for additional photography, and how the writer is involved.

John and Craig take a deep dive into scene description, looking at how seven produced screenplays arranged the words on the page. With samples from Aliens, Erin Brockovich, Oceans 11, Unforgiven, Wall-E, Wanted and Whip It, we tackle verbs and metaphors, ellipses and underlining.

Craig sits down with Silicon Valley writer/director Alec Berg to talk about set ups and payoffs, editing comedy and how writing teams get screwed.

Craig and John look at why certain genres of movies — mid-budget thrillers, adult dramas and romantic comedies — aren’t getting made, and whether there’s any way to get them back.

John and Craig take an in-depth look at turnaround and reversion, and how screenwriters get their scripts back from a studio.

From Wolverine to The Rock, male action heroes have literally gotten bigger over the last decade. Craig and John look at how that impacts story. Is there hope for the the ordinary man in an extraordinary situation? Will we ever get back to Kurt and Keanu?

John and Craig look at three current news stories from a screenwriter’s perspective, discussing how each lends itself to becoming a movie.

Craig, John, and Aline record the 200th episode of Scriptnotes live with a worldwide audience listening in — and chiming in — as they discuss TV showrunning and whether quality really counts at the box office.

Craig and John discuss finding your way back to your story — and your enthusiasm — when writing your second draft. Craig has tips and suggestions. John has sympathy and war stories.

This week, we time-travel back to our first centennial, a live show in Hollywood with special guests Aline Brosh McKenna and Rawson Thurber. We discuss the rise of the “writer-plus,” the importance of early mentors, and the emails that outline the very origin of Scriptnotes.

Craig and John tackle a single topic: bad movies and how they happen. Having experienced the process first-hand, they report on how bad ideas make it to the screen, and how good ideas go wrong. There’s no single answer, but a range of patterns that end in terrible movies.

John and Craig dig into the listener mailbag and take questions on TV producer credits, jealousy over other writers’ success, writing tight vs writing long and plenty of other follow up.

Canadian screenwriter Ryan Knighton joins John and Craig to discuss how you sustain a career writing for Hollywood studios while living a flight away. Knighton’s first screenplay was the adaptation of his memoir about going blind. He’s since written for several studios, including a new project for Ridley Scott.

This week, Craig and John discuss recent events that seem custom-designed to make Craig furious.

Craig and John do a deep-dive into the world of screenwriting credits, explaining the entire process from the Notice of Tentative Writing Credits, to arbitration to review boards. The system can be confusing, but most produced screenwriters will find themselves facing it at some point, so it’s important to understand how it works.

Craig and John discuss backup plans, camera directions, and becoming so good they can’t ignore you. Plus we answer two listener questions about specificity in scene headers and how to indicate that a script is intended for animation.

Craig and John talk with the owner of Scripped.com to investigate what happened when the online screenwriting site suddenly went down this week, erasing four years of screenwriters’ work. When things went south, why did he try to distance himself from the debacle, and what comes next? It’s a candid discussion — but far less uncomfortable than the Final Draft episode.

For the first time ever, John and Craig spend an entire episode on a full-length original screenplay, K.C. Scott’s THIS IS WORKING.

John and Craig dig into the overstuffed mail bag to answer listener questions about scenes, stagnation, subtitles and script breakdowns. Plus we reveal the consensus opinions on whether we should have ads, and look at possibilities for the Full Script Challenge.

Craig and John wrap up many plotlines from previous episodes, with follow-up on Three Page Challenges, diversity numbers, Road Runner and other rules, plus the Gravity lawsuit in light of the Blurred Lines verdict.

John and Craig take a look at the self-imposed rules behind the Road Runner cartoons, and how limiting one’s choices is different than following dogma.

John and Craig discuss this year’s screenplay Oscar winners, including the success of Birdman’s outside-the-box approach and Graham Moore’s speech.

Screenwriter Malcolm Spellman joins Craig and John to talk about his big break, blown opportunities, and getting momentum back. Now part of the smash hit Empire, he talks about the changes and challenges African-American writers face both on the small screen and the big screen.

From Harper Lee to Sony to the Wheel of Time, it was a big week for studios trying to hold onto intellectual property. John and Craig discuss why those deals take such strange turns, including 1:30 a.m. airings on cable.

John and Craig do a deep dive on Tess Gerritsen’s lawsuit concerning Gravity, using the case as a way to talk about contracts, chain of title, adaptation and corporate ownership. Spoiler: It’s really complicated, but it’s really interesting too.

John and Craig discuss exploding scripts and stock scenes. Then in the second half of the show, we welcome two very special guests.

John and Craig pick up loose ends, with follow-up on previous episodes about “friends,” conflict, improv, Kindles, and defibrillation.

Aline Brosh McKenna joins John and Craig to discuss the how movies featuring good mentors (Dead Poet’s Society, To Sir with Love) differ from films with bad mentors (Whiplash, The Devil Wears Prada). It’s not just that the teachers are bad guys; rather, the stories are structured completely differently.

Craig and John discuss conflict — why it’s bad in real life but essential in screenwriting. We define six forms of conflict common in movies, then look at ways to sustain conflict within a scene and throughout a story.

John and Craig start the new year by discussing Chuck Palahniuk’s advice to avoid thinking verbs. Then it’s a new round of the Three Page Challenge.

It’s a clip show! John and Craig discuss cutting pages from your script, fixing plot holes, and what we’d do if we ran a studio. We’ll be back with all new episodes in 2015, the year of post-outrage rationality.

John and Craig offer advice to a director taking the plunge, with guidance on both getting the work done and getting the performances you want. From there, we segue into a discussion of the Perfect Director, the next installment of our Perfect series.

Craig and John welcome special guests Aline Brosh McKenna, Rachel Bloom, B.J. Novak, Jane Espenson and Derek Haas to talk about writing books, movies and especially television.

John and Craig talk about where to start a story — how far back should you go? The decision about whether to meet the hero as a child, in their normal rut, or mid-crisis fundamentally changes the narrative, so it’s worth exploring fully.

Craig and John discuss the qualities of the perfect reader, whether it’s a studio professional or your screenwriting buddy. What should a reader look for, and how should she communicate her thoughts?

John and Craig talk about why writers are often reluctant to show their work, and how film journalists love to focus on the director — even when there’s no director in sight.

What are the odds that fivethirtyeight.com’s statistical analysis of screenplays will make Craig angry? Always bet on umbrage. Fortunately, he just finished a script, so we talk about that, and John’s new gig writing Scary Stories to Tell in the Dark (which was the project he described phone-pitching the past few episodes).

John and Craig look at the nature of fluke hits, everything from #alexfromtarget to huge spec sales. Is luck just luck, or is it about how often you play the game? Where does talent fit in?

Craig and John shake off their Halloween candy hangovers by taking a look at three new Three Page Challenges, full of post-apocalyptic portals and strange signals.

John and guest host Susannah Grant sit down with Richard Kelly, Cary Fukunaga, Peter Gould, Dan Sterling and Mike Birbiglia to discuss the role of a writer/director, the wonder of television, and the purpose of table reads.

Craig and John discuss the 31 superhero movies slated for the next few years. Is it good business or a trainwreck in the making?

John and Craig were delighted to join the Slate Culture Gabfest on stage to talk about the gulf between critics and creators. We have the audio from that, and additional thoughts on the issue.

Craig and John discuss that delusional period in which you’re convinced your script is the best thing ever written — and the inevitable heartbreak when someone tells you it isn’t. (TPS is close cousins to the Oscar Speech in the Shower.)

Craig and John talk with Guardians co-writer Nicole Perlman about the development of this summer’s blockbuster, and her two years as part of Marvel’s in-house writing program. It’s a great look at how movies get started, and the dozens of drafts you didn’t see on the big screen.

Craig loves the 1990 blockbuster Ghost. John? Ditto. Written by Bruce Joel Rubin and directed by Jerry Zucker, Ghost set the template for the modern romantic drama. It was Twilight before Twilight, Titanic before Titanic. It won hearts, weekends and Oscars, including best screenplay.

This week, Craig and John tackle listener questions.

To celebrate the third anniversary of Scriptnotes, John and Craig invite Aline Brosh McKenna and her limitless analogies back to discuss box-office journalism, scene geography, emotional IQ and flipping the script.

John and Craig spend the hour discussing the number one topic whenever screenwriters are done complaining about studio notes: the end of the world, and how to get ready for it.

John and Craig take a look at four new entries in the Three Page Challenge, ranging from galactic drama to medieval comedy. Along the way, they talk about the nature of one-hour teasers, trust, plausibility, and how to properly address religious authorities.

From Amazon to animation, there’s drama this week about prices for books and movies and even internships. John and Craig take a look at what happens when companies wrestle over how much things cost, and the effect it has on people trying to make a living as writers.

Craig and John discuss the accusations of plagiarism surrounding True Detective — and what plagiarism even means in the context of filmed entertainment. Movies don’t have footnotes, so how should screenwriters give attribution?

John and Craig revisit one of their favorite episodes, in which they 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.

John and Craig look at the trend towards hiring two writers to work on separate drafts of the same project. Is it better to have writers working in parallel than serially? Or does it end up with studios ordering off a Chinese menu: this scene, that character, that other set piece?

John and Craig talk structure and escalation. Structure is simply what happens when. Escalation is how things get tougher.

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.

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.

Craig and John take a swing at several of the week’s hyperbolic headlines, from conflict-free comedy to Fitzgerald’s failures to Strong Female Characters with nothing to do. In each case, there’s a valid idea lurking beneath the overstated claim, but it’s important to separate good examples from bad.

John and Craig open the vault to bring you a never-before-heard episode recorded live at the 2013 Austin Film Festival, where we did a Three Page Challenge and met with the writers.

John and Craig talk about what screenwriters can learn from the structure of classical music, then invite journalist Scott Tobias on to discuss how day-and-date video-on-demand releases make it hard to know how indie films are doing, individually and as a group.

John and Craig discuss whether screenwriters are better off pursing writing assignments or working on their own material. They also look at the visual comedy of Edgar Wright, and The Shawshank Redemption’s 20th anniversary.

Writer-Director David Wain joins John and Craig to talk about the long journey to bring They Came Together to the screen (on June 27th), the changing nature of spoofs, and the seminal summer camp film Wet Hot American Summer.

Craig and John, along with their talented panelists, answer questions from the audience at the May 15, 2014 live show.

John and Craig are joined by the writers of the some of the biggest superhero movies to talk about why these characters resonate. Andrea Berloff looks for the primal essence of Conan. Christopher Markus and Stephen McFeely discuss the challenge of bringing Captain America to a global audience. David Goyer talks about keeping Batman grounded even while Superman flies. Then the whole panel gets busy rebooting randomly-assigned superheroes.

In a wide-ranging episode, Craig and John look at a 1912 screenwriting book, Levinson’s beef with the WGA, and the Periodic Table of Storytelling.

Screenwriter Kelly Marcel joins John and Craig to play Fiasco, resulting in a tale of art, murder and sexual blackmail in the Hollywood Hills.

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.

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.

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.

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.

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 pay their respects to Harold Ramis with an episode devoted entirely to Groundhog Day.

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.

The makers of Final Draft pay us a visit to clear up John and Craig’s misconceptions of, well, everything. It’s double the umbrage for your money.

In the tradition of the Raiders and Little Mermaid episodes, John and guest host Aline Brosh McKenna discuss and dissect the award-winning, record-setting, paradigm-shifting Frozen. But this time, we have the writer on hand to answer our questions.

Carolyn Strauss, executive producer of Game of Thrones, joins John and Craig to discuss female directors and the death of pilot season. In one short hour, they solve all the intractable problems facing the film and television industry. (Not true. Not even remotely.)

John and Craig took a look at Final Draft 9 and the futility of Twitter arguments before launching into three brand-new Three Page Challenges.

It’s a week of big egos as Craig and John take a look at when (or whether) filmmakers will be able to pull a Beyoncé and surprise-release a feature film, and what Mrs. Carter’s tussle with Amazon and Target means for the future of retail DVD.

John, Craig, and guests take questions from the audience at the Scriptnotes Holiday Spectacular. Topics include TV writing careers, what to do once you have an agent, overcoming gender stereotypes, rewriting Dodgeball, and more.

‘Twas the Holiday Scriptnotes and at our behest, Craig and John were joined by our six favorite guests.

John and Craig offer advice for super-rich aspirants about the film and television industry. If you have enough money to do anything, what should you do first? Do you want to make money, or make art? Or do you just want to hang out with famous people? No judgements.

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.

Craig and John talk readers and coverage, centering their discussion on profound_whatever’s infographic charting 300 submissions and the lessons screenwriters can take from it.

Aline Brosh McKenna joins John and Craig to discuss watching movies with an open mind and why it’s important to befriend other writers.

John and Craig wind back the clock with writer-director Richard Kelly to look at the origins of Donnie Darko, and how a recent film-school grad gets a movie made.

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 love women and jeopardy, but folks, we gotta stop kidnapping girlfriends as plot devices. We discuss ways to avoid this trope.

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.

This week, John and Craig go big to look all things blockbuster. First, Anita Elberse’s new book Blockbuster argues that giant movies are a comparatively safe bet for Hollywood. Meanwhile, Gravity is the movie on everyone’s lips, but will we learn the right lessons, or just try to put more movie stars in space?

Explicit language warning! Even the titles of this week’s Three Page Challenge entries are filthy, so John and Craig let the f-bombs fly.

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.

John and Craig discuss what it feels like to finish a project — the combination of excitement and relief, joy and sadness — as Craig advises John which project he should write next now that Big Fish is set to open.

In this bonus episode, Craig and John and special guest Andrew Lippa answer audience questions after the New York live show, addressing topics ranging from sustaining your passion for a project to dealing with difficult gatekeepers. We had a great crowd with great questions, and Craig especially rose to the challenge.

John and Craig welcome their largest live audience yet for a conversation about Kickstarter, movie pilots and musicals. Joined by special guest Andrew Lippa, they talk about the special challenges and opportunities that arise when characters break into song.

John and Craig debate the perils and possibilities of bringing iPads into movie theaters. Is Disney’s Little Mermaid iPad app a way to breathe new life into a classic, or a slippery slope towards cinematic ruin? It’s a conversation with plenty of umbrage — but from an unexpected source.

John and Craig discuss the difference between character intention and motivation, before segueing to conversations on working with actors and on-set writing.

John and Craig reveal their Myers-Briggs secrets as they discuss Kevin Spacey’s comments on the state of television, Eric Garcetti’s plans to address runaway production, and the WGA election.

John and Craig tackle three new entries in the Three Page Challenge, ranging from space drama to killer hookers to brassy defense attorneys. Along the way, they find some awkward scene description and a few misused semi-colons.

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.

Craig and John take a look at one investor’s campaign against Sony Pictures, and George Clooney’s strong reaction. From there, we examine why studios have multiple labels — TriStar is back! — and how that affects writers.

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 are joined by Aline Brosh McKenna and Rawson Thurber for the 100th episode of Scriptnotes, recorded live at the Academy Lab in Hollywood. It was a great night with an amazing audience.

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.

John and Craig discuss the Apple ebook price-fixing lawsuit and its lessons for Hollywood, before segueing to the new credits system for producers. Then: Have movies gotten too long, and would making them shorter really save money?

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.

Live from WGF Craft Day, Craig and John tackle three new Three Page Challenge entries…with the writers on hand!

John and Craig discuss the death of the film industry as foretold by four prominent filmmakers. Is the way we make movies unsustainable? Is the system fundamentally broken, or just changing into something new? And why don’t we make romantic comedies anymore?

John and Craig tackle the bursting mailbag, answering listener questions on topics ranging from the variable length of the TV season to underachieving agents to embarrassing IMDb credits.

John and Craig discuss the polarizing potentate of Deadline Hollywood Daily, then segue into what a healthy entertainment journalism ecosystem might look like.

Craig and John spend an entire episode discussing and dissecting 1989’s THE LITTLE MERMAID, looking at both its structure and scene work.

It’s a week of pondering other people’s opinions. First, Craig and John take a look at the Bechdel Test: is it a useful metric for screenwriters, or just meaningless checkbox-ticking?

As promised, John and Craig answer a bunch of listener questions on everything except screenwriting, on topics ranging from sex to science to sushi.

How you get from one scene to the next can be just as important as the scenes themselves. Craig and John talk techniques and tactics for making those cuts count.

Has a statistician cracked the code on successful screenplay formulas? John and Craig cast a skeptical eye at a New York Times article on Vinny Bruzzese, who claims to have done exactly that.

John and Craig discuss when to stop rewriting a project and accept that it’s just not going to become a movie. Then we go bigger to look at when to give up on the dream of being a screenwriter — which starts with a hard look at why people seek out the career in the first place.

Craig leads the discussion on how to survive a notes meeting. As screenwriters, our instinct is to defend, deny and debate — but these are almost always the wrong choice. By reframing the discussion about the movie rather than the script, you can often end up at a better place.

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.

Craig and John look at two recent court decisions that could have a big impact on how movies get sold and resold — and how writers get paid. First-Sale Doctrine is one of those intractable issues that involves freedom and control, bits and atoms, creators and consumers.

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 is sick and John is in the middle of tech rehearsals, but nothing will stop them from discussing another batch of Three Page Challenges.

Craig and John discuss the big Veronica Mars/Kickstarter news in one of the more contentious podcasts to date. If you like umbrage, this is the show for you.

John and Craig talk homesickness and daddy issues before diving into a discussion on what Rhythm and Hues’s bankruptcy means for the film industry — and similar scenarios screenwriters might face down the road.

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.

Craig and John take a look at the class-action suit over Hollywood’s unpaid interns, then discuss envy and jealousy and other unproductive emotions.

John and Craig discuss spec scripts, pitches and how it feels when your movie gets brutal reviews.

Aline Brosh McKenna joins John and Craig for a conversation about what writers mean by a “voice,” and how it develops.

John and Craig give heroes the week off and talk bad guys. Not every movie needs a villain, but if you have one, he better be good.

Craig and John discuss a new report that tallies spec script sales for 2012 — with the reminder that selling a spec isn’t necessarily the most important thing for new writers.

Craig and John spend the entire episode discussing and dissecting RAIDERS OF THE LOST ARK, looking at both its structure and scene work.

With last week’s news that home video stopped its free-fall and actually grew a little bit in 2012, John and Craig discuss whether studios might ease off on one-step deals and other development austerity measures.

John and Craig return from the holidays to look at the WGA nominations, the perennially high costs of movies, scene headers and acceptable fonts for treatments.

Craig and John start the year with a look back at three very early episodes not currently on iTunes, discussing outlines, agents and the Good Boy Syndrome.

It’s Christmas, so John and Craig are exchanging the gift of answers, tackling listener questions on topics ranging from musical books to punch-up sessions.

Craig and John chat with Lindsay Doran, a producer and former studio exec who’s made terrific movies, ranging from Sense and Sensibility to Stranger than Fiction.

John and Craig talk about perspective — both within a scene and the overall story. It’s not always obvious to the reader which characters are in the driver’s seat, so it falls on the screenwriter to make that clear.

Craig and John look at the logic and fallacies of one-step deals for screenwriters, along with advice on reading screenplays and enjoying Skyfall.

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.

Screenwriters Abby Kohn and Marc Silverstein sit down with John and Craig to talk about writing movies, writing television and writing together.

Craig and John dive back into the Three Page Challenge entries, along with an overview of the 500+ contenders that have been submitted.

John and Craig discuss the big movie news of the week: Disney buying Lucasfilm, and with it, the rights to Star Wars.

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).

Recording live at the Austin Film Festival, John and Craig take a look at The Black List’s pivot to a paid site, and what it means for screenwriters and the industry. Black List creator Franklin Leonard joins us for questions and criticism, as well as screenwriter Aline Brosh McKenna.

John and Craig discuss Frankenweenie and Superhero! before cracking open the mailbox to answer listener questions.

In the spirit of Looper, Craig and John take a journey back in time, looking at the first scripts they read, the first scripts they wrote, and the common pitfalls of many first screenplays.

John and Craig discuss what makes an idea a movie idea, and how those differ from TV ideas, book ideas, and other narrative forms.

John and Craig talk about the new show John sold to ABC, which leads to a conversation about the differences between studios and networks, and how writers end up having relationships with both.

What’s the difference between a reader and a producer? Much more than one high-profile online reader seems to believe. John and Craig discuss what producers do, and how one plausibly gets started.

John and Craig tackle eight questions on the profession of screenwriting, ranging from studio execs to sharing credit to pitching via video.

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?

Screenwriters are often not the healthiest folk. We do our work at computers, surrounded by snacks, so it’s no surprise many of us get fat. But it doesn’t have to be that way.

John and Craig talk critics, and how trying to anticipate their reviews can cause paralysis. It’s funny how the screenwriter only seems to get mentioned in negative reviews. Well, not funny, actually. Frustrating. And possibly statistically verifiable, so listen in if you’re looking for a research project.

Craig and John look at the results of the WGA screenwriter survey, which found widespread reports of bake-offs, prewriting and other shenanigans.

Craig and John tackle a question screenwriters ask themselves at every stage in their careers: of all things I could write, which thing should I write?

Craig and John skip Comic-Con so they can discuss annoying and unproductive habits of development executives, along with advice for working with screenwriters.

It’s two parts craft and one part business as Craig and John discuss the alarming earnings report coming out of the WGA, plus a deeper look at setting and POV.

John and Craig look at how to write satisfying third acts. That doesn’t necessarily mean a happy ending, but rather one that feels earned.

This week, John is a bit under the weather, so Craig takes over moderator duties as they tackle four listener questions.

This week’s episode finds Craig and John answering questions about agent etiquette, business cards and those troubling rewrites that unravel everything.

On the 41st Scriptnotes, John and Craig discuss screenwriting software, knowing when to start, and the Game of Thrones finale. But before moving on to new business, they update us on two topics of podcasts past.

Craig and John talk about Craig’s decision to abandon his once-bustling blog, while John weighs the pros and cons of comments and community.

Craig and John take a look at the difference between plot and story with some help from the Littlest Pet Shop and Game of Thrones.

John and Craig open the listener mailbag and sprint through twenty questions in just under an hour.

Screenwriters can learn story and structure, but the ability to create real, tangible characters is more elusive — and ultimately more important.

John and Craig open the 36th Scriptnotes with a brief discussion about contracts, and then face writer’s block head on.

John and Craig discuss the small, currently leaderless world of Walt Disney Studios, along with its challenges and opportunities.

Craig and John take a brief look at the misguided Girls backlash and complaints about nepotism in Hollywood, before segueing to a bigger discussion of spec scripts and positioning.

Craig and John just have to talk about the double-barrel craziness of the Joe Eszterhas/Mel Gibson spat. How often do you have screenwriters lobbing incendiary accusations at movie stars?

Craig and John answer questions about specificity, television and what to do when your great idea sounds too much like a movie that’s already been made.

Craig and John take a look at Toph Eggers’s apology, which segues to a discussion of apologies in general and laugh tracks.

Craig and John offer advice on handling revisions once your screenplay moves into production. Get it right, and it should be smooth sailing. Get it wrong, and you have a frustrated crew and a lot of cleanup.

Craig and John tackle five listener questions on topics ranging from greedy managers and lazy agents to throwing in the towel.

John and Craig turn from the pen to the knife to talk through the whys and hows of cutting pages — both the cosmetic trims and the deep cuts.

Celebrating Leap Day, John and Craig play the game of “What If?” Specifically, what if we each were handed the reins of a major Hollywood studio?

This week, Craig and John get all Miss Manners to talk about best practices, bad behavior and throwing writers under the bus.

For their 25th podcast, John and Craig tackle listener questions. How does a screenwriter option a novel he wants to adapt? When can a writer say he “wrote” a movie — particularly if there are other credited writers? Finally, should an aspiring writer focus on television or features?

John and Craig reach into the listener mailbag and come up with questions about laying out lyrics, foreign dialogue, overall deals and title trademarks.

After last week’s depressing reality-check, Craig and John float back to the lands of joyful possibility with a look at theme, or central dramatic argument, or whatever you choose to call that narrative glue that helps hold a story together.

Following up on their conversation about “five figure advice” for newly-employed screenwriters, Craig and John discuss the changes and challenges that come when writers start making six figures — that is, more than $100K per year.

Craig and John discuss the screenwriter’s role in casting, then segue to the New York Times profile of producer/executive Lindsay Doran’s approach to story.

John and Craig take an in-depth look at how screenwriting credits are determined. In some ways, credit arbitration is a luxury problem — the movie you wrote got made! — but it’s one of the most controversial, contentious and misunderstood parts of a screenwriter’s career.

Craig and John take a look the week’s news, including the WGA nominations, Warner’s shift to a 56-day video window, the folly of SOPA and the launch of Bronson Watermarker.

Craig and John discuss the year ahead, from resolutions (we don’t have any) to reunions (20th!). Along the way, we discuss archery, piano and left-hand weakness. The bulk of the episode is a discussion of Charlie Kaufman’s BAFTA speech about screenwriting and screenwriters, artistry and artifice.

Craig and John explain what producers do — at least, what they’re supposed to do — and discuss the myriad subclasses of producers that litter the opening titles of many movies.

Craig and John plug a book by their very first sponsor and discuss elective brain surgery, before tackling an exhaustive but illuminating list of questions from listener Daniel Barkeley.

Craig and John look at why the books and seminars purporting to teach screenwriting are generally terrible, trying to reduce the hard work of the craft to a series of formulas and templates.

Craig and John take a look at awards-season screeners before going deep into a discussion of how residuals work and why they’re so important to screenwriters. Plus, a visit from Craig’s cleaning lady, who thinks he’s insane.

John and Craig tackle reader questions about self distribution, pseudonyms, separated rights, and studios’ feelings about international versus domestic box office.

On episode 12 of Scriptnotes, Craig and John discuss musicals, split time lines, split personalities and the human brain.

When you read articles claiming every Hollywood movie loses money, an obvious question arises: “Why do they keep making them, then?” In this installment, John and Craig explain how the film industry spends and makes money.

Craig and John go through the mailbox to answer listener questions. Can great actors save bad writing? What happens when writing partners split up? Are flashbacks always a bad idea? Should a young British comedy writer move to America?

Craig and John tackle a listener question about the early stages of a screenwriting career: deciding which meetings to take, which projects to pursue, and how not to go broke in the process.

John and Craig discuss why screenwriters want to please people — and how it often hurts them and the movie they’re writing — before a lengthy discussion of the pros and cons of going to film school.

John and Craig answer a listener’s question about whether (and how) to ditch an ineffective manager, then discuss daily work habits, hardware and software.

John and Craig discuss the new fall shows and how little kids become screenwriters, with discussion of D&D, Malcolm Gladwell and daisy-wheel printers.

In episode five of Scriptnotes, Craig and I dive deep into the esoterica of the WGA, copyright and separated rights as prelude to a discussion of two ongoing lawsuits: Jessica Bendinger vs. the Bring It On musical and Harlan Ellison vs. In Time.

In episode four of Scriptnotes, Craig and I discuss migraines and zombie apocalypse preparations before we segue to the main topic: how screenwriters work with directors, from the first meeting to on-set etiquette to giving notes in post.

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.

For our second podcast, Craig Mazin and I decided to tackle the question we’ve both been ducking since we started our blogs: “How do I get an agent and/or manager?”

Today marks the inaugural episode of Scriptnotes, a podcast that Craig Mazin and I are trying out. It’s meant to be a weekly-or-so conversation about items of interest to screenwriters, from getting stuff written to dealing with insane producers.