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 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.
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 pick up loose ends, with follow-up on previous episodes about “friends,” conflict, improv, Kindles, and defibrillation.
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.)
This week, Craig and John tackle listener questions.
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.
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.
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 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.
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.
Today, the WGAW launched a new initiative aimed at getting writers paid on time by focusing on talent agents.
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.
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.
Craig and I are doing a live episode benefiting the Writers Guild Foundation on December 19th.
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.
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.
Craig and I will be doing two live shows in LA this summer: June 29th and July 25. They’re vastly different, but both should be cool.
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 look at the logic and fallacies of one-step deals for screenwriters, along with advice on reading screenplays and enjoying Skyfall.
Eight members were elected to the WGAW’s Board of Directors: Chip Johannessen, Katherine Fugate, Michael Oates Palmer, John Aboud, Scott Alexander, David A. Goodman, Marjorie David, Kathy Kiernan.
By now, WGA members should have received their ballots for the 2012 election. This year, I’m a little more connected the process than usual, because I served on the nominating committee, helping to choose the 15 candidates running for the eight open seats on the board.
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.