Craig and John look at the results of the WGA screenwriter survey, which found widespread reports of bake-offs, prewriting and other shenanigans.
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 open the listener mailbag and sprint through twenty questions in just under an hour.
Robin Schiff and Winnie Holzman’s great discussion series “Anatomy of a Script” is starting up again in March, and highly recommended for film and TV writers wanting to learn more about the craft.
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.
If two writers share a credit slot (like screenplay), that portion of residuals is split squarely between them.
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.
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.
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.
WGA members should have received ballots this week for the 2011 election. You’ll see my name listed on several endorsements for candidates I think are terrific, but I also want to give a more general overview of the issues and personalities involved.
Every year, the Writers Guild Foundation holds a series of discussions with film and television writers focusing on one of their past or current projects. This year, I’ll be a guest, talking about Big Fish.
A screenwriter colleague recently vented her frustration with always getting paid late for her studio jobs. I didn’t have any particularly good advice for her — what she describes is hardly unique. In fact, the situation is so much the norm that I asked if she would write up a post about her experiences, since I’ve never really discussed it on the blog.
The votes have been counted in the WGAw Board election.
WGAw members should now have received ballots for the Board election. It’s an important vote, because this Board will be setting the agenda for the next round of negotiations.
The three uncontroversial proposals for amending the TV and screen credits process passed by a large margin.
How much should a first-time writer expect to make on a sale?
If you’re a WGAw member, you probably got a ballot in the mail over the weekend. There are three proposals, all amendments dealing with credit determination.
WGAw screenwriters should have received an email yesterday about an online survey the Guild is conducting. Please find the email — it might get stuck in your spam filter — and click the link.
Writers are making less money, and it’s part of a bigger shift in the industry.
While most WGA members have already taken a look at the results, other readers might be curious to see the results of the WGA election.
Deadline for ballots is the 17th.
Looking through the candidates’ statements and endorsements, I want to explain my priorities for this election.
At a screenwriting panel last week, Robin Swicord said something that reframed the issue in a very helpful way.
“Based on an idea by” is a rare credit, for good reason.