Through the whole process of writing Arlo Finch, I’ve had to spend less than two weeks in Word, while I’ve spent more than two years in Highland 2. Using an app so tailored to my process is a pleasure.
On Saturday, April 28th, I’ll be at Chevalier’s Books on Larchmont from 3 to 5pm as part of Indie Bookstore Day.
My first novel, Arlo Finch in the Valley of Fire, comes out today in stores throughout North America. I’d love you to, well, buy it. People buying books makes future books possible. It’s available at massive online stores, national chains and your local indie bookstore. Arlo Finch is middle-grade fantasy fiction. That’s the broad category […]
John and Craig introduce Launch, John’s new podcast about making a book. Over the course of six episodes, the series tracks the process of writing and shipping a novel, from idea to printing. The first two episodes are available today, with new episodes coming each Tuesday. Not to worry — Scriptnotes isn’t going anywhere. We’ll […]
When working of paper edits, I’ve found the fastest solution is to stop scrolling altogether and use the built-in search function.
John welcomes Grant Faulkner, Executive Director of NaNoWriMo and author of Pep Talks for Writers, to discuss the writing process and how to get out of your own way creatively. We explore the ubiquity of the Other Syndrome and the perils of envy. We also look at pen names, “throw-away writing,” and the advantages of […]
John and Craig speculate about why the film industry fared better in the transition to digital while the music industry struggled. We also follow up on the WGA elections, hearing John’s priorities as a new board member. Lured back into the intrigue of MoviePass, we discuss new information on this business model. Then it’s another […]
John and Craig welcome back Aline Brosh McKenna to talk about writing projects outside the familiar constraints of screenwriting. We discuss the surprises and adjustments involved in the creative processes of different media: Aline’s graphic novel Jane, Craig’s HBO miniseries Chernobyl, and John’s original song, “Rise.” We also dig into why screenwriters sometimes need to […]
I have a very hard time writing a character if I don’t love the name. So I obsess over picking the right one. I’ll spend hours staring in the middle distance, trying out various combinations until something clicks.
Books have two title pages. Like most things that seem oddly wasteful at first glance, there’s a good reason for it.
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.
Arlo Finch in the Valley of Fire will be the first book in a new series from Roaring Brook Press, an imprint of Macmillan. It comes out in 2018.
In the season finale of Scriptnotes, John and Craig reveal big changes to the podcast.
To Kill a Mockingbird is usually studied for its themes and cultural issues, but I’d urge you to read it — or re-read it — just for the writing.
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.
Dean Orion certainly has something worthwhile to say about writing. I’d read his blog if he had one. But his new eBook, Live to Write Another Day, is a lesson in the pitfalls of self-publishing and writing without and editor. He doesn’t know where the book is best, and brushes over points that deserve whole chapters, or makes chapters out of what should be entire books.
I don’t read many books about screenwriting, but my assistant Stuart Friedel does. From time to time I ask him to write up his impressions. Several readers had written to ask about David Hughes’s Tales from Development Hell, so I asked Stuart to look at it during a break from reading Three Page Challenge entries. […]
Now that I finally have room for all the books I’ve collected, I find I don’t really want them anymore.
I don’t read books on how to write screenplays, but Stuart does, so I occasionally ask him to write up his impressions. For this round, he tackled the three Save the Cat! books by Blake Snyder.
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?
I’ve only just started reading Danny Rubin’s How to Write Groundhog Day, but it’s promising enough that I think many screenwriters will want to take a look at it this weekend.
Amazon’s new KDP Select program allows self-publishers to run free-book promotions. I’m running an experiment to see what that means for one of my older titles, Snake People.
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.
At the end of any day in which I’ve had to keep up in French, I’m zombie-tired. Research Daniel Kahneman has the explanation.
With its thorough coverage of basic tenets, some of which are so painfully obvious that giving them attention can do more harm than good, David Trottier’s The Screenwriter’s Bible stays true to its namesake. It is a solid, comprehensive resource for any screenwriter’s bookshelf, but it’s a lot to take in at once.