John August

Broadway

We’re Back, Baby

Episode - 338

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Awards, Broadway, Film Industry, Follow Up, Formatting, Los Angeles, QandA, Scriptnotes, Story and Plot, Transcribed, Videogames, WGA, Writing Process

John and Craig reunite to answer our backlog of listener questions.

We follow up on what it means to utilize white space on a page, the conventions of musical numbers, the value of a victory lap, and what the hypothetical destruction of Los Angeles would mean for the industry.

We also answer listener questions on the rules of awards voting, what to consider when writing a proof-of-concept short for a feature, and what to do when a deadline approaches and the script just isn’t good.

Links:

Email us at ask@johnaugust.com

You can download the episode here.

UPDATE 2-26-18: The transcript of this episode can be found here.

Writing Other Things

Books, Broadway, How-To, International, Scriptnotes, Television, Transcribed, Writing Process

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 be amateurs again.

Then we answer listener questions about making fair deals as someone in a different country, and how best to read one’s script before rewriting.

Links:

Email us at ask@johnaugust.com

Credits: Produced by Megan McDonnell Edited by Matthew Chilelli With Nima Yousefi and Dustin Bocks

You can download the episode here.

UPDATE 9-26-17: The transcript of this episode can be found here

Photoplays and archetypes

Broadway, Follow Up, How-To, Screenwriting Software, Scriptnotes, Transcribed

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.

We also answer listener questions about keeping secrets from readers, firing managers, and what happens to a Broadway show after Broadway. Plus, more follow-up on old One Cool Things.

There are still (maybe?) tickets for the live show on the 15th. See the links for details.

Links:

You can download the episode here: AAC | mp3.

UPDATE 5-16-14: The transcript of this episode can be found here.

Big Fish, Jimmy Buffet, and seeing shows on a budget

Big Fish, Broadway, Follow Up

Let’s start with the TL;DR version:

The producers have agreed to restore my SCRIPT discount code for Big Fish on Broadway, but only through December 22nd — and they might pull the offer at any time. Tickets are $85/$67 (versus $150/$85) at the box office, or on Ticketmaster for the same price plus a service charge.

Longer version:

Jimmy Buffett is one of the producers of Big Fish. He has legions of Parrothead followers, but since they’re not the classic audience for a Broadway musical, he asked for a discount code (JIMMY) he could send his fans as an extra incentive.

I love Jimmy. I love this idea.

But I too have followers I want to come see the show, especially students and over-educated/under-employed aspiring writers. My people came in surprisingly large numbers during previews, and I have a hunch many of them may be headed to the East Coast for the holidays. So I asked for my SCRIPT code back and got it.

It’s not quite the deal it was during the first weeks of previews, but it’s almost certainly the lowest price you’re going to find for a guaranteed seat.

It’s not a competition but yeah sort of it is

Every week, we get a report on the discount codes used, and it would honestly kind of thrill me to out-earn Jimmy Buffett.

And it’s a game you can play, too, because just like booking flights and hotels, you can manipulate the system to get a much better seat than you’d expect.

Big Fish sells out most performances, but here are some suggestions for getting a great seat. Most of these apply to any Broadway show:

  1. Tuesday, Wednesday and Thursday nights generally have the best availability.
  2. The first five rows of the mezzanine are terrific — arguably the best seats in the house. In the Neil Simon, the front mezzanine is better than rear orchestra.
  3. Split up. You’re more likely to find two amazing single seats.
  4. Talk to Louie or Eric at the box office. Use the code. Drop my name. These guys are awesome, and want you to have a good seat.
  5. In the hours — sometimes the minutes — before a show, a great seat may become available because the producers release tickets they were holding back for media. So even if Ticketmaster says there are no tickets, it’s worth a visit to the box office.

For some performances, we sell tickets at the TKTS booth in Times Square. These are almost always seats at the back of the mezzanine, and availability is constantly changing. TKTS is great, but you’ll get a better seat by coming to the theater itself.

Seeing shows for less

There are two ways to see a Broadway show for less than list price, but both of them involve some trade-offs.

Student Rush. If you’re a college student with more time than money, it may be worth waiting in line for student rush. First check out the Rush Report to gauge when you’d need to be there and how likely you are to get a ticket. Big Fish is one of the more difficult shows to rush:

Weekdays: 15 people in line by 9:20 AM. 26 tickets available. Weekends: 37 people in line by 9:15 AM. 1st person in line at 6:30 AM. 26 tickets available.

Student rush tickets are $27. These seats are generally at the edges of the orchestra, and are sometimes partially obstructed. But you’ll often be very close to the action, and if you’re a theater student, you may learn something extra just from seeing it so close-up. I’ve talked to some college students who’ve already seen Big Fish three times because of student rush.

Standing Room Only. At the back of the orchestra, there’s a railing with numbered standing room only spaces. At performances where absolutely every seat is sold, the theater will sell those spots. I’m not even sure of the price, but it’s more than student rush.

This is where I stand to watch the show most nights. I love it — but I work at a standing desk, so your mileage may vary.

There’s no guarantee you’re going to be able to get SRO tickets on any given night. That’s why I strongly recommend that if you want to see Big Fish, you use the SCRIPT code either at the box office or Ticketmaster as soon as you can. Heading into the holidays, supply will get constrained. I really want you to see Big Fish, and I want you to have a good seat.