John August

Transcribed

Optioning a novel, and the golden age of television

Episode - 25

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Books, QandA, Scriptnotes, Transcribed

For their 25th podcast, John and Craig tackle listener questions.

How does a screenwriter option a novel he wants to adapt? John has optioned two novels — one through a studio, and one on his own — while Craig recently optioned his first. In each of these cases, we found the psychological aspects to be just as important as the legal ones.

When can a writer say he “wrote” a movie — particularly if there are other credited writers? John and Craig disagree a bit here, with John trying to draw the distinction between “worked on” and “wrote.”

Finally, should an aspiring writer focus on television or features? The answer from two feature writers may surprise you. Or not: television is pretty damn good these day.

Links:

You can download the episode here: AAC.

UPDATE 2-22-12: The transcript of this episode can be found here.

The Brotherhood of Screenwriters

QandA, Scriptnotes, Transcribed

John and Craig open up the listener mailbag to answer questions about formatting lyrics, foreign dialogue and title trademarks. We also dive in to discuss overall deals, which are common in television but quite rare among feature writers.

Also this week: The launch of the plain text screenwriting format Fountain, and John’s love for the all-singing, all-dancing, Superbowl-sized NBC network promo.

There’s also brief discussion of some sporting event that happened two Sundays ago.

Links:

You can download the episode here: AAC.

UPDATE 2-16-12: The transcript of this episode can be found here.

The Happy Funtime Smile Hour

Scriptnotes, Transcribed

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.

Theme, like structure, is one of those screenwriting terms that entrances newcomers and annoys veterans. Or at least it annoys John.

Generally, when you’re talking about theme, you’re trying to answer the question, “What is the story really about?” Your plot might concern a spy and stolen nuclear missiles, but the intellectual/emotional heart of the story is whether any man be trusted. Or whether all good acts are selfish. Or if men and women can be friends. (Nora Ephron’s Bourne Identity.)

Also discussed: John’s love for OmniFocus + Siri, braindead tasks, and cancer — but only briefly, because this will be a happy show, god help us.

Links:

You can download the episode here: AAC.

UPDATE 2-9-12: The transcript of this episode can be found here.

Six figure advice

Scriptnotes, Transcribed

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.

High-class problems? Sure. Not many aspiring screenwriters will reach that level of success, or sustain it. But in our experience, it’s shortly after having “made it” that many writers find themselves flailing financially, because it’s such a different experience than living paycheck-to-paycheck.

At what should point should you form a loan-out corporation? Should you pay off your student loans? Do you need disability insurance? How about a 401K? And how do you set up a line of credit at a Las Vegas casino?

Esoteric topics to be sure, but if you gather together a group of working screenwriters, this is what they’ll eventually be talking about — the career rather than the craft. Ultimately, a lot of what we discuss this week applies to anyone working for themselves.

Also touched on this week: the difference between casting TV and features, and The Cinema School in the Bronx.

LINKS:

You can download the episode here: AAC.

UPDATE 2-1-12: The transcript of this episode can be found here.