Craig and John talk with Chris Keyser, one of the co-chairs of the WGA Negotiating Committee, to learn what gains were achieved in the most recent deal, and what work lies ahead.
This quote from Dennis Lehane on the difference between writing books and movies is spot-on, but worth a few clarifications.
John and Craig step up to the whiteboard to look at the story logic in our scripts, then examine how tricks and gimmicks can help keep scenes interesting.
Boris Kachka takes an in-depth look at how the final episode of The Leftovers was written, shot and edited.
A writing team finds their work held hostage by a friend who brought them the concept.
When we see characters lying, we know more about what matters to them.
Amanda Peet has a terrific piece in the NY Times about why she doesn’t read reviews, and how strange it feels when rest of the world knows something you don’t.
“Hold my beer” is getting clammy, but it’s worth exploring why it works as a Twitter joke.
I think you’re a potentially great character but you seem stuck in a story where you’re neither hero nor villain.
John Quaintance recently tweeted photos of two whiteboards listing phrases banned in the Workaholics writers’ room. His tweet has been widely shared, and is a mitzvah to all writers. These phrases are all clams — jokes that aren’t funny anymore and therefore need to die. When you include them in a script, you’re evoking the […]
In a recent episode of Scriptnotes, we shared stories from screenwriters who managed to build careers while living outside of Los Angeles, New York or London. Here are additional tales from writers who got their start without moving to the big city first.
In this very special episode from 2014, Craig and John welcome special guests Aline Brosh McKenna, Rachel Bloom, B.J. Novak, Jane Espenson and Derek Haas to talk about writing books, movies and especially television.
One of the positive things I took from this election was a quote Hillary Clinton used from her Methodist upbringing: Do all the good you can. By all the means you can. In all the ways you can. In all the places you can. At all the times you can. To all the people you […]
In a recent episode of Scriptnotes, we shared stories from screenwriters who managed to build careers while living outside of Los Angeles, New York or London. Here are additional tales from writers who got their start without moving to the big city first.
Craig and guest host Mike Birbiglia discuss Mike’s new film, Don’t Think Twice, a comedy about life as an improv performer. The two explore the current state of independent film and the challenges facing aspiring filmmakers.
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.
Adam Davis moved to Los Angeles in 2007, and has been offering periodic updates on what he’s learned and what he’s accomplished.
In the season finale of Scriptnotes, John and Craig reveal big changes to the podcast.
John and Craig take a look at three new entries in the Three Page Challenge, with scripts tackling kidnapping, dystopia and parkour hackers. We look at both how the writing works on the page, and what the writers seem to be trying to say.
Craig and John look at unforgettable villains, screenwriter billions, and a parallel world with two Nathan Fillions. (The last part is not true.)
John and Craig consider a new master class in screenwriting taught by Aaron Sorkin, and a very old Greek word (anagnorisis) championed by Aristotle. Both are useful!
With credits ranging from Captain Phillips to The Hunger Games, plus several stints in WGA contract negotiations, Billy Ray knows as much as any screenwriter about the realities of working writers and the turmoil in the industry. He joins us to talk about his new Amazon pilot, The Last Tycoon, which charts the behind-the-scenes drama at a 1930s Hollywood studio.
John and Craig welcome Kate McLennan and Kate McCartney, the Australian creator/stars of The Katering Show (a previous One Cool Thing).
There’s not much to learn from “we have to stop the evil genius before he blows up the world.” But drama, both in the real world and in fiction, comes from interaction with characters who are theoretically on our side.
Jonathan Groff — the Black-ish writer/producer, not the actor — joins John and Craig to explain the new vocabulary of television and why companies are all about ownership.
