John and Craig talk about everything that comes after the oft-discussed First Three Pages, speculating on the kinds of issues they’d spot if they were looking at full scripts.
Novelist Daniel Wallace looks at how books become movies.
Figuring out what the audience needs to know — and when they need to know it — is one of the trickiest aspects of screenwriting.
Reader Logan is dispirited by Hollywood’s zeal to turn every toy and board game into a franchise.
No! Stop and re-assess. There are at least three options, but simply stealing the plot and characters isn’t one of them.
MakingOf has an interview up with me in which I talk a bit about my writing process, the challenge of adaptations, and why one’s career is often as much about the scripts you didn’t write.
Story lessons from Star Trek, from the mouths and minds of the writers.
You shouldn’t just answer questions. Get rid of them before they’re asked.
With an adapted screenplay, it’s not altogether obvious what awesomeness came from the screenwriter, and what came from the underlying material.
I might as well confirm the news: I’m writing a big-screen version of Preacher.
Let’s look at what we can learn from the first batch of summer movies.
If I’ve only read 38 on the list of 1001 “Books You Must Read Before You Die,” does that mean I’ll live a long time?
The story behind former assistant Rawson Thurber’s second feature.
Nine second answers to nine burning questions. Ready…go!
Not if it will get you read and your expectations are adjusted.
Titles matter.
If you’re looking to put your story out into the world, paper beats film, hands down.
Easy steps to tracking down rights.
An author rails against his Hollywood adaptation.
Shall I compare thee to a Summer’s day or something?
Two stories of letting down a great script.
Where the adapted screenplay might reside in academia.
Why attorneys exist.
Turning book into movie: from acquiring rights to writing.
Books and movies should be compared, if only to understand what each does well.
