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Apprenticeship 101

October 21, 2015 Film Industry

Jana Kinsman worked as an apprentice beekeeper and goat-tender, but a lot of her advice applies well to [anyone in their first job](https://medium.com/@janakinsman/being-a-good-apprentice-e7a182dae495#.w7v86ea11):

> This isn’t your chance to prove yourself in a grandiose way. Your mentor isn’t expecting you to suddenly make their lives easier, they’re not looking for a hero or someone to throw themselves over the puddle where they’re about to walk.

> This is not your opportunity to change their system or their workspace or their routine. I’ve worked with many mentors whose way of doing things was an absolute trainwreck. Inefficiencies galore, messes, unfinished projects EVERYWHERE. But it was never my responsibility to point it out to them.

When I started working in Hollywood — first as a reader, later as an assistant — I didn’t know what I was doing. I observed and tried to figure out what needed to be done, and asked as many questions as I needed to.

I quietly watched how my bosses worked, not because I wanted to become them, but because I wanted to understand how they made decisions, and how they fit into the bigger picture of the industry.

Kinsman concurs:

> I tell people that some of the most valuable things I learned from working with mentors have been examples of how I don’t want to do things. It’s not about forcing yourself into thinking your mentor is a flawless human with a perfect way of doing things, it’s seeing their flaws and their inefficient systems and accepting them for who they are.

> Often times this will give you a chance to put yourself in their shoes and look at your own future realistically: If you were doing what they were doing for as long as they’ve been doing it, would you be perfect?

You eventually realize that everyone is doing the best they can, just like you. The difference is experience, and the only way to get it is to do the work.

Writers Rooms, Taxes, and Fat Hamlet

Episode - 220

Go to Archive

October 20, 2015 Film Industry, Follow Up, News, Scriptnotes, Transcribed, Writing Process

John and Craig discuss the trend of hiring multiple writers to work concurrently on tentpole features. Can movies be written like television, and should they?

Then it’s a look at tax bills that LA-based writers may find themselves facing, and why you shouldn’t be afraid of a portly Hamlet.

Also this week, a strange French plagiarism case, and John considers writing a book in November.

Reminder that John is interviewing Drew Goddard for a special Writers Guild Foundation event on October 28th. Tickets available through the link below.

Links:

* [Get tickets now for the WGAF’s October 28th Writers on Writing event with Drew Goddard, moderated by John](https://www.wgfoundation.org/screenwriting-events/writers-on-writing-with-drew-goddard/)
* [Austin Film Festival 2015 panel schedule](https://austinfilmfestival.com/festivalandconference/conference/2015-panels/)
* [John Carpenter Wins Plagiarism Case Against Luc Besson Over ‘Lockout’](http://blogs.indiewire.com/theplaylist/john-carpenter-wins-plagiarism-case-against-luc-besson-over-lockout-20151015)
* [Exorcist: The Beginning](https://en.wikipedia.org/wiki/Exorcist:_The_Beginning) and [Dominion: Prequel to the Exorcist](https://en.wikipedia.org/wiki/Dominion:_Prequel_to_the_Exorcist) on Wikipedia
* [/Film and How Did This Get Made’s oral history of Theodore Rex](http://www.slashfilm.com/theodore-rex/)
* November is the month for [flu shots](http://www.cdc.gov/flu/about/season/flu-season-2015-2016.htm), [Movember](https://us.movember.com/) and [NaNoWriMo](http://nanowrimo.org/)
* [Overcast](https://overcast.fm/) now has chapter support
* THR on [The Problems When Many Writers Work on ‘Star Wars,’ ‘Transformers’ and Other Film Franchises](http://www.hollywoodreporter.com/news/problems-writers-work-star-wars-831582)
* AB63 Tax Program [FAQ](http://finance.lacity.org/content/AB63ProgramFAQ.htm), and on [Reddit](https://www.reddit.com/r/Screenwriting/comments/3ogwef/freelance_tax_for_los_angeles_residents/), [LA Weekly](http://www.laweekly.com/news/did-you-just-get-a-500-freelance-assignment-the-city-might-bill-you-30-000-6040715) and [NBC 4](http://www.nbclosangeles.com/news/local/LA-Freelancers-Get–Tax-Bill.html)
* [Is Hamlet Fat? A Slate investigation](http://www.slate.com/articles/arts/theater/2015/09/is_hamlet_fat_the_evidence_in_shakespeare_for_a_corpulent_prince_of_denmark.html)
* [Computer Show](http://computer.show/) with Adam Lisagor
* [Tesla Autopilot First Ride: Almost as Good as a New York Driver](http://www.roadandtrack.com/new-cars/car-technology/news/a27044/tesla-autopilot-first-ride-almost-as-good-as-a-new-york-driver/)
* [Outro](http://johnaugust.com/2013/scriptnotes-the-outros) by Matthew Chilelli ([send us yours!](http://johnaugust.com/2014/outros-needed))

You can download the episode here: [AAC](http://traffic.libsyn.com/scriptnotes/scriptnotes_ep_220.m4a) | [mp3](http://traffic.libsyn.com/scriptnotes/scriptnotes_ep_220.mp3).

**UPDATE 10-22-15:** The transcript of this episode can be found [here](http://johnaugust.com/2015/scriptnotes-ep-220-writers-rooms-taxes-and-fat-hamlet-transcript).

The One Where Aline’s Show Debuts

October 13, 2015 Film Industry, Follow Up, Scriptnotes, Television, Three Page Challenge, Transcribed, Words on the page, Writing Process

Aline Brosh McKenna joins us to talk through the launch of Crazy Ex-Girlfriend, and what she’s learned since she introduced us to the show nearly a year ago. Brian Lowry of Variety raves that it is “one of the fall’s most promising hours.” We’re not surprised at all.

Then it’s a look at three pages from writer-director Scott Frank’s THE LOOKOUT, examining how a two-character dialogue scene works both on paper and on the screen.

Also this week: Indian screenwriters go on strike, Craig goes to Canters, and a French train hero gets stabbed in the second act.

If you got your new Scriptnotes shirt, show the world with the hashtag #scriptnotes or #scripnotesT.

Links:

* [Austin Film Festival 2015 panel schedule](https://austinfilmfestival.com/festivalandconference/conference/2015-panels/)
* [Train hero Spencer Stone stabbed](http://www.sacbee.com/news/local/crime/article38180571.html), and [Scriptnotes, 214](http://johnaugust.com/2015/clerks-and-recreation)
* [Canter’s](https://www.cantersdeli.com/home)
* [Aline Brosh McKenna](http://www.imdb.com/name/nm0112459/) on episodes [60](http://johnaugust.com/2012/the-black-list-and-a-stack-of-scenes), [76](http://johnaugust.com/2013/how-screenwriters-find-their-voice), [100](http://johnaugust.com/2013/scriptnotes-the-100th-episode), [101](http://johnaugust.com/2013/101-qa-from-the-live-show), [119](http://johnaugust.com/2013/positive-moviegoing), [123](http://johnaugust.com/2013/scriptnotes-holiday-spectacular), [124](http://johnaugust.com/2013/qa-from-the-holiday-spectacular) [152](http://johnaugust.com/2014/the-rocky-shoals-pages-70-90), [161](http://johnaugust.com/2014/a-cheap-cut-of-meat-soaked-in-butter), [175](http://johnaugust.com/2014/twelve-days-of-scriptnotes), [180](http://johnaugust.com/2015/bad-teachers-good-advice-and-the-default-male) and [200](http://johnaugust.com/2015/the-200th-episode-live-show)
* The New York Times on [The Great American Musical, Side B, in ‘Crazy Ex-Girlfriend’](http://www.nytimes.com/2015/10/11/arts/television/the-great-american-musical-side-b-in-my-crazy-ex-girlfriend.html?_r=0)
* Rachel Bloom and Jack Dolgen (and Aline) on [Scriptnotes, 175](http://johnaugust.com/2014/twelve-days-of-scriptnotes)
* [Bola Ogun](https://pro-labs.imdb.com/name/nm4459589/?ref_=sch_int), and the full cast and crew of [Crazy Ex-Girlfriend](http://www.imdb.com/title/tt4094300/fullcredits?ref_=tt_ov_st_sm) on IMDb
* [Bollywood to go on indefinite strike from October 3](http://timesofindia.indiatimes.com/entertainment/hindi/bollywood/news/Bollywood-to-go-on-indefinite-strike-from-October-3/articleshow/49183357.cms) from The Times of India
* Scott Frank on [Wikipedia](https://en.wikipedia.org/wiki/Scott_Frank) and [IMDb](http://www.imdb.com/name/nm0291082/)
* The Artful Writer on [Scene Harmony](https://web.archive.org/web/20120323053754/http://artfulwriter.com/?p=216)
* Three Pages by [Scott Frank](http://johnaugust.com/Assets/luvlee.pdf), and [the scene from The Lookout](https://www.youtube.com/watch?v=_nmYaR_ZllQ)
* [Use gift cards from other countries to make purchases in foreign iTunes stores](http://www.elftronix.com/easy-method-make-us-itunes-purchase-from-any-country/)
* [Games Magazine](http://gamesmagazine-online.com/)
* [Outro](http://johnaugust.com/2013/scriptnotes-the-outros) by Rajesh Naroth ([send us yours!](http://johnaugust.com/2014/outros-needed))

You can download the episode here: [AAC](http://traffic.libsyn.com/scriptnotes/scriptnotes_ep_219.m4a) | [mp3](http://traffic.libsyn.com/scriptnotes/scriptnotes_ep_219.mp3).

**UPDATE 10-16-15:** The transcript of this episode can be found [here](http://johnaugust.com/2015/scriptnotes-ep-219-the-one-where-alines-show-debuts-transcript).

The Martian, or Making Things Going Wrong Well

October 6, 2015 Adaptation, Story and Plot

Next month, I’ll be chatting with Drew Goddard, screenwriter of The Martian, for a Writers Guild Foundation event.

One of the things I want to talk about is how cleverly The Martian sets expectations and then defeats them in surprising ways. The film is marketed as a story of survival and ingenuity, but on a screenwriting level it’s a series of carefully-structured hopes denied.

As The Bitter Script Reader [points out](http://thebitterscriptreader.blogspot.com/2015/10/the-martian-is-kind-of-film.html):

> A good rule of thumb in film is that if we’re explained a plan in painstaking detail, […] things will not go to plan. The way things NEED to happen is laid out for us so that when we’re in the thick of it, we’ll have that “oh shit!” reaction as things come apart.

On [today’s Scriptnotes](http://johnaugust.com/2015/features-are-different), Craig and I talk about on why this kind of constant denial engine — and the life-or-death stakes it helps feed — makes The Martian a movie idea rather than a TV idea. It’s a journey this character can only take once. And it’s Goddard and Scott’s terrific execution that makes it such an enjoyable ride.

If you want to join me for the conversation with Goddard, [tickets are available now](https://www.wgfoundation.org/screenwriting-events/writers-on-writing-with-drew-goddard/).

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