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.
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.
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!
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.
It’s a craft episode, with Craig and John discussing allies and allegiances in film and television. Enemies are easy; friends are difficult. We talk through the types relationships characters find themselves in, and strategies for making the most of them.
Remember the live show in Austin, when we promised we’d read one lucky listener’s script and talk about it on the air? This is that episode.
John and Craig sit down with screenwriting legend Lawrence Kasdan to discuss Star Wars, Raiders, The Bodyguard and how he’s shaped some of the most iconic big-screen stories and characters of our lifetime.
John and Craig welcome writer-director Lorene Scafaria to talk about her new movie The Meddler and some of the unique challenges faced by female directors.
John and Craig look at the non-screenplay things screenwriters end up writing, most notably outlines and treatments. We discuss some of the ones we’ve written (with examples), and offer advice on writing your own.
With John and Craig both on spring break, it’s a clip show this week. We discuss why movie heroes are rarely ambivalent, why villains are so appealing, and why movies with two primary characters require careful attention.
In an episode consisting entirely of answers to listener questions, John and Craig discuss David Mamet, internet trolls, post-credit scenes and English actors attempting American accents. Plus, who would win in an all-out brawl to the death? The answer will probably not surprise you. Links: David Mamet’s memo to writers of The Unit Craig’s Twitter […]
Michael Tabb takes a deep look at defining the premise of your story, but “premise” might not be the best word for what he’s describing.
Craig and John play “How Would This Be a Movie?” looking at three articles in the news.
Craig and John discuss the impact of Star Wars knocking down all the records, both for the industry and big-screen sci-fi.
With Craig out of town, John invites Aline Brosh McKenna and Rawson Marshall Thurber over to discuss three of the best-picture contenders and their unusual scripts. None of them have classic protagonist-antagonist setups, and all three upend expectations of narrative structure. We talk about both how they work and why they work.
In preparation for our live show with screenwriter Lawrence Kasdan, we’re re-running this episode from the Scriptnotes archive.
Craig and John discuss epic world-building, and the promises and pitfalls for writers attempting to create fictional universes.
John and Craig talk romantic comedies with screenwriter Tess Morris, whose film Man Up is unapologetically part of the genre.
The Martian is marketed as a story of survival and ingenuity, but on a screenwriting level it’s a series of carefully-structured hopes denied.
John and Craig look at how writing feature films is fundamentally different than writing television, and how that difference begins at the point of story inception. It’s not just that movies are longer; they’re also built to be unique events, with characters embarking on once-in-a-lifetime journeys. We discuss how to decide whether an idea is better suited for features or series, and lessons learned from properties that have existed in both worlds.