For the first time ever, John and Craig spend an entire episode on a full-length original screenplay, K.C. Scott’s THIS IS WORKING.

John and Craig dig into the overstuffed mail bag to answer listener questions about scenes, stagnation, subtitles and script breakdowns. Plus we reveal the consensus opinions on whether we should have ads, and look at possibilities for the Full Script Challenge.

Craig and John wrap up many plotlines from previous episodes, with follow-up on Three Page Challenges, diversity numbers, Road Runner and other rules, plus the Gravity lawsuit in light of the Blurred Lines verdict.

John and Craig take a look at the self-imposed rules behind the Road Runner cartoons, and how limiting one’s choices is different than following dogma.

John and Craig discuss this year’s screenplay Oscar winners, including the success of Birdman’s outside-the-box approach and Graham Moore’s speech.

Screenwriter Malcolm Spellman joins Craig and John to talk about his big break, blown opportunities, and getting momentum back. Now part of the smash hit Empire, he talks about the changes and challenges African-American writers face both on the small screen and the big screen.

From Harper Lee to Sony to the Wheel of Time, it was a big week for studios trying to hold onto intellectual property. John and Craig discuss why those deals take such strange turns, including 1:30 a.m. airings on cable.

John and Craig do a deep dive on Tess Gerritsen’s lawsuit concerning Gravity, using the case as a way to talk about contracts, chain of title, adaptation and corporate ownership. Spoiler: It’s really complicated, but it’s really interesting too.

John and Craig discuss exploding scripts and stock scenes. Then in the second half of the show, we welcome two very special guests.

John and Craig pick up loose ends, with follow-up on previous episodes about “friends,” conflict, improv, Kindles, and defibrillation.

Aline Brosh McKenna joins John and Craig to discuss the how movies featuring good mentors (Dead Poet’s Society, To Sir with Love) differ from films with bad mentors (Whiplash, The Devil Wears Prada). It’s not just that the teachers are bad guys; rather, the stories are structured completely differently.

Craig and John discuss conflict — why it’s bad in real life but essential in screenwriting. We define six forms of conflict common in movies, then look at ways to sustain conflict within a scene and throughout a story.

John and Craig start the new year by discussing Chuck Palahniuk’s advice to avoid thinking verbs. Then it’s a new round of the Three Page Challenge.

It’s a clip show! John and Craig discuss cutting pages from your script, fixing plot holes, and what we’d do if we ran a studio. We’ll be back with all new episodes in 2015, the year of post-outrage rationality.

John and Craig offer advice to a director taking the plunge, with guidance on both getting the work done and getting the performances you want. From there, we segue into a discussion of the Perfect Director, the next installment of our Perfect series.

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.

John and Craig talk about where to start a story — how far back should you go? The decision about whether to meet the hero as a child, in their normal rut, or mid-crisis fundamentally changes the narrative, so it’s worth exploring fully.

Craig and John discuss the qualities of the perfect reader, whether it’s a studio professional or your screenwriting buddy. What should a reader look for, and how should she communicate her thoughts?

John and Craig talk about why writers are often reluctant to show their work, and how film journalists love to focus on the director — even when there’s no director in sight.

What are the odds that fivethirtyeight.com’s statistical analysis of screenplays will make Craig angry? Always bet on umbrage. Fortunately, he just finished a script, so we talk about that, and John’s new gig writing Scary Stories to Tell in the Dark (which was the project he described phone-pitching the past few episodes).