Scriptnotes Podcast

John and Craig open the mailbag to answer a swath of listener questions that make Craig’s blood boil. They offer insights and umbrage on when you can turn down projects early in your career, picking the right day job, maintaining visibility when you’re taken off a project, the next steps after a successful short, when NDA’s are necessary, and how to credit unpublished source material. We also say...

The original post for this episode can be found here . John August: Hello and welcome. My name is John August, and you are listening to Episode 649 of Scriptnotes. It’s a podcast about screenwriting and things that are interesting to screenwriters. Today on the show, which ideas are inherently funny? We’ll discuss what makes a comedic premise and how you develop and execute upon that idea. To do t...

The original post for this episode can be found here . John August: Hello and welcome. My name is John August and you’re listening to Episode 647 of Scriptnotes, a podcast about screenwriting and things that are interesting to screenwriters. Today I am so lucky to have two Scriptnotes producers in the studio with me. Megana Rao, welcome back. Megana Rao: Thank you. I’m excited to be here. John: Dr...

John and Craig welcome back Ryan Reynolds for an in-depth look at his creative process bringing the character of Deadpool to the screen. As co-writer, producer and star of the Deadpool franchise, Ryan leads us through his first introduction to the character, the rough journey getting to greenlight, and the challenges presented by an often-faceless protagonist. Along the way, they talk tone and dia...

John welcomes journalist/screenwriter Max Read to look at the emerging sub-genre “halogencore” – stories of corporate malfeasance that are less about uncovering corruption as they are about characters learning to ignore it. They look at the evolution of the sub-genre, how these movies function, and why it’s important to define genres at all. We also explore the current state of independent j...

In this compendium episode, John and Craig look at two of the most fundamental building blocks of compelling stories – conflict and stakes. We define six forms of conflict common in movies, and explore ways to sustain conflict within a scene and throughout a story. We also look for ways to find the root of your character’s stakes, pick the right stakes for the world around them, and the impo...

John and Craig stand waist-deep in rotten tomatoes and ask, what can we learn from bad movies? Resisting the urge to walk out, they explore ways to evaluate a movie’s problems, interrogate your taste, and turn a real stinker into an opportunity to grow as a writer. We also follow up on Lifetime movies, colored pages and AI screenwriting, and answer listener questions on weirdo characters and the v...

John and Craig welcome back Megana Rao to look at rituals and what they can tell us about our characters. But what are characters doing deliberately, and what is just routine? They separate routines from rites, and how both can help deepen our understanding of characters and the threats that face them. We also follow up on un-locking pages, industry software and health insurance for writing teams,...

John and Craig finally become writing partners and edit the opening to one chapter of the upcoming Scriptnotes book live on-air. They wrestle with word choices, adapting the phrasing of a spoken conversation and finding a unified voice as they pass the keyboard back and forth. We also catch up Craig on what he’s missed since he’s been away, follow up on #payuphollywood, and answer a host of listen...

John welcomes back Mike Schur (The Good Place, Parks and Recreation) to ask, how do you fix an overwritten script? They discuss ways to rebuild scenes and restore muddy characters that have become burdened by too many notes, all while making sure your script retains its voice. We also look at the new IATSE deal with the AMPTP, the WGA’s back-pay settlement with CBS, Skydance purchasing Paramount,...

John and Craig welcome Aline Brosh McKenna to look at what writers mean by a “voice,” and how it develops. Some screenwriters’ voice develops long before their craft, leading people to label them as “promising” even though the scripts themselves are a mess. Other writers get all the technical stuff right from the start, but have a hard time finding something distinctive about how they write. From...

John welcomes Simon Rich (Man Seeking Woman, Miracle Workers) to look at how he crafts a comedic premise. Using his work on SNL, his time writing Inside Out at Pixar and his plethora of short stories, they look at how he develops a funny idea into a story with narrative and emotional punch. We also follow up on the Harry Potter TV series, and answer listener questions on the downsides of writing i...

John welcomes back Aline Brosh McKenna to help figure out how to say goodbye… in your story. Using examples from some of their favorite movies, they explore how farewell scenes work, what sets them apart from the average see-you-later, and leaving a lasting effect on your characters and the audience. We also look at the summer box office, George Gallo’s Bad Boys lawsuit, Sony’s purchase of A...

The original post for this episode can be found here . John August: Hello and welcome. My name is John August, and you are listening to Scriptnotes, a podcast about screenwriting and things that are interesting to screenwriters. Today on the show, agents and managers. How do you obtain them? How do you work with them? And if necessary, how do you fire them? To answer these questions, we will be tr...

The original post for this episode can be found here . John August: Hey, this is John. Heads up that today’s episode has just a little bit of swearing in it. Hello and welcome. My name is John August. Craig Mazin: My name is Craig Mazin. John: You’re listening to Scriptnotes, a podcast about screenwriting and things that are interesting to screenwriters. Now, if one were to eavesdrop on the conver...

In this compendium episode, John and Craig fast-forward to the third act to talk about endings. How do they work? What makes them great? And how do you fix them when they’re not working? They look at how to connect your ending to your characters, crafting a twist that surprises (but doesn’t confuse), the function of the climax, the importance of the denouement, and how to make it all satisfying fo...

The original post for this episode can be found here . John August: Hello and welcome. My name is John August. Craig Mazin: My name is Craig Mazin. John: You are listening to Episode 641 of Scriptnotes, a podcast about screenwriting and things that are interesting to screenwriters. Today on the show, what do your characters know, and how do we know if they know it? We’ll stare in the epistemologic...

John and Craig decode the current state of software in the film and television industry. With dozens of programs needed for every project, they look at why bad and outdated programs continue to have a hold on the industry, why it’s so hard to build something better, and how these programs find financial success in such a small and specialized market. Then it’s another round of the Three Page Chall...

John welcomes Meredith Scardino (Girls5eva) and Jen Statsky (Hacks) to discuss the highs and lows of writing the third season of a hit comedy. But how do you push a series forward without violating the premise or retreading familiar terrain? Are the shows still the shows they pitched? How has streaming changed since their shows first went on the air? And how do you plan for your series’ future? Th...

John and Craig explore one of the most powerful and versatile tools in episodic television: the cold open. But how does it work? What kind of scenes does it showcase best? How can it play with point of view, perspective and time? What makes it memorable? And how do you make it work for your story? We also discuss new requirements for loan-out corporations, follow up on streaming ads and AI-generat...

In this compendium episode, John and Craig demystify the the relationship between writers and the people who represent them, looking at how to acquire, work with and (if necessary) fire your agents and managers. How do you get an agent or a manager? What are they looking for in a potential client? What frustrates them? How do you position yourself for success? And what should you be looking for in...

Why are things so rough in Hollywood right now? John and Craig look at the industry’s current contraction, its historical analogues, and offer suggestions for what might fix it. We also follow up on streaming ad breaks and New York accents, before answering listener questions on being paralyzed, whether it’s by your second draft or writing professional emails. In our bonus segment for premium memb...

John and Craig investigate what characters know and how we know they know what they know. It’s something that can be as confusing as that last sentence was, but they offer clear guidance on building informed characters, audience expectations, and how to get everybody on the same page. We also look at how ad breaks in streaming are interrupting established act breaks. But first we follow up on AI t...

John welcomes writer and comedian Alex Edelman to look at how he wrote his solo show Just For Us, and dig into the meaning of “write what you know.” They discuss finding your voice as a writer, developing your story with an audience, why Alex doesn’t write his shows down, and the sample that first got him staffed. We also answer listener questions on what to do when your manager doesn’t understand...

John and Craig can’t help but look at intrinsic motivations — those specific internal drives that guide characters behavior. They discuss how to structure and expose that internal drive, the importance of an innate irritability, how it can stop your characters from becoming flat, and rewarding that intrinsic motivation with choice. But first, we follow up on AI training, blueprints and “impo...