Scriptnotes Podcast (.mp3)

Craig and John discuss backup plans, camera directions, and becoming so good they can’t ignore you. Plus we answer two listener questions about specificity in scene headers and how to indicate that a script is intended for animation. This episode was actually recorded before 191, but through the magic of editing refers to things that hadn’t yet happened. You won’t be confused because you’re clever...

Craig and John talk with the owner of Scripped.com to investigate what happened when the online screenwriting site suddenly went down this week, erasing four years of screenwriters’ work. When things went south, why did he try to distance himself from the debacle, and what comes next? It’s a candid discussion — but far less uncomfortable than the Final Draft episode. We’re also joined by the creat...

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. Black List founder Franklin Leonard joins us as we dig into this former Three Page Challenge entry, examining character, story and thematic issues. We get very specific about what’s working in the script now — but also what the movie may want to become. Plus we talk a...

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. We also have a lengthy digression into probability and the proper way to pronounce Los Feliz. Links: ‘Los Feliz’: How you say...

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. Then, it’s time to start whole new storylines with discussion of the future of the show, including the Full Script Challenge and the possibility of not losing money on this whole ventur...

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. Then it’s time for three new entrants in the Three Page Challenge, each presenting a range of issues to discuss. Also this week, the dismal diversity numbers that don’t need exaggerative charts and how even produced screenwriters often live with pr...

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. Craig asked Reddit’s r/screenwriting sub to collect a list of the so-called rules budding screenwriters are told to follow. From the rules of the page to the rules of the industry, John and Craig look at these commonly-cited rul...

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. Also this episode, we look at a review that credits the director with the screenwriter’s work and the role trailers play...

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. In follow-up, we look at why the WGA isn’t directly involved in the Gravity lawsuit, and how Rebel Wilson was lucky she never ran afoul of Australia’s classifiers. A l...

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. Both novelists and screenwriters will find a lot to discuss. We also talk about editing while writing, and when it’s worth it to cut now versus later. Lin...

John and Craig discuss exploding scripts and stock scenes. Then in the second half of the show, we welcome two very special guests. Actress, writer and comedian Rebel Wilson joins us to talk about writing for television and Tall Poppy Syndrome. Author and sex advice columnist Dan Savage tells us what he’d like to see Hollywood do better when in comes to sex on screen. Both segments are out-t...

John and Craig pick up loose ends, with follow-up on previous episodes about “friends,” conflict, improv, Kindles, and defibrillation. Then it’s that Peter Bart episode, which is enough to cause a heart attack. Finally, we get to some listener questions about referring to collective characters, INT/EXT, deaf assistants and ellipses. Next week, we hope to have two episodes: a normal one and the NSF...

Aline Brosh McKenna joins John and Craig to discuss 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. John asks Craig and Aline about some ethical quandaries he’s been facing, ranging from awards votin...

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. We also look briefly at Whiplash, both the conflict between its two main characters and the controversy over whether it should be considered an original or an adapted screenpl...

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. We also do follow-up on the Sony hack. Links: The Year of Outrage on Slate North Korea responds with fury to US sanctions over Sony Pictures hack The LA Times on The Interview’s opening weekend Chuck Palahniuk on thought verbs Three...

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. Links: Episode 28: How to cut pages Episode 27: Let’s run a studio! Episode 59: Plot holes, and the myth of perseveraversity The Year of Outrage Outro by Scriptnotes editor Matthew Chilell...

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. We also pay a visit to the Logic Police, whose notes are often frustrating but sometimes correct. But we couldn’t not talk about the messed-up situa...

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. Aline and Rachel just finished shooting a pilot called Crazy Ex-Girlfriend. We discuss the genesis of the project, and how sexism is just stupid. B.J. tells us about the joy of reading Inglorious Basterds, and how the key t...

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. We also discuss the psychological phenomenon of transference, and how writers’ desire for approval can lead to strange (and strained) relationships with executive...

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? We also discuss loan-out companies and why writers need them, and offer advice on starting a podcast. Plus a lot of turkey talk. In follow up, most of what we thought we knew about Franz Kafka was wro...

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. Then, it’s part two of our Perfect series, in which we look at what constitutes the perfect agent. Underlying the agent archetypes — advisor, advocate, connector — is a relationship based on honesty and trust. How do yo...

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). Then we talk about what makes for the perfect studio executive. It’s...

John and Craig look at the nature of fluke hits, everything from #alexfromtarget to huge spec sales. Is luck just luck, or is it about how often you play the game? Where does talent fit in? We walk through a great breakdown of twist endings by Alec Worley, looking at how expectation both inside and outside of the story shapes the experience. Then we answer a bunch of listener questions, on topics...

Craig and John shake off their Halloween candy hangovers by taking a look at three new Three Page Challenges, full of post-apocalyptic portals and strange signals. We also discuss writing dark things. Weepy things. John just launched his first Kickstarter, and we all know how Craig feels about crowdfunding. Will Craig be a backer or bah-humbugger? In follow-up, we look at the now-announced Marvel...

John and guest host Susannah Grant sit down with Richard Kelly, Cary Fukunaga, Peter Gould, Dan Sterling and Mike Birbiglia to discuss the role of a writer/director, the wonder of television, and the purpose of table reads. Then it’s questions from the audience: How do you know you’ve found your third act? How does one become confident? Does impostor syndrome ever go away? This episode...