Screenwriting 101: Patrick S. Duncan “Every time I write, I find myself going through a form of self-examination that is almost a kind of therapy. By creating and examining my…
Go Into The Story Interview: Julia Hart My conversation with the filmmaker whose credits include The Keeping Room, Miss Stevens, Fast Color, and I’m Your Woman.
Script Analysis: “Joker” — Scene By Scene Breakdown Here is my take on this exercise from a previous series of posts — How To Read A Screenplay:
Go Into The Story Interview: Byron Hamel My conversation with the 2021 Nicholl Fellowships in Screenwriting winner.
Great Scene: “Good Will Hunting” The bar scene. Will’s classic putdown. And a spin on the ‘meet cute’.
Why You Should Write Three Pages of Garbage Every Morning “Freewriting forces you to keep moving forward, keep creating, without a thought given to quality.”
“In great attempts, it is glorious even to fail” When legendary football coach Vince Lombardi would speak in public, he rarely strayed far from two closely related subjects: success and…
Go Into The Story Interview: Aaron Guzikowski My in-depth interview with the screenwriter whose credits include Prisoners, Papillon, and the TV series The Red Road and Raised by Wolves.
The Business of Screenwriting: They will pigeonhole you (and why this can be a good thing) The co-star of K-9 was a dog named Jerry Lee.
Writing Tip: Inside and Outside the Story Universe The importance of Receptive Writing and Reflective Writing.
Script Analysis: “Get Out” — Scene By Scene Breakdown Here is my take on this exercise from a previous series of posts — How To Read A Screenplay:
Great Scene: “Dr. Strangelove: Or How I Learned to Stop Worrying and Love the Bomb” It’s one of my five favorite movies: Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964). Directed by Stanley…
Screenwriting 101: Brian Duffield “Interesting things happening to interesting people is basically the only rule of screenwriting.”
Go Into The Story Interview: Kryzz Gautier My conversation with the 2021 Black List writer for her original screenplay “Wheels Come Off.”
Page One: “The Midnight Sky” (2020) Screenplay by Mark L. Smith, based on the book ‘Good Morning, Midnight’ by Lily Brooks-Dalton
Deep Work vs. Shallow Work As writers, we need to protect time for the former from the encroachment of the latter. Here are four strategies to do precisely that.
