Claudia Johnson & Matt Stevens explore the best ways to find the right writing partner— “complementary strengths” gives each collaboration its unique richness and range of experience, knowledge, and talent to tap.
Anne-Cecile Ville explores the way we create female character bias in movies and how to go about it a different way.
Understanding the external and the internal part of the desire, you create an action plan in steps that will lead you to your desired outcome. Jen Grisanti explains how it all comes down to defining want.
Chris Nolan's new film, Dunkirk, uses non-linear storytelling, in both space and time, to immerse the audience deeply into a large, complex event.
Screenwriting advice can seem random, contradictory, even useless. Barri Evins gives guidance on which guidelines to listen to and those you should pretend you never heard.
Michael Brandt discusses his move to directing, what he learned about writing from his new perspective, and what screenwriters should consider about becoming a hyphenate themselves.
There are many important ingredients in a screenplay: premise, plot, characters, dialogue, and so on. One of the most important is logic. Ray Morton shares some of the many ways logic functions in a screen narrative.
Claudia Johnson & Matt Stevens explore more ways to find writing partners. Familiarity between family members can breed strong, successful writing teams.
How does one get an agent at a big time agency, and how do you fall out of love with that same guy just a few years later? Hold on now, next stop 1995.
John Heywood may have opined that many hands make light work, but, when all those hands are done he was mute on who’s supposed to get the credit. Christopher Schiller explores the concept of workshopping.