Scriptnotes Podcast

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 mana

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, bluepr

John and Craig lawyer up with criminal defense attorney Ken White (aka Popehat) to look at legal scenes in movies and TV, and separate the tropes from the truth. How do lawyers actually prepare a case? Will they meet a client in jail? Do they need to gather evidence themselves? And what happens when they go to trial? What are the rules for examining witnesses? How often do people r

John and Craig look at four unbelievable stories in the news and ask, How Would This Be a Movie? Stories include a finance journalist who was scammed out of her savings, men who offer dating bounties, a franken-sheep made of cloned animal parts, and how standardized tests changed one woman’s life. We also reveal which modern classics we’ve never seen (We meant to! We’re sor

John welcomes back Pamela Ribon (Nimona, My Year of Dicks) to quietly ask: what’s with all the whispering in movies these days? They discuss trends and techniques in voice and volume, picking the right moment to whisper, and the value of voices across decibel levels. We also revisit Pamela’s work on Moana to look at what you can learn from reading early drafts, ponder the threa

John and Craig wring their hands and ask, how do you make sure the person you’re hiring isn’t a monster? They look at best practices for vetting colleagues, sussing out problematic people, and managing your own emotions when you’re the person with power. We also discuss writing for non-native English speakers, using three examples to illustrate the importance of syntax, music

John and Craig explore the counterfactuals of Hollywood history — the relatively small moments that, if the coin toss had gone the other way, would have massive ramifications on the world as we know it. What if Edison was allowed to keep his monopoly on motion pictures? What does our industry look like without the Paramount Consent Decree? What if George Lucas died in his car a

John welcomes back John Gatins (Flight, Coach Carter) to talk about reviving a dormant project and actually getting it made – like he just did with his new film Little Wing. They look at how films die, what brings them back to life, and go deep into the mechanics of sports movies. We also follow up on flu tests, the Tiffany problem and pet names before answering listener questi

John has the flu (or does he?) and Craig is missing, so we’re going back through the vaults to look at the mechanics of mystery and suspense. How do writers exploit the audience’s curiosity? What builds and breaks their trust? How do you use suspense across genres? And what do these techniques look like on the page? But first, we look at the current agency shakeups and share

John welcomes writer and showrunner Francesca Sloane (Mr. & Mrs. Smith, Atlanta) to talk about her process of bringing a big-screen property to television. She shares how she and Donald Glover found their way into the story, how it evolved in development, building a room that was all women of color, re-writing on set, and the many lessons she learned as a first time showrunner. We