John August
Scriptnotes Podcast
15 people rated this podcast
John August
Scriptnotes PodcastEpisodes
John August
Scriptnotes Podcast
15 people rated this podcast
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Episodes of Scriptnotes Podcast
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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 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 leav
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 character
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 With dozens of programs needed for every project, they look at why bad and outdated programs continue to have a hold on the industry, why it’s so hard to b
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? Ar
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
John joins Mike Birbiglia on his podcast Working It Out to share direct, practical screenwriting advice that you’ll actually use, whether you’re an aspiring screenwriter or you want to pursue creative work of any kind. They explore John’s scr
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 man
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, bef
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,
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 d
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
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 n
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 par
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
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 w
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
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 de
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
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 d
John welcomes Celine Song (Past Lives) to chart her journey from playwright to Oscar-nominated screenwriter. We discuss the intricacies of writing bilingually, the similarities between theater and a writers room, finding the right collaborators
John and Craig host another round of the Three Page Challenge, where they give their honest feedback on three listener-submitted scripts. They offer insights into using sound realistically, writing action that can be easily directed, finding su
John and Craig discuss the dynamics of fandom, attempting to chart how things get cool, then hot, then terrible. But how are fandoms organized? Where do subcultures start? And how should you engage with the community that forms around your wo
The DGA surprised the town yesterday, announcing an update to their already-signed agreement with the AMPTP. The new deal includes select pay bumps and the streaming bonus gained by WGA and SAG-AFTRA after their lengthy strikes. John and Drew a
John welcomes back Aline Brosh McKenna to look at how both you and your characters can become more “agentic.” What are the traps and pitfalls of going after what you want? How do you get people to engage with your protagonist, especially when t
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