According to Andrew Shearer, the ones being severely overlooked in a list like Script's Top Ten Screenwriters of the Decade are the writers who have broken new ground and offered us some of the most unique scripts of the decade.
Andrew Shearer expands on Peter Hanson's article “The Screenwriter’s Second Act" in the Sept./Oct. issue of Script.
William Martell’s article “Blockbuster Brilliance!” from the September/October edition of Script, perfectly outlines my final, winning rebuttal to an argument I’ve been having with a writer friend mine who thinks Avatar shouldn’t be on my 2009 top ten list. (After all, we’re screenwriters, not just “average moviegoers.”)
When I saw the title of Dwayne Alexander Smith’s article in the July/August edition of Script and the accompanying, enticing picture of the sexy, welcoming, smiling woman with the “no” and “yes” signs, I became quite excited. “The Agony of the Silent No” must contain the answers to my problems. However,...
I know you’ve all met the jerk at the counter of the video store who hands you the movie you just paid to rent and says cynically, “He dies in the end.” You stare in disbelief thinking, “Is this guy’s entire life such an empty hole that he has to ruin...
Beginning with the more substantive content on HBO and Showtime, and now leading up to NBC’s smart comedies and better dramas all around, not only are those shows enjoyable for writers to work on, but they have been successful as well.
Lucky for both couch potatoes and those of us who appreciate good writing, television shows have gotten a hell of a lot better in the last several years.
Ah, the myriad of screenwriting advice we have to sift through in order to become masters of our craft -- it can drive you to drinking.
Attention blossoming screenwriters who think screenwriting is a solitary art form: Read Script's article Anything but Elementary: Sherlock Holmes by Ray Morton with additional reporting by Bob Verini, and realize, as Editor in Chief Shelly Mellott put it, "It is better when we all work together."
Ah, the myriad of screenwriting advice we have to sift through in order to become masters of our craft -- it can drive you to drinking. William Martell’s article “Worldwide Cool” in the November/December edition of Script magazine suggests we should be writing scripts that appeal to worldwide audiences.