Cheryl Laughlin takes you inside the Austin Film Festival RomCom panel to discover romantic comedies are far from dead.
John Truby explains how if you don’t develop the premise and movie genre the right way, the best scene writing in the world won’t make a difference.
Consider me intrigued by faith-based screenwriting. How do you align real-life dialogue and tough character situations with family-based Christian films?
Alfred Hitchcock is the master of suspense. But is he being misunderstood by critics and writers? Take a closer look at what he really said about the famous ticking bomb.
Jenna Avery interviews writer Scott Myers on the ins and outs of the sci-fi spec market, including budget, world-building, and existential questions.
One WGA writer's take on how the standard practice and application of genre can be used in ways that may adversely affect a screenplay.
WGA writer Michael Tabb shares how he goes from zero to story without ever incurring writer's block. This article delves into selecting a genre.
Jacob Krueger discusses how when you realize “this is what its really about,” you can start to get even more creative about the horror moments in your script.
Susan Kouguell explains how writing for animation follows the same basic rules of live-action screenwriting, but the attention screenwriters must focus on are world-building and effectively using visual storytelling.
Glenn Benest discusses not only writing two horror screenplays for the late, great director Wes Craven, but also mentoring horror projects in his private workshop, including 'Scream' and 'Event Horizon.'