In discussing what makes an Oscar-worthy movie, Ray Morton suggests screenwriters stop thinking in narrow terms of art house versus box-office success.
Adapting a book to film requires making hard choices. Joy Cheriel Brown analyzes the adaptation choices in the film Every Day.
Using the movie Downsizing as an example... of what not to do... William C. Martell discusses the importance of a protagonist having clear objectives.
Barri Evins shares what she learned from working with writers: the most frequent screenwriting problems and her bottom-line on solutions to overcome these obstacles.
Scott McConnell demonstrates the many ways writers can merge genres to come up with an original premise for your TV show or feature film.
When people discuss the Breaking Bad phenomenon, beyond the originality of the story, the great characters are mentioned as the key to the show's success. Paul Peditto examines the chemistry of the Walter White character.
Ray Morton challenges those who argue against a three-act structure, opining that screenwriting is dramatic writing and the three-act structure is as inherent to dramatic storytelling as steel is to building a skyscraper.
Jim Mercurio dives deep into the importance of writing action description that propels your story and engages the reader.
Barri Evins’ on using The Art of Surprise in concept, execution, expectations, and with tension and suspense to lift your work to a new surprising new level.
William C. Martell explores creating unlikable protagonists in a likable way, using examples from Can You Forgive Me? and Pollack to highlight the best approach to adding dimension and interest to your more difficult characters.