Ray Morton discusses the importance of clearly identifying the genre of your screenplay. Believe it or not, some screenwriters purposely misidentify the genre of their work.
Screenwriter Glenn M. Benest, who worked alongside legendary horror writer Wes Craven, offers tips on writing horror films and TV shows.
Dan Goforth spoke with producer Matt Baer about how Unbroken was always meant to be two separate films, how Matt chose the screenwriters, his views on the collaborative filmmaking process, and how important it was that this be a faith-based film.
Comedy guru Evan Smith explains how to use dramatic suspense to boost a story’s humor.
Hollywood veteran Daniel Petrie Jr. (Beverly Hills Cop) moderated a panel comprised of Hollywood’s hottest horror scribes: Scott Kosar (Texas Chainsaw Massacre 2003, The Machinist, The Crazies), Wesley Strick (Arachnophobia, Scorsese’s Cape Fear, Nightmare on Elm Street 2010), and Stephen Susco (The Grudge, The Grudge 2).
Despina Kartinis decided to do the world a totally unnecessary favor and dissect a bunch of rom-coms to see what the stink is. Nothing like rom-com analysis from a skeptic.
How does a romantic comedy hater prepare to dive into the world of RomComs? Here are the steps screenwriter Despina Karintis devised to get started on her anti-Romantic romantic journey.
Westerns suffer the same naysaying slathered all over romcoms that “Westerns are dead.” Except great Western films are out there just like any other genre.
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.