Craft

the theory and practise of screenwriting

 Brianne Hogan

“Don’t draw the line at good enough.” Diane Drake on Screenwriting

“Don’t draw the line at good enough.” Diane Drake on Screenwriting

Diane Drake on giving yourself permission to be bad, the essentials of a first act, and what to do with your script when it is written.

Diane Drake on giving yourself permission to be bad, the essentials of a first act, and what to do with your script when it is written.

 Brian Herskowitz

Paths, Ripples & Choices: How character and story logic can make or break your script

Paths, Ripples & Choices: How character and story logic can make or break your script

Using examples from The Night Of, Unfaithful and Breaking Bad, Brian explores character and story logic, and reveals the importance of believability.

Using examples from The Night Of, Unfaithful and Breaking Bad, Brian explores character and story logic, and reveals the importance of believability.

 Ernest Garrett

Logarithmic Time in Screenwriting

Logarithmic Time in Screenwriting

Logarithmic Time, and how you can employ it to improve your script!

In the first of a brand new series of video articles brought to you in conjunction with StoryBrain, we explore the concept of Logarithmic Time!

 Lucy V. Hay

How to Handle Notes

How to Handle Notes

Lucy V. Hay explores what to do when you receive conflicting feedback on your script.

Lucy V. Hay explores what to do when you receive conflicting feedback on your script.

 John Davis

What Writers Can Learn From Musicians

What Writers Can Learn From Musicians

John Davis on practice, working on your flaws, and the importance of throwing it all away.

John Davis on practice, working on your flaws, and the importance of throwing it all away.

 Michael Hauge

Arenas and Finish Lines in Screenwriting

Arenas and Finish Lines in Screenwriting

Michael Hauge explores the concepts of Arenas and Finish Lines, as shown in Avatar and The Hurt Locker.

Michael Hauge explores the concepts of Arenas and Finish Lines, as shown in Avatar and The Hurt Locker.

 Michael Welles Schock

Charles Dickens’ A Christmas Carol: A Cinematic Prototype

Charles Dickens’ A Christmas Carol: A Cinematic Prototype

Michael Welles Schock reveals what A Christmas Carol can teach us about plot structure, and how it illustrates the relationship between narrative conflict and the character arc.

Michael Welles Schock reveals what A Christmas Carol can teach us about plot structure, and how it illustrates the relationship between narrative conflict and the character arc.

 Scott McConnell

Writing a Dramatic Script: Five Key Techniques

Writing a Dramatic Script: Five Key Techniques

Scott McConnell on plot and story, creating a layered central conflict, and the use of disguise, deception and complications.

Scott McConnell on plot and story, creating a layered central conflict, and the use of disguise, deception and ingenious complications.

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Deep Feedback

Joss Whedon on Screenwriting

MFA in Screenwriting