All Episodes
Scriptnotes Podcast (.mp3) — 441 episodes
Writing About Mental Health and Addiction (Encore)
There Are No Slow Claps
Stop Counting Pages (and Touching Your Face)
Beyond Bars
Political Movies
The One with Noah Baumbach
Holiday Live Show 2019
From Broadway to Hollywood
Cleaning up the Leftovers
Assistant Writers
The New One with Mike Birbiglia
Minimum Viable Movie
Assistants Aren’t Paid Nearly Enough
Follow Upisode
The One with Seth Rogen
Extra – What’s it like to win an Emmy?
Professionalism
Idea Management
Fantasy Worldbuilding
The Veep Episode
Mushroom Powder
Ready to Write
Writing About Mental Health and Addiction
Setting it Up with Katie Silberman
Wikipedia Movies
I Know You Are, But What Am I?
Rolling Dice
Understanding Your Feature Contract
Better Sex with Rachel Bloom
Live at the Ace Hotel
The One with Charlie Brooker
How to Write a Movie
How Do You Like Your Stakes?
You Got Verve
Movies They Don’t Make Anymore
Notes on Notes
The Curated Craft Compendium
The Sound Episode
Big Numbers
All in this Together
Broken but Sympathetic
Twenty Questions About the Agency Agreement
The Final Moment
When It’s All Said and Done
Getting Staffed
The Future of the Industry
The Clown Stays in the Picture
Seattle Live Show 2019
Scriptnotes, Extra: The Agency Agreement
The Princess Bride
Rules and Plans
Plot Holes
Splitting the Party
Professional Realism
Becoming a Professional Screenwriter
Double Ampersand
Holiday Live Show 2018
The Worst of the Worst
The Second Draft
Raiders of the Lost Ark
Commencement
Austin 2018 Three Page Challenge
Real-World Villains
Austin Live Show 2018
No Writing Left Behind
Only Haters Hate Rom-Coms
Writing Memorable Dialogue
Two Things at the Same Time
What Is a Movie, Anyway?
Advice for a New Staff Writer
One Year Later
WGA Elections 2018
Tying Things Up
Craig Hates Dummies
Netflix Killed the Video Store
Best Popular Screenwriting Podcast
The One with Mindy Kaling
From Indie to Action Comedy
Relationships
Where Movies Come From
Point of View
This Title is an Example of Exposition
Writing Animated Movies
Not Worth Winning
Upgrade
Bad Behavior
Infinite Westworld
Full Circle
Limerence
Putting Words on the Page
All About Family
Conflict of Interest
Changing the Defaults
Love, Aptaker & Berger
Comedy Geometry
The One with the Indie Producer
Getting Paid for It
Mostly Terrible People
We’re Back, Baby
The One with Stephen Schiff
The Next 117 Pages
Call Me by Your Name
Introducing Launch
Worst Case Scenarios
The End of the Beginning
Wait for It
We Had the Same Idea
A Cop’s Cop Show
Five-Star Podnerships
Pitching Television, or Being a Passionate Widget
Mergers and Breakups
Austin 2017 Three Page Challenge
(Adjective) Soldier
All of It Needs to Stop
Austin Live Show 2017 (AKA Too Many Scotts)
The Post-Weinstein Era
Scriptnotes Voice: Snitching on Sexism
Getting Stuff Written
Should You Give Up?
Diary of a First-Time Director
Movies Dodged a Bullet
Writing Other Things
First Day on the Job
Distracted Boyfriend Is All of Us
Big Screens, Big Money
Unforgiven
Well, It Worked in the 80s
The Magic Word Is In This Episode
Scriptnotes Live Homecoming Show
What’s in the WGA Deal
Logic and Gimmickry
Chekhov’s Ladder
Teaching Your Heroes to Drive
DRAMA!
Forever Young and Stupid
Location Is Where It’s At
75% of Nothing
Let’s Make Some Oscar Bait
The Addams Family
From Writer to Writer-Director
It’s Always Sunny in Star Wars
How Characters Move
Free-Agent Franchises
Television with Damon Lindelof
The Return of Malcolm
Getting the Details Wrong
Psychotherapy for Screenwriters
Underground Railroad of Love
Question Time
California Cannibal Cults
The Social Media Episode
WGA Negotiations 101
Betty, Veronica and Craig
Hollywood is Always Dying
Script Doctors, Dialogue and Hacks
Sinbad and the Sea-Monkeys
AMA With Derek Haas
Director Disorientation
The One from Paris
Holiday Homeopathy Spectacular
Black List Boys Don’t Cry
What Do They Want?
Revenge of the Clams
Fantasy and Reality
Mammoths of Mercy
Twelve Days of Scriptnotes
English is not Latin
Welcome to Gator Country
What is a Career in Screenwriting Like?
The Secret Live Show in Austin
Buckling Down
John Lee Hancock
Mystery Vs. Confusion
(Sometimes) You Need a Montage
Dig Two Graves
Stranger Things and Other Things
Sheep Crossing Roads
The One With the Agent
Frequently Asked Questions about Screenwriting
Tidy Screenwriting
Don’t Think Twice
Anthrax, Amnesia and Atomic Veterans
Duly Noted: Let’s Talk about Episode 259
The Exit Interview
Generic Trigger Warning
Flaws are features
Aaron Sorkin vs. Aristotle
New and Old Hollywood
The One with the Kates
Television Economics for Dummies
An Alliance with House Mazin
They Won’t Even Read You
The One with the Austin Winner
How to Introduce Characters
Pitching an Open Writing Assignment
The One with the Idiot Teamster
Outlines and Treatments
The Invitation, and Requels
Heroes, Villains and Two-Handers
No More Milk Money
Fan Fiction and Ghost Taxis
David Mamet and the producer pass
What is good writing?
The job of writer-producer
Sexy But Doesn’t Know It
Franchises and Final Draft
The one with Jason Bateman and the Game of Thrones guys
The Script Graveyard
Ocean’s 77
Fun with Numbers
Room, Spotlight and The Big Short
Raiders of the Lost Ark
Random Advice 2015
Scriptnotes Holiday Show 2015
Feel the Nerd Burn
The Batman in the High Castle
Only haters hate rom-coms
Whiplash, on paper and on screen
Confusing, Unlikable and On-The-Nose
Live from Austin 2015
Nobody Knows Anything (including what this quote means)
Writers Rooms, Taxes, and Fat Hamlet
The One Where Aline’s Show Debuts
Features are different
Campaign statements and residual statements
Rewrites and Scheduling
PG13: Blood, Boobs and Bullcrap
Clerks and recreation
NDAs and other acronyms
Diary of a First-Time Director
The International Episode
One-Handed Movie Heroes
How to Not Be a Jerk
How descriptive audio works
Why movies have reshoots
Everything but the dialogue
The One with Alec Berg
No one makes those movies anymore
Nobody Eats Four Marshmallows
Everyman vs. Superman
How would this be a movie?
The 200th Episode Live Show
Second Draft Doldrums
Back to 100
How do bad movies get made?
The long and short of it
Writing for Hollywood without living there
Poking the bear
How writing credits work
You can’t train a cobra to do that
The Deal with Scripped.com
This Is Working
Uncluttered by Ignorance
Midseason Finale
The Coyote Could Stop Any Time
The Rules (or, the Paradox of the Outlier)
Malcolm Spellman, a Study in Heat
Go Set a Spider-Man
The Deal with the Gravity Lawsuit
The One with Rebel Wilson and Dan Savage
INT. THE WOODS – NIGHT
Bad Teachers, Good Advice and the Default Male
The Conflict Episode
Doing, not thinking
Cutting Pages and Fixing Holes
Advice to a First-Time Director
Twelve Days of Scriptnotes
Hacks, Transference and Where to Begin
The Perfect Reader
Franz Kafka’s brother, and the perfect agent
Finishing a script, and the Perfect Studio Executive
Lotteries, lightning strikes and twist endings
Descending Into Darkness
Austin Forever
The Tentpoles of 2019
Critics, Characters and Business Affairs
Toxic Perfection Syndrome
Guardians of the Galaxy’s Nicole Perlman
Ghost
Luck, sequels and bus money
A Cheap Cut of Meat Soaked in Butter
A Screenwriter’s Guide to the End of the World
The Mystery of the Disappearing Articles
Putting a price on it
Threshers, Mergers and the Top Two Boxes
Summer Re-run: Psychotherapy for Screenwriters
Two Writers, One Script
Making Things Better by Making Things Worse
Selling without selling out
The Rocky Shoals (pages 70-90)
Secrets and Lies
Yes, screenwriting is actually writing
The Long-Lost Austin Three Page Challenge
From Debussy to VOD
To Chase or To Spec
Wet Hot American Podcast
Q&A from the Superhero Spectacular
The Summer Superhero Spectacular
Photoplays and archetypes
The Angeles Crest Fiasco
Uncomfortable Ambiguity, or Nobody Wants Me at their Orgy
Falling back in love with your script
The Crossover Episode
The Deal with the Deal
Draw Your Own Werewolf
Ghosts Laughing at Jokes
World-building
So Many Questions
Groundhog Day
The Contract between Writers and Readers
Procrastination and Pageorexia
Period Space
The One with the Guys from Final Draft
Frozen with Jennifer Lee
Women and Pilots
Punching the Salty Ocean
Egoless Screenwriting
Q&A from the Holiday Spectacular
Scriptnotes Holiday Spectacular
Young Billionaire’s Guide to Hollywood
My Girlfriend’s Boyfriend’s Screenwriter
Let’s talk about coverage
Positive Moviegoing
Time Travel with Richard Kelly
Not Just Dialogue
Damsels in distress
Scriptnotes: Back to Austin with Rian Johnson and Kelly Marcel
Blockbusters
Not Safe for Children
Let me give you some advice
What’s Next
Putting your pain second
Scriptnotes Live from New York
Are two screens better than one?
Talking to actors
Two ENTJs walk into a bar (and fix it)
Adventures in semi-colons
Ender’s Game, one-hours and alt-jokes
Disaster Porn, and Spelling Things Out
Hits, misses and hedge funds
101: Q&A from the live show
Scriptnotes, the 100th episode
Psychotherapy for screenwriters
Long movies, producer credits and price-fixing
Is 15 the new 30?
Three Page Challenge, Live Edition
Notes on the death of the film industry
10 Questions, 10 Answers
Let’s talk about Nikki Finke
The Little Mermaid
Bechdel and Batman
50 Random Questions
Writing effective transitions
Ugly children and cigarettes
Moving On is not Giving Up
Taking notes
Another Time and Place
First sale and funny on the page
A city born of fire
God doesn’t need addresses
Veronica Mars Attacks
Rhythm and Blues
Rigorous, structured daydreaming
The Germans have a word for it
We’d Like to Make an Offer
How screenwriters find their voice
Villains
Three-Hole Punchdrunk
Raiders of the Lost Ark
People still buy movies
Unless they pay you, the answer is no
Best of Outlines, Agents and Good Boy Syndrome
Eggnog and Dreadlock Santa
Talking Austen in Austin
The air duct of backstory
One-step deals, and how to read a script
The Next 117 Pages
Dramedy, deadlines and dating your writing partner
The Mystery of the Js
We’re all Disney princesses now
Alt-universe panels
The Black List, and a stack of scenes
Plot holes, and the myth of perseveraversity
Writing your very first screenplay
What is a movie idea?
Gorilla City and the Kingdom of Toads
Producers and pitching
Eight Reasonable Questions about Screenwriting
Action is more than just gunfights and car chases
Grammar, guns and butter
Dashes, ellipses and underground monsters
The Somewhat Healthy Screenwriter
Losing sleep over critics
Craig dreams of sushi
What script should you write?
Mistakes development executives make
Setting, perspective and terrible numbers
Endings for beginners
Pen Names and Divine Intervention
Verbs are what’s happening
Getting to page one
Death and feedback
Littlest Plot Shop
20 Questions with John and Craig
Let’s talk about dialogue
Writer’s block and other romantic myths
The Disney Dilemma
Umbrage Farms
Professional screenwriting, and why no one really breaks in
Amazon’s new deal for writers
All Apologies
How to be the script department
MacGruber, McGarnagle, McBain
How to cut pages
Let’s run a studio!
Etiquette for screenwriters
Optioning a novel, and the golden age of television
The Brotherhood of Screenwriters
The Happy Funtime Smile Hour
Six figure advice
Casting and positive outcomes
How credit arbitration works
56 Days Later
Zen and the Angst of Kaufman
What do producers do?
Thirteen questions about one thing
Screenwriting gurus and so-called experts
How residuals work
Undervalued simplicity, and WGA coverage for videogames
Follies, Kindles and Second-Act Malaise
How movie money works
Good actors and bad writing partners
Five figure advice
The Good Boy Syndrome, and whether film school is worth it
Firing a manager, and trying new software
How kids become screenwriters
WGA, copyright and musicals
Working with directors
Kids, cards, whiteboards and outlines
How to get an agent and/or manager
Pitching a take, and the WGA elections