#Screenwriter podcast professional#
#Screenwriter podcast series#
#Screenwriter podcast free#

The episode is absolutely packed with useful and inspiring information. We pull the best interviews from the IFH Podcast Network archives and put a spotlight on them here. Jonathan also speaks extensively about his process for developing, outlining, and writing his scripts, as well as how and why he signed with his manager, Scott Carr - who joins them on stage to talk about the query letter that won him over. Have you ever wondered what it’s like inside a screenwriter’s mind In this bi-weekly podcast, we explore how successful screenwriters tackle structure, plot, character, dialog, and the film business.

This guy, with nothing but words on a page, made me laugh out loud.’ I’d go back to that scene and try and analyze and understand why I’d reacted that way to it because it was so good and I just wanted to get to the root of why.' If I’m reading scripts and I laugh out loud… I remember reading ' Crazy Stupid Love' by Dan Fogelman, a brilliant script and I thoroughly enjoyed reading it, and I found myself laughing out loud and then I’d stop and say, ‘Hold on. 'One of the things that I used to do is, I would take a script – that’s usually about 120 pages – I would read the first 60 pages in the morning, then I would go and teach my day at university, and over the course of the day I would think, ‘Alright, I’ve got 60 pages, I know who the characters are, I know what’s going on, how would I end the movie? How would I write the latter 60 pages?' My education mainly consisted of reading other people’s work, trying to understand why they were working or why they weren’t working, and then just getting a sense of the kind of material that I would like to write myself. I read ' Story' by Robert McKee and went through that with my highlighter. 'Which allowed me to get as many scripts as I could, break them down, analyze them. He goes on to describe some of the smart strategies he used to teach himself screenwriting:

#Screenwriter podcast free#

In order to just keep a roof over my head while I taught myself the absolute basics, I thought, ‘Alright, I’m going to go teach English at a university in China.’ I was earning about 300 bucks a month, but it was worth it for the experience and the sheer amount of free time I had.' 'I just kind of left with this idea that I wanted to pursue screenwriting. I’m at the interview, Jonathan talks about how he abandoned his law career for his screenwriting dream:

#Screenwriter podcast series#

Examples of successful TV series bibles on Carol Kirschner’s website.

But LeFauve and McKenna have a more emotionally intimate. This is very much in the Scriptnotes model, with two screenwriters talking about screenwriting life and craft, complete with the occasional guest. John has also won three Australian Writers’ Guild Awards (AWGIES) and been nominated seven times.Ġ:51 | Why I’m making a kids’ TV show in Australia The Screenwriting Life is a podcast that she does with fellow writer Lorien McKenna where they talk about the craft and life of screenwriting. Emerging writers who have optioned screenplays and made The Black List, Blood List, and Hit List.

#Screenwriter podcast professional#

Guests include professional screenwriters with produced film and television credits. Most recently he was the script producer and writer for the Netflix animated series Beat Bugs (featuring the music of The Beatles) which won the 2017 Emmy Award for Outstanding Writing in Preschool Animation, and the 2016 AACTA Award for Best Children’s Series. Interviews with members of the Screenwriters Network Discord server. John Armstrong is a screenwriter, script editor and script producer with over 20 years’ experience in creating television for younger audiences. We also discuss the US showrunner model of creating shows versus Australia’s producer-created model and how that informs how TV pitch/series bibles are compiled. In this episode we discuss what goes into different story bibles from the pitch ones used to sell a television show, to the more detailed series or writers’ bible used to help writers before and during production. We first met at a screenwriters’ pitch event in Sydney in 2017 and have since co-created a teen drama series which is in early stage development. My first guest in Season 2 of the podcast is screenwriter, script producer and script editor John Armstrong. ‘You’re selling the sizzle, not the steak.” - John Armstrong