The Screenplay Writers: Recent Episodes
Ryan Abbott and Nathan Hare, Screenplay Writers
The Screenplay Writers is a master class in writing screenplays by two screenplay writers who, between them, have crafted dozens upon dozens. And that doesn’t include the dozens more they’ve brainstormed. Join Ryan and Nathan as they share their vast stores of knowledge on the essential elements of a successful screenplay—as well as the challenges of the revered profession. Yeah, there are a few!
Hi there. This is Agent Nick. You might also remember me as Intern Nick. I have taken the extraordinary measure of recording this episode on my own, because I need to find Nathan and Ryan immediately. Listen to this episode and you'll understand why. Ryan and Nathan, if you see this episode, please contact me. After you listen to it. Right after.
Nathan and Ryan reveal that they’ve been asked by several deep-pocketed backers to open and manage their own cafe—and they’re doing it. They’ve decided to call it Café Screenplay. They are giving up the screenplay scene for the time being—likely forever. The plan? They're headed away for the next 11 weeks, during which time they’ll be totally unreachable as they tour the finest coffee plantations and farms in Central and South America, sourcing the highest quality beans for Cafe Screenplay.
Ryan and Nathan wanted to add that it’s been an absolute pleasure bringing their knowledge of and passion for screenplays each and every week for the past two years. Stop by Cafe Screenplay if you’re in Vancouver and enjoy 20 percent off a coffee with the purchase of a baked good or raw vegan item (minimum $3.50). While supplies last.
Nathan and Ryan reveal a few devastating obstacles they've been confronting and explain why their podcast episodes illogically jump from 91 to 99. The screenplay writing app they’ve been developing has been shelved, after they received multiple cease and desist orders from gigantic companies. Their junior producer Jack un-greenlit the two screenplays they thought were being produced. Clearly it’s a really low time for them—”all is lost” you might say. They dissect "The Avengers: Endgame" in script surgery, and Ryan sadly presents “The Genius Teacher” in Logline Cage Match.
When someone has feedback on your screenplay, you best listen. It's called criticism, and often it contains something useful or insightful. At the very least, it's fuel for your fire, inspiring you write more and achieve great things that the criticizer could never dream of. The guys do script surgery on "Fighting with my Family," and Nathan pitches "The Red Pen From Beyond the Grave" in Logline Cage Match.
Financing is very important when it comes to taking screenplays to the big screen. Nathan and Ryan talk about their recent adventures in financing, having a noted and notable junior-producer-slash-financier named Jack greenlight two of their screenplays with sudden financing from independent means. The guys do script surgery on “Us,” the new Jordan Peele picture, which was fantastic and engaging, despite the short title. Ryan pitches “Means of Independence“ in Logline Cage Match.
In the midst of recording a much-requested episode about sound, Ryan and Nathan get a call from their friend Jack, a junior producer, who needs screenplays to park some money in, stat. They get a few ideas greenlit, which Jack is going to start junior-producing. The guys note that the incident was an example of a Hare’s Rule: when a completed screenplay meets a phone call, that’s good luck.
Featuring Jack Hauen as the junior producer.
Nathan and Ryan talk about the many features and benefits of the screenplay-writing app they're building from scratch. It comes with 20 of the guys’ screenplays pre-loaded on the app for users to edit and use, a value of around $1,000,000. They do script survey on Lego 2 and Ryan pitches his idea “Meccano“ in Logline Cage Match.
Nathan and Ryan talk about monologues and why you should avoid them at all costs as a screenplay writer. Hint: It’s so that actors’ egos don’t get out of hand with all they attention monologues give them. They do script surgery on “Glass” and Ryan pitches his idea “The Unlicensed Dentist” in Logline Cage Match.
Nathan and Ryan talk to Nathan’s friend, (unlicensed) Dr. Graeme, who makes a stunning announcement you'll have to hear to believe. They all talk about the importance of the CTP principle, which stands for ‘combining the passions.’ Ryan and Nathan give the unlicensed doctor helpful life advice.
Featuring Graeme Achurch as (unlicensed) Dr. Graeme.
Whether your screenplay needs CGI (computer-generated imagery) when it hits the big screen really depends on your imagination. If you have a huge imagination, you might need CGI. Nathan and Ryan talk about the screenwriting app that they’re starting to create from scratch. They do script surgery on “Alita: Battle Angel,” and Ryan pitches his idea “The Startup Chronicles” in Logline Cage Match.
Nathan and Ryan analyze in great detail the 2019 Oscars, which will go down in history as one of the Oscars most engaging ceremonies.
Who will win at the Oscars next Sunday. Nathan and Ryan run down nearly every category. You may be surprised by what they have to say, but you'll have to download this episode and listen to it to find out.
Nathan and Ryan talk about the surprising lack of challenges they experience crossing the border despite being prolific screenplay writers. They never get asked for their business Visas, which they have dutifully acquired. The guys do script surgery on "Poppins Returns” and Ryan pitches “Solo 2: Falcon Rises: Mechanic’s Dream” in Logline Cage Match.
Distribution is critical when it comes to screenplays. Otherwise, how will anyone see your pages? The guys do script surgery on “Roma” and Nathan pitches “The Lightning Soldier” in Logline Cage Match.
At some point, every screenplay writer asks her or himself, or her or him friends, “What about festivals?” In episode, we answer that question. The guys do script surgery on “Shoplifters” and Ryan reads his idea for a skiing comedy mystery, “The Skiing Bandit,” in Logline Cagematch.
Writing effective phone calls in a screenplay is the calling card of a successful screenplay writer. With the popularity of phones these days, you simply can’t avoid developing this skill. The guys do script surgery on “Bumblebee” and Ryan pitches his idea “The Neverending Conversation” in Logline Cage Match.
Why are table reads so important to the screenwriting process? Because they present a rare opportunity to bring the cast together around one huge table—and around the screenplay. (Note: The best table reads are done around oval tables.) The guys do script surgery on “Welcome to Marwen” and Ryan pitches his idea “Frosty the Hitman” in Logline Cage Match.
Nathan and Ryan check in with their new manager, Nick, who recently became a manager. They chat about all the progress he’s made managing their screenplay writing career. Big things ahead!
Featuring Nick Zarzycki as Manager Nick.
Nathan and Ryan reach out to Double Agent Nick—one of their new year's resolutions—to find out what he’s been up to over the past 30 episodes. Turns out he wants to become a manager. They run their idea “Snorkelman” by him and he likes it, and becomes their manager.
Featuring Nick Zarzycki as Manager Nick.
It’s Christmas day! Happy Christmas. Nathan and Ryan are gathered around the fire with close family, recording a holiday podcast about their movies of the year—past and present. They also do script surgery on "Aquaman" and Ryan pitches his idea "Snorkelman" in Logline Cage Match.
Fight scenes are so important to most action movies. The thing you need to think about when you’re writing them and filming them is how to capture them on the page and on the screen. The guys do script surgery on “Creed 2” and Ryan pitches his idea “Boxer Jumper” (working title only) in Logline Cage Match.
Writing for kids is something every screenwriter does at one point in her or his career. Nathan and Ryan talk about the keys to making your script work for this genre and audience, including two essential Hare’s Rules: You gotta dumb it down, and kids don’t get references. They do script surgery on Ralph Breaks the Internet (Wreck-it Ralph 2), and Nathan pitches his idea “Kid Tax” in Logline Cage Match.
The meet cute is an essential scene that appears in most genres. It's the moment the main character meets his or her romantic love interest. Most effective meet cutes involve the throwing or dropping of paper, or the meeting of in-laws. Nathan and Ryan do script surgery on "Widows," and Ryan pitches his new idea “Burger Time” in Logline Cage Match.
If you’ve written or read a screenplay lately, you’ve probably come across parentheticals. They’re those bits of direction before dialogue that inform directors what the heck to do. Without them, directors wouldn't have a clue—and for that reason they're among the top seven things to master when writing screenplays. The guys do script surgery on “The Crimes of Grindelwald,” and Nathan presents “Nathan Canadian” in Logline Cage Match.
What’s a MacGuffin? What do you do with it? How does it inform your screenplay? A MacGuffin can be anything and do anything. Let us explain. The guys do script surgery on "Johnny English Part 3" and Ryan reads his pitch, “Mr. Words of the Year,” in Logline Cage Match.
Continuing their surprising and very important conversation about storage, the guys talk about cloud-based solutions. That's where you store files in a place other than your computer’s own hard drive. Something to think about as you craft your screenplays. The guys do script surgery on “Susperia” and, in Logline Cage Match, Ryan pitches Nathan his idea "Space Diner."
How and where you store your computer files is a big part of being a successful screenplay writer. If you lose your files, you’re done for. The guys do script surgery on “Beautiful Boy,” and Nathan pitches his thriller-horror “The Killer from the TV” in Logline Cage Match. Ryan proposes a more successful name, “Big Scream TV.”
It’s simple screenplaywriting 102: your main character better go through some sort of change on her journey through your script. The most impactful journey? A full rebirth. Remember this Hare’s Rule: A character’s mental and spiritual rebirth can be driven by a physical transformation. The guys do script surgery on “Halloween” and Ryan reads his idea “Killer Cold” in Logline Cage Match.
Special thanks to special guest Graeme Achurch.
Ryan has a really bad cold, so Nathan call his go-to guru, an unlicensed underground medical health advocate named Graeme. Graeme prescribes Ryan a specific brand of Himalayan salt water and advises he buy Nathan gifts cards from any retailer or restaurant.
Featuring Graeme Achurch on vocals.
All screenwriters have to deal with rejection, even the best of us. In life and in screenplay writing, it’s something we have to confront and move past. Good lesson. Nathan and Ryan do script surgery on “The Nun” and Ryan pitches “Worlds Collide” in Logline Cage Match.
To be a successful screenplay writer, you need to have a system to manage your time, team and resources. Nathan goes through all the apps he uses for that purpose, while Ryan discusses the course he is taking. The guys do script surgery on “The House with a Clock in Its Walls,” which brings up a Hare’s Rule: Be literal with your title. Nathan pitches “Two Lawyers, One Case“ in Logline Cage Match.
Screenplay writers need to deal with criticism. They need to be able to take it, they need to be able to give it—constructively. The only way to make your screenplay writing better is to listen to criticism, then ignore it and forge your own path. The guys introduce their Ice Cream Sandwich criticism method. They do script surgery on “A Star is Born” and Ryan pitches “The Last Netminder” in Logline Cage Match.
Passion is why we get up in the morning to try to make a lot of money writing critically acclaimed blockbuster screenplays that linger in the popular consciousness. Bottom line: it's all about passion—and so is the bottom line. Nathan and Ryan discuss the Hare's Rule "Put passion on the page, or flop." They perform script surgery on "Peppermint" and Nathan pitches his dramatic thriller "The Teacher's Pet: Revenge (or Return) of the Pet" in Logline Cage Match.
Compared to screenplays, books are not fun to read. Screenplays are the highest art form, while books are heavy and long. But sometimes, if you’re lucky, you’ll find a book that contains an idea that inspires you to craft your own original and legally distinct screenplay. The guys do script surgery on “The Spy Who Dumped Me” and Nathan pitches his idea “The Professor’s Pet” in Logline Cage Match.
It's important to know how to address sound in screenplays, since it often translates to what filmgoers hear when the screenplay comes to life on screen. Nathan announces he is going back to school to study computer programming and Ryan reveals he is on the hunt for a new co-host to replace him. They perform scirpt surgery on "Mamma Mia! Here We Go Again." Ryan pitches his idea “The Cabin-Makers Gambit” in Logline Cage Match.
How you publicize your screenplay and yourself are critical factors in your success. You need to consider what the ad campaign will be for your work of art while you are crafting every character, every plot point. The guys do script surgery on “Elf” and discuss their idea “The Plush Carpeteer” in Logline Cage Match.
Nathan and Ryan record their first ever live recording of the Screenplay Writers Podcast. Thanks to all who came out and actively participated in the recording through the many questions and positive feedback you gave us when the microphones were not recording. The guys attempted to do script surgery, and took loglines from the audience for a live, spontaneous and exciting Logline Cage Match session. You won’t want to miss this live recording!
The guys talk about their upcoming live recording of the Screenplace Writers Podcast, which they have been planning for nine months but forgot to tell anyone about until this episode. Ryan pitches his idea “Smoke Haze,” inspired by wildfire smoke. The guys do script surgery on “Crazy Rich Asians” and revisit Ryan's idea "Little Miss Journalist" in Logline Cage Match Update. They note a Hare’s Rule: Your title should have three words and they should all be very descriptive.
Not every screenplay takes place in the city, suburbs or shopping mall, some take place amid nature. Writing about nature is fun, and to do it successfully you must look up from the page every once in a while to see the beauty that surrounds you. Nathan and Ryan rehash the first annual Screenplay Writers Camp from last weekend, which was a huge success, though there was only one other camper there. They do script surgery on Sorry to Bother You, and Ryan pitches his new idea, Fatigue.
Voice is one of the most important topics when it comes to screenplays. You should think long and hard about voice before and during the screenplay-writing process. Nathan and Ryan talk excitedly about their upcoming Screenplay Writers Camp. They perform script surgery on Eighth Grade and Nathan pitches “Hospital-ity” in Logline Cage Match.
The climax is one of the top six or seven scenes of a screenplay, so you really need to have a think about it before you write it. Nathan and Ryan reveal details of their upcoming annual Screenplay Writers Camp Retreat, coming up in just a couple weeks. Let us know if you’re interested in camping and talking screenplays. They do script surgery on "Mission Impossible 5," and Ryan pitches his idea “The Drop” in Logline Cage Match.
Thanks to James Andrews for contributing ideas to this episode.
Flashbacks are a big, big part of many screenplays. They take the reader back in time, to tell him or her why the main character(s) are the way they are. The best place for flashbacks is at the very beginning or the very end of a screenplay—or both. The guys do script surgery on “Love, Simon,” and Ryan pitches his idea “Crazy Birds” in Logline Cage Match.
It’s episode 52, our one-year anniversay of weekly episodes! The SPWs get “intense” in this episode on “intensity.” Nathan gives an update on his bid to be elected as a judge for the South Surrey Screenplay Writers Festival, and reveals his Hare’s Rule: The right channel is all channels. The guys do script surgery on “Blockers” and Nathan pitches his idea “GeneroCity” in Logline Cage Match.
In a successful screenplay, nearly every page has an element of surprise, whether it’s the dialogue or simply a character jumping out from behind a door. Or incorporate a jack-in-the-box, which is a Hare’s Rule. The guys do script surgery on “Game Night” and Ryan pitches his idea “Goth Doctor” in Logline Cage Match.
Up high, down low, or right in the middle—from which perspective will you write your screenplay from? The guys do scirpt surgery on "Solo" and Nathan pitches his idea "Revolving Door."
Sports screenplays are all about athletics, and about crafting an inspirational speech from the coach to deliver to her or his players around three-quarters of the way through the screenplay. And also about the training montage. Nathan and Ryan do script surgery on “Dodgeball,” and Ryan pitches his idea, “Life Hacker,” a MacGuyver for modern times.
Summer blockbuster season is here and the guys are excited. Every year around this time they begin work on their own blockbuster screenplays, which they spend the summer blockbuster season writing and refining. They discuss an indispensible Hare’s Rule, how you set up your workspace informs how you set up your headspace. They do script surgery on “The Incredibles” and Ryan pitches his idea “The Narcitect” in Logline Cage Match.
Intern Nick joins Nathan and Ryan for a chat, during which he lets them know that he recently was offered a job as a low-level intern with Mark Ruffalo’s agent. Ryan gets an idea while they’re talking to Intern Nick for a screenplay: “Double Agent Undercover Nick,” about a Hollywood-basedundercover double agent. It would be a biopic, probably starring George Clooney.
Nathan and Ryan talk to Agent Nick again. They tell Nick they aren’t going ahead with his script that he pitched them last week, but they are writing one called “Speedboat Secondary.” They offer Nick a job as an intern on the podcast, after he reveals he doesn’t like being an agent for movies anymore. Nick accepts. He is now known as Intern Nick.
Nathan and Ryan discuss grit, and why it’s so important to screenplays. While recording this episode, they get a spontaneous accidental phone call from Agent Nick. They waste no time in pitching him new ideas, including “Snap, Crackle, Drugs”—an unflinching biopic about the Rice Krispie brothers. Nick later pitches they guys on an idea of his own, “Speedboat Sales," which they green light without hesitation.
Nathan and Ryan recorded this episode on a plane, flying home from Minneapolis-St Paul, where they were not able to meet up with junior producer Jack. They talk about the essential elements that make rom-coms work: scenarios that are amusing, interesting, engaging and surprising, or the three “i”s. They do script surgery on “Fever Pitch.” In Logline Cage Match, Ryan pitches his idea, “The Translator.”
In this second special episode recorded on location in Minneapolis-St Paul International Airport, Nathan and Ryan are still trying to track down junior producer Jack, who must be unable to receive their texts. They talk about the Hare's Rule "Don't do too much with it," and break down how to write smart, engaging sequels. In Logline Cage Match, Ryan reads his idea "A Loud Place," which came to him out of nowhere.
Sound effects from https://www.zapsplat.com
In this rare special episode, Nathan and Ryan are on location at the lovely Minneapolis-St Paul International Airport, where they are trying to contact their junior producer Jack, to talk about their screenplays. Lovely, lovely airport. Great food court. They do script surgery on Capote. Ryan reads his idea “The Perfect Hurricanes” in Logline Cage Match.
Sound effects obtained from https://www.zapsplat.com
In this follow-up to episode 40, Nathan and Ryan re-connect with junior producer Jack about their screenplay ideas. Jack said him and his dad and uncle really like the ideas. Nathan and Ryan are considering traveling to meet in person with Jack and his senior management team to discuss in detail.
In this super-special episode, Nathan and Ryan talk to Jack, a junior producer of screenplays who reached out to them because he's really interested in everything they have to say. The guys pitched Junior Producer Jack on a few ideas in the horror-gaming genre, and he loved what he heard. Ryan and Nathan might go visit Jack and Jack's dad, a senior producer, at their place in Winnipeg, when Jack's high school semester lets out.
Drillers are dramatic thrillers. Driller is a new word made up by Nathan and Ryan. To write one you have to remember to be both dramatic and thrilling. Sorry about the audio with this one, folks. Halfway through, Nathan is hard to hear due to a file-saving malfunction. The guys do script surgery on LA Confidential. Ryan pitches his screenplay idea “Trivago Man,” a possible marketing co-brand with Trivago, if they’re interested.
This episode is brought to you by Steam Engine ExceloPow Mostly Raw Vegan Power Bars, exclusively available at Steam Engine Coffee! We’re thrilled to be back with the Steam Engine Coffee family—can’t remember why we decided to leave. What’s a scene? That’s what aspiring screenplay writers want to know; we get many private DMs asking us that very question. A scene is a little nugget of action that, when combined with many other nuggest, collectively form a unfied, sense-making screenplay. If you can’t sum up what’s happening in eight to ten sentences, you probably don’t have a scene. Nathan shares his Hare’s Rule, “Moving the Ball Down the Field,” which is essential for crafting a screenplay that flows. The guys do script surgery on “Black Panther,” and in Logline Cage Match Ryan pitches his idea “Detective Normal.”
If villains are one thing, it’s not good. They often swoop in, stealing others' ideas and tasty products, on which they intend to greatly profit even though they didn’t create them. Villains ultimately do not win, most of the time, because they don’t have moral rights to anything. The guys do script surgery on “Rosemary’s Baby”, and Nathan pitches his idea “Posterland” in Logline Cage Match.
This episode is (only legally, and very reluctantly) brought to you by Firehall Coffee’s Raw Vegan Power Bars.
Heroes are the good people in screenplays—the ones you’re cheering for. They don’t have to have any big skills or special powers, but they do have to be pretty interesting on the screen-page. The guys do script surgery on “I, Tonya”, and Ryan pitches his idea, “The Footnotist.”
Musicals sometimes have singing and songs when there’s normally talking, which makes them fun screenplays to write. One thing you might want to do is make your characters have a reason to be good at singing, otherwise, get ready to suspend your disbelief. The guys do script surgery on The Hunger Games: Mockingjay — Part 1, and Ryan presents his idea, “The Shocking Conclusion” in Logline Cage Match.
Mystery is about confusion. It’s about bouncing around, so the audiece doesn't know exactly where you're taking them—and yes, that's a good thing. Don’t feel the need to explain every last detail in your screenplay. The audience isn’t stupid—they’ll figure it out—eventually. Nathan explains his bounce-around rule, the guys perform script surgery on "Clue," and Nathan pitches his idea "Chamomile Nights."
This episode is brought to you by ExcelPow Raw Vegan Smoothies.
Cliffhangers are all about creating scenes in which the reader is unsure what's about to happen, but they really, badly want to find out. Ryan and Nathan go through all the essentials of writing a cliffhanger-rich screenplay, and they touch on the essential related Hare's Rules. They do script surgery on "Cliffhanger" and Ryan pitches his idea "Belgrade Cafe" in Logline Cage Match.
In this exclusive special edition episode, Nathan and Ryan run through the major categories for the Academy Awards (the “Oscars”), explaining who will win each in 2018. From Dunkirk to Sound Editing, the guys cover many of the screenplays and categories.
This episode is brought to you by ExcelPow Power Bars, raw vegan power bars that really give you a boost. Now legitimately available over the counter at Firehall Coffee.
To write a buddy comedy, one of the most popular genres in existence, you have to start wtih comedy. That means humour. That means jokes. That means laughter. Good buddy comedies pair great characters with a fantastic screenplay, which is exactly what Ryan and Nathan cover on this episode. They perform script surgery on "The King's Speech" and Ryan pitches his new idea, "Accidental Carbon Copy," in Logline Cage Match. Nathan provides an update on his ill-fated personal website project.
This episode is brought to you by ExcelPow Raw Vegan Power Bars, power bars that really give you a boost—physically.
So you think you’ve got a screenplay idea—what do you do with it? First, run it by Ryan and Nathan or another friendly expert to see what they think. The guys talk about how to know a good idea when you write it, what to do when you realize you’ve got a good idea, and how to skirt trademark infringement laws. They do script surgery on Idiocracy; Ryan pitches his idea “Life Force Fitness” in Logline Cage Match.
Drama is more than just a genre. It's a key element of all kinds of screenplays. Tension, intrigue, interest, conflict. These are the hallmarks of drama. Nathan and Ryan discuss how to make your comedies better using drama, and touch on their favorite dramatic genre, the driller, or dramatic thriller. They do script surgery on Downsizing; Ryan presents his idea, Bright Web, in Logline Cage Match.
This podcast is secretly brought to you buy Nathan and Ryan’s raw vegan power bars, available at Firehall Coffee under the table—literally. Just say you want “an extra boost.”
Action is what screenplays are all about. It’s more than just what the director says to start actors acting. It’s the “ing” version of verbs, come to life on the page. A screenplay without action would just be a bunch of people talking, which sounds awful. The guys do script surgery on "Muriel’s Wedding" and Nathan pitches his unique, original concept, “Weird Events.”
The point of a montage is for the audience to learn something and for a character to change in a short amount of screenplay time. Nathan and Ryan talk about "Star Wars: The Last Jedi," and how it could have benefited from a montage or two. But not the casino part, which they loved. They do script surgery on “Coco.” In Logline Cage Match, Ryan reveals his latest big idea, “Urban Leprechaun.”
The rewrite phase is what separates a truly exceptional screenplay from a merely outstanding one. That’s why Ryan and Nathan strongly recommend doing rewrites on the majority of your pages. In this episode, Nathan and Ryan give Agent Nick a call, to follow up their two screenplays Agent Nick greenlit just seven days ago. After several reminders, Agent Nick seems to remember what they're talking about.
What are agents? What do they look like? Where do you find one? Nathan and Ryan answer these questions and more. Above all, agents should represent your interests; they shouldn't not do that. To illustrate, Nathan and Ryan get on the phone with the notoriously difficult-to-track-down Agent Nick, a close personal friend who is closely connected to the film industry, to discuss “In Memoriam,” their buzzworthy screenplay. Nathan also pitches his idea, “Lunch Lady Undercover” and Ryan pitches “Unassisted Living.” Agent Nick responds really, really positively to both.
In 2018's first episode of the Screenplay Writers, the guys talk transitions, as well as their New Year’s party at Firehall Coffee, which included lots of coffee and sparkling water. So they haven't slept in 41 hours. Transitions are a way to move between scenes and times, such as from the past into the present, or from a dining room into a hallway. They perform script surgery on "Lady Bird" and Ryan pitches "Prancer" in Logline Cage Match.
This episode is brought to you by the Minty Dipper, the most refreshing coffee beverage anywhere. Only available as a secret, unrequested menu item at Firehall Coffee in Vancouver, BC.
Directors get all the credit while screenplay writers do all the work. That’s this episode’s message in a nutshell. Some people say that directors are all loudmouths, but, in fact, most are simply failed screenplay writers. Nathan and Ryan do script surgery on “When Harry Met Sally,” which has a stunning soundtrack by Harry Connick, Jr. Ryan presents his idea “Totally Hydrated” in Logline Cage Match.
This episode is brought to you by Firehall Coffee’s Hazelnut-Cashew Latté, voted the best multi-nut latté in Vancouver.
On this special Christmas edition of SCPWP, Nathan and Ryan celebrate all things Christmas and screenplay. They discuss Nathan’s original semi-popular beverage, the minty dipper, and perform script surgery on “500 Days of Summer.” In Logline Cage Match, Ryan presents his screenplay idea, “The Mediator,” about a mediator who is a touch aggressive when he play pickup basketball, but can't help it. Special thanks to Stacey, Gwen and Glen at Firehall Coffee for tidying up while Nathan and Ryan record the podcast—and happy holidays to all our listeners!
Nathan provides an update on the drama surrounding his website. Spoiler alert: it’s a disaster.
Then the guys dive into music. What kind of impact can the screenplay writer have on a movie's music? Answer: A big one. Nathan and Ryan discuss the difference between soundtrack and score, and the usefulness of making sample soundtrack CDs to accompany your screenplay. They do script surgery on “Rushmore,” which is full of great music. Ryan reads his latest idea, “Farmer Coolhunter,” in Logline Cage Match.
Wondering how to come up with a screenplay title that will get you a contract and lots of pop at the box office? Many listeners have privately asked us to cover this topic, so here it is.
Titles should convey what the screenplay is about. Great titles often incorporate a character’s name in a double-meaning sort of way. Nathan gives a new Hare’s Rule: Make your title something that sort of confuses people. The guys do script surgery on “Ratatouille.” In Logline Cage Match, Ryan pitches his logline for a title-driven screenplay idea, “Fine and Dandy."
THIS IS NOT A REPEAT! We forgot that we already covered dialogue, in episode 0007, but what the heck, here’s another take on it. Dialogue is what happens when characters talk, and accounts for upwards of 80 percent of your screenplay’s word count. When writing dialogue, remember to keep it “I and I,” interactive and interesting. The guys do script surgery on “The Devil Wears Prada” and Ryan shares his idea, “Jean Chrétien et moi,” a bilingual buddy cop comedy.
This episode is brought to you by Firehall Coffee, home of the nicest medium-roast beans in Vancouver. Open later on Fridays.
If you want to make your screenplay funny, try inserting some humour. Whether you put it in the action, storyline or dialogue, humour can yield laughter via well-timed and carefully crafted amusement. Heart and soul are the perfect complements to humour, and would also make a great screenplay title. The guys perform script surgery on “Blue Streak.” For Logline Cage Match, Nathan presents “Top Hat Circus,” a classic circus romp.
Nathan and Ryan are now accepting sponsors! Anyone may apply, except for other podcasts by, for and about screenplay writers, of which there are none anyway.
Nathan outlines three-act and five-act structures, which differ by the presence of roughly two acts, and addresses the chances of a screenplay succeeding with more than five acts (zero percent). They do script surgery on “Pulp Fiction,” and Ryan pitches Nathan on his new idea, “Deathmill,” which is a driller (a dramatic thriller) that celebrates the importance of having a thriving small business community close to where you work out.
This episode is sponsored by the South Burnaby Screenplay Competition. Unrelatedly, Ryan found out that “In Memoriam” was in the running for an Honourable Mention at the SBSC! Nathan discusses his script “Top Hat Circus” which he was unable to submit due to deadline-meeting difficulties. The guys brainstorm “Kid Ballers,” and practically finish a draft just by talking it through. In Logline Cage Match, Nathan presents “The Recycler,” which he hopes to submit to a contest some day.
There are pros and cons to contracts. A pro is that you are more likely to get paid, a con is that you are locked into doing something. With a deadline. And expectations. That’s some serious pressure. Who needs the stress? In Script Surgery, Nathan and Ryan try to find holes in “In Memoriam,” but can’t find any because it’s so tight. Still no news from Agent Nick. Must be busy talking to his uncle about “In Memoriam.”
A twist is when something happens that is different from what you expected. Nathan and Ryan brainstorm a screenplay concept called “Heart Bros.” They note that they probably have good news coming up very soon, since Ryan sent his screenplay for “In Memoriam” to his friend Agent Nick who has close ties—an uncle—in the movie industry. Ryan and Nathan reveal their favourite screenplay-writing software: Google Drive. Logline Cage Match: “The Puck Thrower.”
“If you don’t have a good idea, you’re out to lunch.” —Nathan and Ryan
We’re sponsored by Firehall Coffee! Where we just started working as coffee bean roasters. Very, very exciting.
The guys do Script Surgery on “Steel Magnolias,” which has tons of positive joy in it, which is why they talk about it in this episode. It reminds Nathan of the supportive, creative community at Firehall Coffee. Nathan reads his pitch for “Space Baseball” in Logline Cage Match, and hits a big, big homer.
This episode is NOT brought to you by Steam Engine Coffee. And neither was the last episode, so please disregard that. There was a miscommunication—we thought we were sponsored by them, but we were not.
Anyway, Ryan and Nathan talk about the small, literal fire they put out in the roastery. They have a lot to say about joy because that’s what they are all about. They do script surgery on “Inside Out,” which requires a degree in microbiology to understand. Ryan pitches “Ultimate Doggo” in Logline Cage Match.
We got a sponsor! This episode is brought to you by Steam Engine Coffee, which is the most awesome place to work at and get coffee at in Vancouver, B.C. We should know, we roast the beans there.
Resolution is the end of a movie, or how it all turns out, in screenplay writers parlance. Ryan and Nathan’s favourite resolutions are when characters come back on-screen while the credits roll. That’s the best! They do script surgery on “Stepbrothers,” and Logline Cage Match with “Total Eclipse of Rick.”
When people are fighting in a screenplay, you’ve might have conflict. When they really, really don’t get along, you definitely have conflict. Nathan and Ryan discuss how to incorporate conflict in your screenplay elegantly. They do script surgery on “Guardians of the Galaxy Volume II,” noting the extreme amount of conflict in it. Nathan pitches his intriguing and timely idea “Little Miss Journalist” in Logline Cage Match.
When you get that feeling in your stomach that something's just not right—that's probably tension in your screenplay. And that’s a good thing. The formula for tension in screenplays is that you want to raise it. Nathan and Ryan perform script surgery on "Dunkirk." In Logline Cage Match, Ryan pitches his screenplay “Thirty-something Chessmaster,” inspired by actual inspiring events.
British, American, Canadian or French—what type of spelling do you use when writing a screenplay? Nathan and Ryan tackle the question head-on. Ultimately they reveal the answer: “Depends.” They conduct script surgery on “The English Patient,” and Nathan gives his unfiltered opinions on Ryan's latest idea, “Apples and Oranges,” in Logline Cage Match.
Dialogue is what characters say to each other, which makes it a big, big part of most screenplays. Ryan assures Nathan that he’s a great dialogue guy, even if he isn’t much of a conversationalist in person. They do script surgery on “Lilo and Stitch” and Ryan presents his screenplay “JFKFC.” Nathan loves it.
A movie without flow is like a martini glass without a stem: preposterous. Nathan and Ryan address the importance of screating an elegant flow with deer-like momentum in your screenplay. They break down the sandiness of “Mad Max” (the newer one), Ryan reveals his “Edge of Your Seat” test, and they discuss why screenplay writers should never have standing desks. They plan to do script surgery on Wonder Woman, but it doesn’t need any. Nathan pitches his slam-dunk screenplay concept, “Diva and the Devil.” Ryan agrees to be an equal partner in bringing it to life and in all proceeds from its sale.
Setting is sort of like where a screenplay takes place, influencing everything from the buildings to the weather to the clothing characters wear. Ryan and Nathan do script surgery on “Baby Driver,” and discuss the screenplay in progress “Gym Rats” in Logline Cage Match. Ryan notes that he is also now a freelance podcast music producer, available for anyone who needs a soundtrack, theme song or bumpers for their podcast. Reasonable rates.
Every screenplay must have one thing: a story. That’s what a screenplay is all about, when you think about it. Nathan and Ryan talk (very briefly) about “Passengers,” which is a sparkling screenplay. They illustrate the importance of story via “Castaway” and “Rounders,” and perform script surgery on “The Godfather.” Ryan pitches his logline for his horror thriller “Tic Tac Toes” in Logline Cage Match.
Plot is a big deal these days, with many screenplays having them and film audiences really eating them up. Ryan and Nathan talk about the importance of plot, and plot points—even though Ryan is more of a “character” guy. They break down the plot of Jerry Maguire, and perform script surgery on “While We’re Young” by Noah Baumbach. Ryan presents a totally interesting screenplay concept in Logline Cage Match that you’ll really want to hear.
You don’t always need to have a theme in mind when you start writing a screenplay, because of the effectiveness of today’s online theme generators. But eventually you should probably have one in mind, at least to talk about in interviews. Nathan and Ryan praise the godfather of themes, Shakespeare, who pretty much created all the great themes still in use today. They perform script surgery on “The Martian,” and Ryan pitches his latest screenplay in progress, “In Memoriam," set in the stunning and very fun to visit country of New Zealand.
In the inaugural Screenplay Writers podcast, Nathan and Ryan discuss the importance of developing characters when writing your screenplay, and the difficulties of not having any. They do “script surgery” to enhance “E.T. The Extra Terrestrial,” and Ryan presents Nathan with his newest screenplay concept “The Workwearer,” to be torn to shreds in Logline Cage Match—or will it be?