The Screenplay Writers

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.”