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In this episode, Meg sits down with writer, actor, and filmmaker Eva Victor to discuss their debut feature, SORRY, BABY — a darkly funny, deeply personal story about friendship, trauma, and hope.

They dig into how to make a personal story feel truly cinematic, both in the writing process and on set. Eva also opens up about their determination to depict trauma without leaning on “misery porn,” instead highlighting the healing, humor, and humanity that can surround pain.

Thanks to Eva for an openhearted conversation that reminds us why we tell stories in the first place.

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Every writer dreams of getting their script into the right hands — but what actually makes a producer want to fight for your project?

This week, Jeff sits down with powerhouse indie producer Julie Waters (Watermark Media), fresh off producing OH, HI! — one of the few films sold at Sundance this year and now playing in theaters. Julie not only shares what makes a script feel undeniable, but also demystifies the real roles of networks, studios, production companies, and producers. She breaks down who’s really buying, who’s paying, and who you’re actually pitching when you walk into the room.

If you’re trying to figure out how to move from “great script” to “must-make project” — and want a clear map of how the business truly works — this episode is for you.

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In this episode, Meg and Lorien sit down with Kaz Firpo (Marvel’s ETERNALS, RUIN) to talk about the timeless craft lessons that make a great screenplay. From writing scenes that still land without sound, to creating emotional clarity on the page, Kaz shares why subtext is the secret engine of great dialogue, and why every character’s want and need should always be at odds.

Whether you’re on draft one or draft fifteen, this conversation will help you sharpen your scenes, clarify your characters, and trust your instincts as a writer.

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In this episode, Meg and Lorien dive into a messy, magical stage of screenwriting: the barf draft — your first unfiltered pass at a script.

They share how to tackle chaos on the page, whether your draft is too long, too short, tonally inconsistent (hello, surprise aliens!), or just plain confusing. You’ll learn how to shift from “fixing” to discovering, reverse-outline what you actually wrote, and surface what excites you most.

Along the way, they cover structure, character agency, stakes, and the emotional rollercoaster of writing — including why finishing (even a disaster) is worth celebrating. Whether it’s your first draft or fifteenth, this episode will help you find clarity, confidence, and momentum.

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Costume designer turned writer/director Courtney Hoffman has worked on some truly iconic films (THE HATEFUL EIGHT, BABY DRIVER) and beloved indies (CAPTAIN FANTASTIC, THE BOY NEXT DOOR). These experiences have profoundly shaped how she approaches storytelling, especially now that she’s writing and directing projects starring the likes of Laura Dern and Kaitlyn Dever.

In this episode, Courtney shares what writers should (and shouldn’t) include in their scripts when it comes to wardrobe, how costume can deepen character, and how different departments will interpret your work if it gets greenlit for production.

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Apple TV+’s THE STUDIO is both a razor-sharp satire and a surprisingly heartfelt love letter to Hollywood — born out of Seth Rogen’s own frustrations and empathy for studio executives. For co-creator Frida Perez, the show explores the spectrum between art and commerce, a balance that serves as a guiding principle for writing its hilariously flawed (but deeply human) characters. In this episode, Frida unpacks how the team crafted one of the year’s most acclaimed shows — and how she found her voice in the process.

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In part two of this incredible conversation, literary managers Daniela Gonzalez (Good Fear Content) and Garrett Greer (Haven Entertainment) join us to unpack what “breaking in” looks like today.

How do writers getting their second staffing job, what are some red flags we should avoid when repped, and what the heck is actually happening in the industry? Buckle up.

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In part one of a two-part conversation, literary managers Daniela Gonzalez (Good Fear Content) and Garrett Greer (Haven Entertainment) join us to unpack what “breaking in” looks like today.

Even as the industry pulls back and fewer projects are greenlit, getting repped isn’t out of reach. In some ways, the path has fewer gatekeepers than ever — you just need to be strategic.

We dig into why generals matter less, why your writing sample matters more, and why even truly emerging writers might be closer to making something they love than they think.

Whether you’re unrepresented or looking to level up, this episode is full of grounded advice, hopeful perspective, and practical takeaways for navigating a shifting industry.

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How do you turn a real-life moment into a movie — without studio backing or a big festival launch?

Jeff talks with The Bragg Brothers about making PINBALL: THE MAN WHO SAVED THE GAME, an indie biopic about GQ journalist Roger Sharpe, who helped overturn New York’s ban on pinball in 1976.

They share how they spotted the story’s potential, built trust with Roger and their financier MPI, and crafted a fun, visually bold film — complete with narration and performances from major talent like Mike Faist (CHALLENGERS).

If you’re developing a true story or curious how two filmmakers turned a niche moment into a breakout debut, this episode is for you.

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This week, we’re spotlighting two incredible TV writers whose journeys were meaningfully shaped by the Austin Film Festival.

Sylvia Batey Alcalá (A MAN ON THE INSIDE, PRIMO) and Mac Smullen (SOUVENIR, ALASKA) share how AFF helped get their names out there —building momentum, sparking connections, and opening doors that had long felt closed.

But a festival isn’t the finish line — it’s the starting gate. Sylvia and Mac walk us through the real (and rewarding) work it takes after recognition: rewriting, building reps, pitching, and staying ready for the moment when things start to move.

It’s a candid, thoughtful, and energizing conversation about what breaking in looks like today — and how festivals like AFF can help writers get in the game.

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