Open Process: Ship It (What Code Reviews Can Teach Us About Script Notes)
This post is part of Open Process, our series about what it actually looks like to make new work: messy drafts, real questions, useful frameworks, and the moment you decide to show the thing before it’s “done.” At first glance, the world of software engineering and the world of playwriting couldn't be further apart. One […]
Notes 2.0: Stop Defending Your Thesis and Start Joining the Room
You know that feeling when you're sitting in a development room and someone asks you a question about your script, and your shoulders immediately tense up? That split-second where your brain goes into defense mode, preparing to justify every choice you made? Yeah, that one. That's the PhD thesis defense dynamic. And it's killing your […]
Two Sides of the Same Heart: The Power of Split-POV Storytelling
Split-POV stories are catnip because they admit what most narratives politely ignore: two people can live through the same event and come out holding different receipts. It’s not just a “cool structure.” It’s a philosophy. Split-POV says truth is partial, memory is biased, and love is often a negotiation between two narrators who both believe […]
The “No-Budget” Spectacle: How to Write Big Ideas for Small Rooms
Here's the thing nobody tells you when you're starting out: spectacle doesn't live in the budget line. It lives in the idea. I know that sounds like motivational poster nonsense, but stick with me. Because the best "big" theater I've ever seen, the kind that makes you feel like the walls disappeared and you're standing […]
The Musical Engine: Why Your Script Needs a "Song" (Even if No One is Singing)
Here's a thought that might be controversial: we think every writer: whether you're crafting a gritty TV pilot, an indie film, or a three-character chamber play: should study musical theater structure. Not because you need to write musicals. But because musical theater has solved problems that the rest of us are still fumbling around in […]
Looking Them in the Eye: The Art of the Direct Address Opening
There's a moment in theater that nothing else in storytelling quite replicates. The lights come up. An actor steps forward. And instead of pretending you're not there, they look right at you. That's it. That's the whole trick. And it changes everything. The direct address opening is one of the oldest tools in the playwright's […]
From the Attention Economy to the Story Economy
Last weekend, right before the snowstorm that hit much of America, my wife and I joined a Robert Burns’ Night gathering in our neighborhood. Celebrating the national bard of Scotland, the evening ended with friends and strangers reciting Burns’s poetry and offering up poems, songs, and literary reflections of their own. Each small performance felt […]
Episodic Engines: TV Structure Tools for Theater Writers (and Anyone Building a Series)
You've got a world. Characters you love. Maybe a sprawling story that refuses to fit into a tidy two-hour play. Or maybe you're a TV writer staring at a pilot that feels… thin. Like it's missing something you can't name. Here's a secret that crosses disciplines: the structural tools of episodic television and musical theater […]
Good Ways to Stay Focused at Work
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Complete work on time
Et sal uta udi con sete tur est, ei dolore medi o crita tem quo. La bitur omit tantur dis sentiet nam at. Tantas utroque exp tendis et mel, cu pro gra ece time am im pedit. Eum con gue iisque ut, quem wisi ira cundia estu ad. Falli facilis di gnisim eam et. Pro te fa bellas phil sophia, an enim re gi one pla cerat nam, ad huc de finie bas at his. Ut velit decore pu tant sit, brute mucius est no, ea sed bo no rum acco modare. In vim illum effi ciendi. Do lorum de finie bas duo eu, modus pro priae