Write On: A Screenwriting Podcast

Designed to help you navigate the screenwriting industry, Final Draft interviews working screenwriters, agents, managers, and producers to show you how successful executives and writers make a living writing and working with screenplays, and how you can use their knowledge to break into the industry. Subscribe today to catch every episode!

Write On: 'Hedda' Writer/Director Nia DaCosta 10/30/2025

Write On: 'Hedda' Writer/Director Nia DaCosta “I love adaptations. The beauty of adaptation, especially a classic, like Shakespeare and Chekhov or Ibsen, they’re such a gift because they give you this beautiful framework, and it’s almost like they’re begging you to take it and make it your own,” says writer/director Nia DaCosta about adapting Henrik Ibsen’s 1891 play Hedda Gabler into her new film Hedda. Set in the 1950s, the movie stars Tessa Thompson in the lead role, Imogen Poots as Thea, and reimagines the character Eilert Lovborg as a queer woman (now Eileen), played by Nina Hoss. We chat with Nia DaCosta about her journey to becoming a filmmaker, genre hopping into horror with Candyman and the upcoming 28 Years Later: The Bone Temple. She even made the superhero movie The Marvels. We also talk about the challenges of tackling the complicated, often cruel character of Hedda in the new film. “When I read the play [Hedda Gabler],” says DaCosta, “I'm like, this woman is hilarious! She's absolutely absurd. In the play, she's so verbose roaming around this sitting room, yelling at everyone who comes in. I wanted to replicate that, but more through action. And then there’s the empathy part of it. To me, her tragedy is that she will never know herself. It's a life's work to understand and know ourselves, our emotional world. I think because she is so cruel, because she is so unhappy, because she has made these decisions that have trapped herself in this life – that to me is really sad. But I don't want people to forgive her for what she's done, or to excuse it.” DaCosta also shares her advice on adapting someone else’s story. “I think you have to know why you want to do it, and what it is you want to use the work to say. To let that ‘why’ sort of guide your pen. That’s my convoluted way of saying trust your gut.” If you’ve been thinking about adapting a classic play into a modern movie, you don’t want to miss this podcast. /episode/index/show/finaldraft/id/38845320

Write On: 'Splinter Cell: Deathwatch' Creator/Writer Derek Kolstad 10/20/2025

Write On: 'After the Hunt' Writer Nora Garrett 10/17/2025

Write On: 'After the Hunt' Writer Nora Garrett “People never lie so much as after a hunt, during a war or before an election.” –Otto Von Bismarck “It's funny, because when I was writing After the Hunt, I definitely wasn't like, ‘Oh, I want to write about this current socio-political moment.’ I was really just invested in the characters and the story,” says screenwriter Nora Garrett about writing a screenplay that probes the dynamics of power, privilege and social accountability. She adds, “What I didn't even realize was something that was drilled into me because of my acting training – that the work, the scripts, the text, should not be divorceable from the socio-political moment. One comes from the other and I think that was just in the back of my brain while I was writing.” On today’s episode, we chat with screenwriter Nora Garrett about her new film After the Hunt, directed by Luca Guadagnino (Challengers), and starring Julia Roberts, Andrew Garfield and Ayo Edebiri. Set in the philosophy department at Yale University, a devastating accusation by a female student (Edebiri) against a male teacher (Garfield) unleashes public and personal chaos that blurs the truth of the situation and will have you questioning the motives of every single character. Garrett talks about working as an assistant in Hollywood, spending time on many film sets, and watching the good, bad and ugly parts of the existing power dynamics. These experiences helped her form the complex, morally gray characters that inhabit her script. “We have a really hard time holding duality in our head. We have a really hard time being like, ‘This is a good person who has done a bad thing’ or, ‘This is a bad person who occasionally does good things.’ And it's not even really about bad and good, right and wrong. I think it's about this feeling of why these characters present themselves a certain way, and is that different from how they feel about themselves on the inside?” says Garrett. She also shares what she learned about writing from working with Julia Roberts: “Economy. Julia is such a good actor, and I am the type of writer who will take two paragraphs to say what she can say in a look. I think that what I really learned from her was that sometimes you just don't need to say this monologue, you need these two lines, economy of word, and then asurplus of really good character thought brought by an actor can sometimes make a scene sing more than a lot of dialogue.” To learn more, listen to the podcast. /episode/index/show/finaldraft/id/38620670

Write On: 'Anemone' Co-Writer/Director Ronan Day-Lewis 10/03/2025

Write On: 'All Of You' Writer/Director Will Bridges & Writer/Actor Brett Goldstein 09/26/2025

Write On: 'All Of You' Writer/Director Will Bridges & Writer/Actor Brett Goldstein “You have to love all your characters. Even if you're writing a bad guy. You, the writer, have to write them with love and empathy, and treat each character, give each character, a full life and a full arc in your story, even if their screen time is small. Essentially, if you were following that character, they also have a full story, a full life,” says actor/writer Brett Goldstein about how he approaches writing characters in film and TV. On today’s episode, we chat with writer/director Will Bridges and writer/actor Brett Goldstein about their new film All of You, starring Imogen Poots and Brett Goldstein. The film centers on two best friends, Laura and Simon, who harbor an unspoken love for one another even after a futuristic test matches one of them up with their supposed soulmate. Though the set-up of the story sounds like science-fiction, the movie stays firmly grounded in reality and examines the human need for love and how we often sabotage that love. If you’re a fan of the show Black Mirror, you likely know Will Bridges’ Emmy-winning episode “USS Callister,” the only Black Mirror episode to get a sequel. Brett Goldstein is perhaps most famous for playing Roy Kent on Ted Lasso, where he was a writer on the show before acting on it. He talks about his self-taped audition for the show and how taking that one risk changed everything for him. Bridges and Goldstein talk about working together on an early project where they were forced to bunk in a “spider infested Airbnb,” and they also discuss the nuances of their writing in the film All of You, including why they left out all exposition. “We never wanted to be too specific about where Simon and Laura are in their relationship, but we want to draw you in quickly. We want you playing detective: Where are they now? What's going on with them? So we just trusted the audience would get it,” Bridges says. They also discuss why you never see Laura or Simon separate from each other. “One of the rules of the film,” says Goldstein, “we only see them when they're together. We don't see their lives when they're apart, and that's kind of fun and interesting to me, that we are watching the film of them. We are not watching the film of what it’s like to be Simon, what's it like to be Laura, we only know what it's like to be them.” To hear more, listen to the podcast. /episode/index/show/finaldraft/id/38369210

Write On: 'Mussolini: Son of the Century' Director Joe Wright 09/17/2025

Write On: 'Mussolini: Son of the Century' Director Joe Wright On today’s episode, we speak with director Joe Wright whose new limited TV series Mussolini: Son of the Century, explores fascism through the early political career of Italy’s Prime Minister Mussolini in the 1920s. The show is incredible storytelling from beginning to end, mixing opera and techno rave music while drawing chilling comparisons to the current rise of fascism around the world. “We all have a dark side. We all have the choice to be the best of ourselves, or the worst of ourselves and we usually land somewhere in the middle. Working on Mussolini allowed me the opportunity to look at my relationship with my own masculinity and it helped me understand the man I want to be,” says director Joe Wright about the way he personalized Benito Mussolini’s story to make it more accessible to a modern audience, adding, “I wanted the audience to be at times seduced by him, and then in a Brechtian sense, to kind of pull the rug from underneath their feet, and ask them to apply some critical distance.” Wright also discusses what he learned about storytelling growing up with his parent’s puppet theater, his early films like Pride and Prejudice, and dealing with his own self-doubts as a filmmaker by making a movie about Winston Churchill called Darkest Hour. “Darkest Hour is a movie about doubt. When I made that movie, I just made a movie called Pan, which the critics hated and lost a huge amount of money. I was sort of consumed afterwards by self-doubt. I was thinking, what have I got to say? I can't reach audiences anymore, I'm out of step. So, then the opportunity came along to do Darkest Hour, and I immediately perceived it as a story about a little man who was consumed by self-doubt, and who was doubted by others all around him. Yet he persevered and overcame enormous odds to lead a nation at their darkest hour. So, for me, that became a story worth telling,” says Wright. To hear more, listen to the podcast. /episode/index/show/finaldraft/id/38253290

Write On: 'The Toxic Avenger' Writer/Director Macon Blair 08/28/2025

Write On: 'The Toxic Avenger' Writer/Director Macon Blair “The thing that started it all off was me saying [the character Toxie] should be a guy in a suit. In other words, let’s not do a computer-generated creature, let’s have a person in a suit and have that handmade, hand-stitched kind of quality to it where you can sort of see the seams a little bit and have that be part of the fun. I also said let’s have it be rated R. Hopefully y’all are not interested in a family-friendly PG-13 version of this movie, because that’s not what the fans of the original are going to want, so let’s keep it in the R-zone. And let’s make sure it stays very silly. That silliness is what was so appealing to me about the original, and I just wanted to make sure that we weren’t going to try and do something that was too self-serious,” says The Toxic Avenger writer/director Macon Blair about pitching Legendary Studios his version of how he would reimagine the classic black comedy splatter film for a modern audience while staying loyal to the fans of the 1984 version. On today’s episode, we chat with writer/director/actor Macon Blair about his previous films like Blue Ruin and I Don’t Feel at Home in This World Anymore, which won the Sundance Grand Jury award in 2017. His latest film is a reboot of The Toxic Avenger starring Peter Dinklage and Kevin Bacon, and is a whole lot of gory, gross-out fun. Blair talks about the need to dig into the over-the-top absurdity of the franchise while still making the modern version of the story feel authentic. “I’m always looking for something that I can connect to on a personal level. I don’t mean autobiographical. I mean to be able to have that electrical current with what I’m typing out,” he says. Blair tells us about his on-going journey to finding his voice as a writer and what it was like waiting two years to get distribution for The Toxic Avenger. He also explains why he skewers a famous screenwriting trope in the film that involves a cat named Mr. Treats who was apparently quite the menace. To hear more insight, listen to the podcast. /episode/index/show/finaldraft/id/38001330

Write On: 'Sirens' Creator/Showrunner Molly Smith Metzler 08/12/2025

Write On: 'The Home' Director/Co-Writer James DeMonaco and Co-Writer Adam Cantor 07/25/2025

Write On: 'The Home' Director/Co-Writer James DeMonaco and Co-Writer Adam Cantor “Write your own anxieties. Get into your own psyche. I think if it scares you – like, I'm terrified of guns, and that's where The Purge came from. But here, there were various generational fears and whatnot that led to The Home, Adam's fears and my fears about getting older and our anxiety. So I would say if it's born from your fear, the majority of the audience probably has a similar fear. I think we are communal in that way. Fears are not singular, so I think you should work off your own fears, and on a practical level, if you can keep the budget small, you're in a much better place getting it made. That was key to The Purge getting made, that it was one location,” says James DeMonaco, director and co-writer of the new horror film, The Home. On today’s show, we talk with both James DeMonaco and Adam Cantor, co-writers of the new horror film The Home. The Home is about Max (Pete Davidson), a troubled young man, who starts working at a retirement home only to realize its residents and caretakers harbor sinister secrets. As he investigates the building and its forbidden fourth floor, he starts to uncover connections to his own past and upbringing as a foster child. DeMonaco, best known for creating The Purge franchise, and Cantor, an actor-turned-writer, talk about their favorite horror films from the 1970s, the challenge of bringing a 70s vibe to modern horror films, and working with their Staten Island buddy, comedian Pete Davidson and bringing out his intense dramatic performance. DeMonaco also talks about the impact The Purge films have had on our culture. “I grew up watching Romero and Carpenter films and George Miller. I always thought they put great mirrors up to society, and there was always some kind of smuggler's cinema idea, where they were smuggling socio-political themes into the genre's pieces. So sadly, The Purge is reflective of the world we're living in and becoming, I think, more reflective, which is scary. And terrifying. I wish it wasn't, I wish it was a complete fantasy to purge. Unfortunately, it's not right now, and it's seemingly getting worse,” says DeMonaco who weighs in on whether something like The Purge could happen in real life. “I used to say, ‘Absolutely not!’ Now, I don't know if I would say that any longer, and that's even scarier to me,” says DeMonaco. To hear more about The Home and the spooky events that h appened on set, listen to the podcast. /episode/index/show/finaldraft/id/37547540

Write On: 'Abraham's Boys' Writer/Director Natasha Kermani 07/14/2025

Write On: 'Abraham's Boys' Writer/Director Natasha Kermani “Vampires hold incredible destructive power, and so we're very drawn to them, sort of like moths to a candle, right? I think that's sort of eternal, and that's the reason every culture, pretty much around the globe has some version of the vampire because it represents that very human conflict of what we desire which is so in tune with and aligned to things that can also destroy us. That just feels very honest and eternal, so I don't think [vampires] will ever go away. I think they will be an eternal part of our mythologies,” says writer/director Natasha Kermani, about the everlasting appeal of vampires on film. On today’s episode, we chat with Natasha Kermani about her new movie Abraham’s Boys that extends the world of Dracula into a psychological family drama with its own chills and thrills. The movie centers on brothers Max (Brady Hepner) and Rudy (Judah Mackey) Van Helsing, who have spent their lives under the strict rule of their father, Abraham Van Helsing (Titus Welliver). Unaware of their father’s dark past as a vampire hunter, they struggle to understand his paranoia and increasingly erratic behavior. But when the brothers begin to uncover the violent truths behind Abraham’s history with Dracula, their world unravels, forcing them to confront the terrifying family legacy. Kermani talks about adapting the Joe Hill short story of the same name, shares tips for structuring a short story into a feature film, and ways a writer can bring a classic monster story like Dracula into a modern setting. “I think it's about examining our world through an eternal lens of these mythologies that don't change. Power dynamics. Authority. Submission. These are eternal. So the question is, if you take that structure, and apply it to our world, how do things fall into place? And when you can start to look at the world around us through that lens, I think you start to get really interesting, truthful stories because you're not trying to come up with a new structure, or a new classic. You are obeying the laws of how our brains work and how our stories work. “I think it's a question of, ‘What are the things that you desire, but also fear? What are you drawn to, like a moth to flame?’ For me, with Abraham's Boys, it's that we're so drawn to the idea of someone coming to you and saying, ‘I know what the monsters are, I know what the heroes are. Follow me and you'll be safe.’ That's very dangerous,” says Kermani. To hear more, listen to the podcast. /episode/index/show/finaldraft/id/37400320

Write On: 'Countdown' Creator/Writer Derek Haas 06/30/2025

Write On: 'Countdown' Creator/Writer Derek Haas “One thing I’ve found in the crime genre is that homicides are always interesting. When somebody’s killed, whatever that case may be, it’s usually compelling drama. So then it’s up to you as the writer to surprise the audience and do things that they didn’t think were coming. I’ve described it like this before: If you can hit the sweet spot of, ‘I didn’t see that coming! I should have seen it coming, but I didn’t see it coming,’ That, to me, is the best writing. It’s like, when you got to the end of The Sixth Sense, and you were like, ‘Oh my god, I should have seen that coming!’ That was great writing,” says Derek Haas, creator and writer for the show Countdown on Prime. You may know Derek Haas from the popular NBC procedural dramas like Chicago Med, Chicago Fire and Chicago PD. Now, he’s got a new crime drama on Prime called Countdown that tells one twisty crime story over 13 episodes – all written by Haas. Set in Los Angeles, Countdown follows a secret task force who discover a sinister international plot that threatens millions of lives. The show stars Eric Dane, Jensen Ackles and Jessica Camacho as undercover agents all harboring dark secrets of their own. On this episode of the podcast, we chat with Haas about starting his career as a crime novelist, writing movies like 2 Fast 2 Furious, 3:10 to Yuma and Wanted before making the switch to TV. Haas talks about working with director John Singleton, prolific TV producer Dick Wolf and writing characters that hook audiences. He also shares his advice for writing action sequences that both stun visually and surprise the audience. “When I think about action sequences, I always go back to Raiders of the Lost Ark. My favorite action sequence of any movie ever is when Indiana Jones has to fight this gigantic Nazi guy, and – in any other movie – that would have been the only thing that’s happening. But they put Marion in a plane where she gets trapped because the cover of the plane closes. Then the plane’s propellers start spinning. The plane starts spinning, gas is leaking out of the plane, there’s other people running by with machine guns. So it’s not just, ‘Oh, here’s a fight,’ it’s ‘Here’s a fight, but there’s eight other things happening at once.’ I really try to do that in these chase sequences, because you have seen a million of them. What’s the other factors I can bring to it? How can I show you something you haven’t seen before? Sometimes it’s character, and sometimes, it’s the stunt itself,” says Haas. To hear more screenwriting advice from Haas, listen to the podcast. /episode/index/show/finaldraft/id/37220780

Write On: 'Apple Cider Vinegar' Creator and Showrunner Samantha Strauss 06/16/2025

Write On: 'Apple Cider Vinegar' Creator and Showrunner Samantha Strauss “In my mind, Belle is going through life, at least our version of Belle – I've never met the real Belle – she’s going through life with this hole inside, this overwhelming need for approval, that social media absolutely capitalizes on and she just keeps trying to feed the beast. She hasn't grown up with the healthiest of role models herself. She has learnt that being sick is a shortcut to being loved and to getting attention,” says Samantha Strauss, creator and showrunner for the Netflix limited series Apple Cider Vinegar, about understanding her main character’s disgraceful motivation to lie about having brain cancer. Adapted from the book, The Woman Who Fooled the World, by Beau Donelly and Nick Toscano, Apple Cider Vinegar chronicles the incredible and heartbreaking rise and fall of the real Belle Gibson (Kaitlin Dever), a notorious health and wellness “scamfluencer.” Strauss talks about starting her young life in Australia as a ballet dancer before a terrible injury led her to discover TV writing. She also talks about how her previous TV show, The End, got the attention of Nicole Kidman, who championed her writing career. Strauss gushes about how she was inspired by Kidman’s, “Fierce intelligence, just exactly what you'd expect, and rigor. You know, she would be giving notes at the end of a really long day of filming. She wasn’t resting on her laurels at all. There's just such a generosity of spirit there and to think she’s helped other emerging Australian creatives is pretty special,” she says. Strauss discusses the challenges of adapting a true story while the subject is still alive, tips and tricks for making the show feel immediate and seductive while mimicking the addictive nature of social media, and getting the primal relationship of mothers and daughters authentic on screen. To hear more about Apple Cider Vinegar and Strauss’s advice for writers adapting true stories, listen to the podcast. /episode/index/show/finaldraft/id/37025940

Write On: 'Matlock' Creator & Showrunner Jennie Snyder Urman 06/09/2025

Write On: 'Matlock' Creator & Showrunner Jennie Snyder Urman “The most important thing that I've learned as a storyteller is that I have to treat every character in the show as though they're the lead in the show, and they are never doing anything so that I can prompt a move from another character. They are doing things that are true to what they want and their motivation. So that's what makes that architecture hard, because you know you want things to happen, but they have to happen coming out of character, not coming out of what the room wants to see happen. So it's like the merging of those two. We know what architecture we want, but if it doesn't feel true to the character, the character wouldn't do it. Every time, you’ve got to say no, even though it's tempting, because that is who you have to protect – your characters,” says Jennie Snyder Urman, creator and showrunner of Matlock, about creating story architecture in a series. On today’s episode, we talk with Jennie Snyder Urman, who created the reboot of Matlock starring Kathy Bates as Madeline Matlock. We chat about reinventing the beloved character once played by Andy Griffith, the joy of building a show around an older female lawyer and the generational changes in social attitudes women experience, and the sacrifices women often make when it comes to sexual harassment, including Matty herself. “[Matty] realizes now, coming back [to the legal profession], what it cost her. And it's not like every day she was thinking about it. It was just, ‘Oh my gosh, I made these changes to avoid this. And why do I have to make these changes? Why didn't that person make the changes so I could be in the space where I was comfortable?’ And I think what's so exciting about Maddie is that she's still learning new things at 75. I think there’s also a little bit of a wish fulfillment, that you can still evolve, and you still learn, and you still feel new things,” says Urman. To hear more about Matlock, what we can expect from season 2, and Urman’s advice for writers, listen to the podcast. /episode/index/show/finaldraft/id/36923195

Write On: 'Running Point' Showrunner David Stassen 05/23/2025

Write On: 'Running Point' Showrunner David Stassen “It’s not ripped from the headlines. We’re not using any of [the Buss family’s] real-life stories and putting them into our show. Because Mindy [Kaling], Ike [Barinholtz], and I have so many influences like Arrested Development, 30 Rock, The Office and Succession, we’re coming up with our own fun stories and fun situations to put this dysfunctional, very wealthy, successful family into a blender and then have them going back and forth and arguing and solving problems together and against each other,” says David Stassen, showrunner of Running Point, about taking inspiration from Los Angeles Lakers’ President, Jeannie Buss’s family and turning it into a hit TV show. In this episode, we chat with David Stassen, showrunner and co-creator of the Netflix show, Running Point, that’s just been given the greenlight for Season 2. The show centers on Isla Gordon (Kate Hudson), the daughter of a powerful basketball magnate. She’s now taken the helm of the legendary team with the help – or hindrance – of her four well-meaning but unpredictable brothers. While firmly set in the brawny world of basketball, Stassen talks about the true core of Running Point, which revolves around the siblings trying to earn the love of their deceased father. To get this particular narrative right, Stassen says the writers room spent a lot of time focusing on the family dynamics and differentiating each character’s struggles and traits. Much of the comedy in the show comes from the clashes between the siblings and their attempts to live up to their father’s fierce expectations. Stassen also talks about how the character Isla, a woman at the center of a very male-dominated universe, relies on speeches from gangster films to communicate with her basketball team. “Movies transcend our society. So, I think it’s a great way to connect and even if you haven’t seen Casino, most people know that Joe Pesci is viewed as a very scary person on film. We were lucky enough to get the rights to show a scene. So even if you didn’t know anything about it, you got to see the moment. It’s just a fun thing to have this beautiful, airy Kate Hudson taking on these roles of the tough Italian mobster or the contract killer getting revenge for his dead dog, like John Wick. And I guess it probably speaks to something bigger about this show – about a woman in a man’s world. But at the same time, Isla is powerful in her own way, right? She’s powerful 95% of the time just being herself and standing up for herself. And then the fun flourishes are maybe using a movie reference to illustrate a point,” says Stassen. To hear more about Running Point and Stassen’s advice to TV writers, listen to the podcast. /episode/index/show/finaldraft/id/36690670

Write On: 'Hurry Up Tomorrow' Director/Co-Writer Trey Edward Shults 05/16/2025

Write On: 'Hurry Up Tomorrow' Director/Co-Writer Trey Edward Shults “It was a lot of empathizing. I would do long phone calls with Abel (Tesfaye, aka the Weeknd) after we had met, just basically talking to him and finding out more of his history, where he was at in different phases of his life, where he’s at today, and using those to create a character. And part of creating that character is I’ll find my own personal stuff to attach to it… Portions of his life I can relate to very much. And past all of that, I think this is the deepest I’ve gone with my therapy background and my mom and stepdad being therapists. I tried to make the movie work to where if you just want to watch the movie at surface value and go on a ride with it and experience it and not think about it again, hopefully it works on that level. But also if you want to look at it and interpret it on a whole deeper, hopefully richer level, there’s a lot going on,” says Trey Edward Shults, director and co-writer of the new film Hurry Up Tomorrow on how he took Able “the Weeknd” Tesfaye’s story and made it personal to him. On today’s episode, we sit down with writer/director Trey Edward Shults to discuss his new film Hurry Up Tomorrow that stars the Weeknd, Jenna Ortega and Barry Keoghan, about a rock star who goes on an existential odyssey after losing his voice on stage. Shults shares his journey to becoming a filmmaker, working with visionary director Terrence Malick, making the highly biographical film Krisha (2014), and the shockingly ominous horror film It Comes at Night (2017). He also shares this advice for writing your first film: “It has to be something you are so hungry to tell. And it has to be something you would die to make. You know what I mean? At least to me, my approach was I like to make stuff personal and they always say like, write what you know, write the personal thing. But I just think it needs to be something you’re crazy hungry to do no matter what,” says Shults. To hear more, listen to the podcast. /episode/index/show/finaldraft/id/36594790

Write On: 'Nonnas' Screenwriter Liz Maccie and Director Stephen Chbosky 05/14/2025

Write On: 'Nonnas' Screenwriter Liz Maccie and Director Stephen Chbosky “Sometimes it’s easier to find and access your truth through ‘pretend’ characters. So I had this embarrassment of riches of this true story but in my heart, I was like, ‘I totally get to tell my truth!’… So my advice is find a way to do it, and if you have to do a mind trick by saying, ‘I’m writing this pretend character’ that’s fine, but put all the stuff that’s real to you into that pretend character, because I find there is an immense amount of freedom in being able to write through these characters because they aren’t exactly my family, they are pieces of them. Writing your truth is possibly the scariest thing, but your truth only belongs to you, you are the person who experienced it in the exact way you experienced it. Know that you are giving a great gift to the world by doing it,” says Liz Maccie, screenwriter for the new film Nonnas, about how to make someone else’s story personal to you. On today’s episode we chat with Nonnas screenwriter Liz Maccie and director Stephen Chbosky about turning this true story into a heartfelt movie about a man who risks everything to honor his late mother by opening an Italian restaurant with actual grandmothers as the chefs. Maccie and Chbosky, a real-life married couple, talk about their own families and how they were able to put pieces of themselves on the screen. They discuss the hilarious Nonnas’ food fight scene and how to balance grief with humor in the writing. “I feel that the other side of grief is hope,” says Maccie, adding, “Because I have lost so much of my family, sometimes you’re drowning in the grief. Then you have that moment when you suddenly feel that spark of hope again… we are all going to lose someone, even losing a pet. When we love something, someone and it goes away it’s a devastating feeling and I think that connects us.” Chbosky shared this advice for writers: “The one bit of solace or encouragement that any writer of any age can find is that sometimes, the more specific you write about your experience the more universal the script and the movie is… I really am a humanist at heart. I believe in using this art form to find ways to unify people, inspire them and certainly give them hope, put on their shoes and go at it the next day, I just think that when you write about your own personal experience it can lead to great things. And it doesn’t mean that it has to be a dramedy or comedy, it could be horror, it could be sci-fi, it could be any genre that you feel as long as it is specific to you.”. To hear more, listen to the podcast. Nonnas is currently streaming on Netflix. /episode/index/show/finaldraft/id/36565230

Write On: 'Shadow Force' Director/Co-Writer Joe Carnahan and Co-Writer Leon Chills 05/09/2025

Write On: 'Shadow Force' Director/Co-Writer Joe Carnahan and Co-Writer Leon Chills “For me, I don’t know how you could not make [a script] personal. I think drama allows you to hide how personal it is. I think that’s kind of what I like about writing in the genre space. On the outside looking in, it just looks like a big action movie. It doesn’t look like a personal story. But there are personal elements like my mom was a working mom as well. And so that’s why you have Kyra in the movie who has to come back to her son because she’s been working to protect him. That’s a very personal thing… but you would never assume that it’s a personal story because it’s wrapped up in the action,” says Leon Chills, co-writer of the new film Shadow Force, about writing action from a very personal point of view. On today’s episode, we talk with director/co-writer Joe Carnahan and co-writer Leon Chills about the new action flick Shadow Force that puts a family at the center of the action. With a bounty on their heads, Kyra (Kerry Washington) and Isaac (Omar Sy) must go on the run with their young son (Jahleel Kamara) to avoid their former employer, a unit of shadow ops that has been sent to kill them. Carnahan and Chills talk about the challenges of writing action set pieces and the power of giving the story emotional weight. We also discuss trying to push the boundaries of the action genre to invent set pieces that are fresh and inventive, and writing action scenes on the page that are compact and concise. “As an older writer and doing it as long as I have, I’ll tell screenwriters, if I see four or five lines of scene description, I’m telling you, do it in two. Do it in one. Let people spend 40 minutes reading your script. No more. You know what I mean? Get through it with that kind of economy. If you’ve ever read M. Night Shyamalan’s Sixth Sense script – it’s an absolute masterclass in how to do that. Just so sparse and beautiful and pitch perfect the way that things are written,” says Carnahan. To learn more about action writing and hear more advice, listen to the podcast. /episode/index/show/finaldraft/id/36508005

Write On: 2024 Big Break Short Film Winner Brandon Osterman and Seed&Spark 05/07/2025

Write On: 2024 Big Break Short Film Winner Brandon Osterman and Seed&Spark On today’s episode, we speak to writer Brandon Osterman, whose short script ‘The Naughty List’ won last year’s Final Draft Big Break Short Screenplay Category. As part of his prize package, he received a consultation with Sav Rodgers, Marketing Manager for Seed&Spark, the film industry’s most popular crowdfunding platform. Sav joins the conversation to tell us exactly what crowdfunding is and help all writers understand that funding for their project is possible to achieve. “Who is your audience? At Seed&Spark, we always say that great crowdfunding is audience building first and fundraising second. While there is definitely a fundraising need, finding your audience is invaluable… Something that I always tell prospective crowdfunders is you already have the tools you need to do this. You know how to tell a story. You're here because you're a storyteller. You know how to invite people in. You already know how to talk about yourself persuasively,” says Sav Rodgers. Osterman also shares his journey creating his award-winning short script and gives advice to writers who are thinking of creating their own short film project. “I don't think there's been a better time to be making short format content than right now. The demand for it seems to be expanding every time I turn around. I think if that's something that you're interested in, go after it. You know, I think there are more opportunities to distribute that form of content than there have ever been. I think we've got a generation now that's grown up with TikTok and social media and much shorter, digestible content that, whether it's conditioning or just sort of lowering of attention spans, I think more people are more tuned into short form content than they have ever been before. It's a really, really exciting time to be making shorts,” says Osterman. To hear more about the short filmmaking process and crowdfunding, listen to the podcast. /episode/index/show/finaldraft/id/36478735

Write On: 'Good American Family' Co-Showrunners Katie Robbins and Sarah Sutherland 05/07/2025

Write On: 'Good American Family' Co-Showrunners Katie Robbins and Sarah Sutherland “One of the things we talked a lot about in the room is that very rarely do people set about their day saying, ‘Okay, I’m going to go do some evil.’ But for most people, we’re all sort of the leads in our own stories and we’re all crafting the narrative of who we want the world to see us as. And we do start to believe that. You tell yourself these stories about yourself that you want to be true and you move through the world and you make decisions based on that narrative. And I think that one of the things that as writers, we really try to do is get into the shoes and the heads of the characters that we’re writing and really try to break down why they’re doing what they’re doing and make it feel as real and true as possible. The things that these characters believe – or convince themselves that they believe – have to feel really real and grounded to us,” says Katie Robbins, co-showrunner of Good American Family, on writing flawed characters who prefer to live in fantasy, not reality. On today’s episode of Write On, we speak to Katie Robbins and Sarah Sutherland, co-showrunners on the explosive limited series, Good American Family. The show tells the story of a midwestern couple who adopts what they believe is little girl with dwarfism. Soon they are in the midst of a battle fought in the tabloids, the courtroom and ultimately their marriage. The show is based on the real-life story of Natalia Grace that made many headlines. Robbins and Sutherland talk about the unusual yet brilliant structure of telling various episodes from different characters’ points of view, and how the tone changed when they got to the episodes told from Natalia’s perspective. They also talked about the messiness of writing a dysfunctional family while still keeping the story grounded. “We all know family is this wonderful, beautiful thing, but it’s so complex. And I think that it’s really hard to talk about the complexities of family because we’re afraid to undermine the sacredness of it. It’s my view that if we are actually more open about what is hard about coexisting as a unit who loves each other, but also what’s not perfect, it would make us all better. And I think that that’s true both for family but also even for our enemies. We’re not writing autobiographies, but I think that we take those very real emotional experiences that we all have and then put them into a story that is cinematic, that is more interesting than our lives, but that is deeply steeped in those real moments of heartache and joy and confusion,” says Sutherland. To learn more, listen to the podcast but be aware there are SPOILERS ahead. /episode/index/show/finaldraft/id/36471470

Write On: 'NCIS Origins' Showrunners David J. North and Gina Lucita Monreal 04/08/2025

Write On: 'NCIS Origins' Showrunners David J. North and Gina Lucita Monreal “If you can make the twists [in the story] hit your character in an emotional way and set up their emotional arc, then when the case twist intersects with them, if it's hitting them in the deepest way, in the most unexpected way, maybe – then you've done your job. So it's getting that emotional arc to really bounce off of the crime story in the most impactful way,” says Gina Lucita Monreal about the most powerful way to fuse together story and character. On today’s episode, we talk with David J. North and Gina Lucita Monreal, showrunners and creators of the CBS show NCIS: Origins that brings a fresh perspective to one of television’s most beloved franchises as it dives into the early career of a young Leroy Jethro Gibbs (played by Mark Harmon in the original NCIS). Set in the 90s, NCIS: Origins taps into the nostalgia of the era, from great music from bands like Pearl Jam to life with pagers and payphones. North and Monreal discuss getting to know each other a decade ago writing for the original NCIS, and how now they are pushing the boundaries of procedural television by creating more complex, character-driven storylines. “The biggest challenge for us isn't the going back to the 90s. I mean, I think for a lot of procedural writers, that would have been a challenge, that you're losing the DNA and the fingerprints, all that stuff. But for Gina and I, that's not really ever the way we leaned into NCIS or wrote the show. Our episodes were definitely more about the characters, so that's what we looked forward to. And obviously in each episode of Origins, it's very character based. I would say the most difficult part of going back is just sticking to canon, knowing it. Weaving in and out, trying to, when you hit something and saying, ‘Okay, well, we know this happened in season three of NCIS,’ so trying to honor it while also using it to our advantage – that's difficult. We get beat up a lot on X, and sometimes we have to just pick a path,” says North about the challenges of writing beloved characters with a lot of well-known history. To learn more about North and Monreal’s writing process and hear their advice for emerging TV writers, listen to the podcast. /episode/index/show/finaldraft/id/36055145

Write On: 'Dying for Sex' Co-Creator & Co-Showrunner Kim Rosenstock 04/08/2025

Write On: 'The Residence' Creator & Showrunner Paul William Davies 03/27/2025

Write On: 'The Residence' Creator & Showrunner Paul William Davies “I didn’t really set out to make Cordelia (Uzo Aduba) quirky. I just wanted to make her distinctive. I just really thought about who I wanted her to be and how I thought [birdwatching] would be an interesting way for her to approach her job. And the very first thing that came to me was just her use of silence and her ability to just be comfortable in situations that might make other people uncomfortable. And it’s a quality that I’ve seen in certain people that I’ve always admired and been fascinated with because there’s nobody quite like Cordelia, but I’ve seen glimmers of it,” says The Residence creator and showrunner Paul William Davies about creating his lead character Cordelia, a detective who uses her birdwatching skills as framework for solving cases. On today’s episode, we talk with Paul William Davies about The Residence, the new Shondaland show streaming on Netflix. Set behind closed doors at the White House, The Residence follows an offbeat detective, Cordelia Cupp (Aduba), as she investigates the murder of a lead member of the White House staff. Davies says the idea came to him watching a hearing on C-SPAN that went into details of the White House’s layout. But the show is more than just a game of Clue set in the upstairs-downstairs world of 1600 Pennsylvania Ave. The show goes deep into character and offers plenty of laughs along the way. Davies talks about what he’s learned working with television revolutionary Shonda Rhimes, the intense work that goes into structuring a murder mystery, and shares his advice for anyone who may be working on their own TV mystery. “I think it’s really important that you think about what the environment is that you’re having this murder mystery in, and making the motive something that feels like it’s related to the world that you’re working in. In most murder mysteries, the murderer is doing it for money or for love or lust. And that’s probably in 98% of the ones that you read. And that’s fine… But I think really giving a lot of thought to, what is the motive here? How do I keep it organic to this world and these people, as opposed to it just being grafted onto it, which I think sometimes does happen. Make sure that the killer is doing something that feels like it’s part of that world for a reason that is related to that world,” he says. To hear more, listen to the podcast. /episode/index/show/finaldraft/id/35888260

Write On: Peter Katz - Manager & Producer, Story Driven 03/19/2025

Write On: Peter Katz - Manager & Producer, Story Driven “Sameness is terrible. Your goal is to cut through it. If you have a unique perspective, you’re going to take vampires or anything that everybody thinks they know and do it in a way that’s really exciting and gets people really pumped up about it. There are all these incredible worlds to explore, but there just needs to be somebody that can take you there that has a different way of doing it… I want to see creators that offer something specific and unique. Specificity is key to me. I don’t want a cover band. I don’t want people covering what has been before. I want to see something new. I want to see a badass band with a new singer or new lyrics, a new style of music,” says Peter Katz, founder of Story Driven, a literary management and production company. On today’s episode, we speak to Peter Katz, a manager and producer championing writers with fresh, unique voices who are forging new ground. We talk about what he looks for in a writing sample, why he loves being a judge in Final Draft’s Big Break screenplay competition, and why short stories are having a bright moment in the film industry. “Recently, I’ve actually seen TV executives starting to think about short stories as a foundation for potential shows. It’s a really effective way to communicate an idea quickly, in a really conceptual way, but also, it’s not like a pitch. It’s very tonal. You have character perspective and you have the style that the author brings to it. So I think it has a really unique marriage between pitching the concept, but also immersing you in a world in a very short period of time. That’s why I think it’s been effective in selling to a market, because you could share a short story with somebody and it doesn’t demand a lot of time. If it’s developed properly, you’re able to learn about the potential of this project and then quickly share with somebody else on your team. And overnight, a lot of people can sign on to a project because it doesn’t take as long as other mediums,” says Katz. To hear more about Katz’s perspective on the industry and what he looks for in a writer’s voice, listen to the podcast. /episode/index/show/finaldraft/id/35777370

Write On: 'Long Bright River' Showrunner Nikki Toscano 03/07/2025

Write On: 'Long Bright River' Showrunner Nikki Toscano “With an adaptation, you can never give back your first read. So, what are you taking away? What fills your soul? Why do you want to tell this story? And then that becomes sort of the North Star. And I’m tethered more by that North Star than by the actual moves that are happening in the book,” says Long Bright River showrunner, Nikki Toscano, about adapting Liz Moore’s best-selling novel for television. Long Bright River is an emotional suspense thriller that follows Mickey (Amanda Seyfried), a police officer in a Philadelphia neighborhood hit hard by the opioid epidemic. As a string of murders unfolds, Mickey must find her missing sister who’s also battling addiction before it’s too late – but long buried family secrets stand in the way. On the surface, the show is a highly engaging murder-mystery, but beneath the whodunnit is a love story between two sisters. We chat with Toscano about delving into the sisterly dynamic that is both compassionate and toxic at the same time. Toscano shares tools for building an enticing mystery that includes giving your characters secrets to help drive the story. “I think that in the beginning of anything, you have to determine what your character wants and then put a bunch of people or things in that character’s way. So that’s how secrets are born, right? And that’s how you have your audience leaning in. Is the secret going to come out? Who’s going to tell the secret? You and I could be having a conversation and I say, ‘Don’t tell anybody!’ And then the next scene is you being in a situation where do you tell, do you not tell? It’s about setting up those kinds of things. I mean, whenever building any kind of show, whether it’s an adaptation or not, determine what your character wants and then stick a bunch of people between them and that goal that either complement or compromise your character’s journey,” says Toscano. To hear more, listen to the podcast. Long Bright River streams on Peacock March 13. /episode/index/show/finaldraft/id/35576950

Write On: Comedy Writing with Brent Forrester 02/12/2025

Write On: Comedy Writing with Brent Forrester “My recommendation to anybody who is writing animation is to take advantage of the things you can do in animation that you can’t do in live action, which is to spend an infinite amount of money, right? If you and I are going to write a scene and you say, ‘Oh, let’s set it on a battleship, but then space aliens come and suddenly we’re transported to Jupiter,’ it better be animation because if it’s not, we’re never going to be able to shoot that. But if it is animation, that’s exactly what we should be doing all the time. You want to create the most expensive set in the world because it costs nothing to draw that battleship and send us to Jupiter. And that’s really the glory of an animated show,” says Brent Forrester, about what he learned writing for The Simpsons for three seasons. On today’s episode, we chat with Emmy-winning writer Brent Forrester about his prolific comedy writing career that includes shows like The Office, King of the Hill and Space Force. He shares why the writing room for The Simpsons was so intimidating and his surprise when The Office showrunners had to teach him the specific tone and structure for the show after he turned in his first episode and just wasn’t getting it. “I had gotten the tone wrong – it was largely my attempt to make it wall to wall funny. I wasn’t getting that you really had to make it serious. There were other aspects, too, that I had to pick up. One of them is the use of what are called ‘talking heads.’ It’s when the character speaks directly to camera. It comes from reality TV where they pull the subject of a reality show aside and ask them a question and they just speak directly to camera. So we stole that device and it’s a great crutch for writers because one of the hardest things for us is getting the exposition across,” says Forrester. He also shares his advice for writing a great TV pilot that will hook the reader and offers a simple formula for writing jokes by mixing the sacred with the profane. To hear more, listen to the podcast. /episode/index/show/finaldraft/id/35257040

Write On: 'The Performance' Co-Writer Josh Salzberg 01/29/2025

Write On: 'The Performance' Co-Writer Josh Salzberg “Fugler (Robert Carlyle) was a character that I really connected with from the beginning. I know it sounds a little strange that the Nazi was my way into this, but it really was that idea of, ‘How can we get inside his head and make sure that he’s a fully fleshed out person that way?’” says Josh Salzberg about trying to make his villain, a Nazi named Damien Fugler, a three-dimensional character. Josh Salzberg wrote the screenplay for The Performance with co-writer/director Shira Piven. In this episode, Salzberg talks about the challenges of adapting a short story by playwright Arthur Miller that’s about a Jewish-American tap dancer (Jeremy Piven), who’s willing to compromise his own core values to find fame and fortune in Nazi Germany. “The idea of all [the characters] is that they’re all performing on some level. They all have another life. And that’s true to show business, that we all have sides of ourselves that we’re not sure we want everybody to see or that it’s okay for everybody to see. And then in Berlin in the ‘30s, there’s all these different communities that were impacted – not just the Jews in Germany,” he says. Salzberg also talks about his background as a film editor, how it helped him transition to screenwriting, and the challenges of writing morally compromised characters like his protagonist, Harold. “I think embracing the mistakes that they make, embracing those flaws and leaning into that is important. Sometimes we can care about our characters to the point where we want them to be likable, which is a note we always get, but we’ve got to be okay with the mistakes – and the consequences for those mistakes. And that was a lesson that Shira and I kept learning as we were developing the script,” he says. To hear more about Salzberg’s writing process, listen to the podcast. Please note: this episode contains discussions regarding racism and anti-semitism. /episode/index/show/finaldraft/id/35068485

Write On: 'Inside Out 2' Co-Writers Meg LeFauve and Dave Holstein 01/24/2025

Write On: 'Inside Out 2' Co-Writers Meg LeFauve and Dave Holstein “People think sequels are easier, and I’m like, ‘No, no, it’s much harder. It is much harder to write.’ They have never written sequels, those people, because you need to do everything as well as the first and yet better, and go to new places, follow all the world rules, but create new ones. I mean, it’s just so many balls in the air,” says Meg LeFauve, co-writer for Inside Out 2, along with Dave Holstein. In this special live episode from the Writers Guild Foundation Library, Meg LeFauve and Dave Holstein talk about tackling a whole new set of challenges as they wrote the sequel to the beloved movie Inside Out. They also discuss the 5-year Pixar development process that includes the concept of failing fast. “They really want you pushing to things that are new and innovative, so they expect you to fail. They actually want you to fail but they want you to do that quickly, right? Because we only have five years, so it’s always like, hurry up, hurry up. You know, fail. Go again. Go again,” she says. Holstein shared some very personal advice for writing coming of age stories, like the Inside Out movies: get micro-focused. “Sometimes it’s better to zoom in than to zoom out. For me, it helps to zoom in on a detail and let the detail be a microcosm for the rest of it. I know that when we were writing this film, I was thinking about my anxiety at that age and where that came from. I had a speech impediment, I had a stutter, so I hated Spanish class because I had to read out loud, and my stutter always came out in front of people, which made me very, very anxious. And I feel like, for Riley, there’s a three-day hockey camp that could determine the rest of her life. That’s where I sort of sunk into and if I was writing a different story about me, I would have gone into those details. But for me, it was about finding something very specific and very small,” says Holstein. To hear more about the writing process, listen to the podcast. /episode/index/show/finaldraft/id/34996235

Write On: 'The Boys' Creator & Showrunner Eric Kripke 01/17/2025

Write On: 'The Boys' Creator & Showrunner Eric Kripke “The most subversive thing this show could do is make you cry… If you really boil down television, really cook it in the pan, it’s the character business. I’m in the character business. Movies are in the plot and spectacle business, for television, there’s a thing about laying in bed and watching someone in your bedroom or living room that you really care about, you’re inviting these people into your house. The more you care about them, the more your show will succeed. There’s no simple formula, but you could boil down every single TV show to if the characters work, that show is likely going to work. If the characters don’t work, no matter what that show is, no matter how much money you throw at it, that show is not going to work,” says Eric Kripke, creator and showrunner for The Boys on Prime Video. In this special episode hosted by screenwriting career coach Lee Jessup live from the Writers Guild Foundation in Los Angeles, Kripke talks about the functions of a showrunner, the excellent training he got doing 15 seasons of the show Supernatural, and what it’s like when the real world mirrors the darker aspects of The Boys. Kripke also shares his sage advice for writing dialogue. “I was interviewing people about their life experiences – it was a romantic comedy so I was asking people about their love lives. I wanted to transcribe it, so I had about 20 hours of material that I’m just transcribing and that’s how I learned to write dialogue, just from doing that because you learn how people really speak. No one speaks in straight, declarative sentences. It’s this weaving thing where they’ll start and they’ll back away and throw in a new idea. When you start to pay attention to what real language looks like on a page, it’s very different than what you think it looks like. So, to know what it looked like and how to recreate it, was huge. I recommend everyone try that,” says Kripke. To hear more, listen to the podcast. You can also watch this episode /episode/index/show/finaldraft/id/34895845

Write On: 'Conclave' Screenwriter Peter Straughan 01/06/2025

Write On: 'Conclave' Screenwriter Peter Straughan “If everything's being played on the surface, it's very hard to make that character come to life. You want hinterland, you want subtext. You want the things that are buried, the things that we don't know about them, the things that maybe they don't know about themselves. And always, the story is about this excavation of what's underneath the surface. One way or the other, that's kind of what story is. It's about bringing things to the surface,” says Conclave screenwriter Peter Straughan, about the importance of giving your characters secrets. In this episode, we speak to Peter Straughan about his powerful film Conclave, starring Ralph Fiennes, Stanley Tucci and John Lithgow. Based on the book by Robert Harris, the movie follows five very different modern Catholic Cardinals as they go through the process of electing a new Pope. Straughan talks about why he loves a flawed hero, getting to tour the Vatican, what surprised him the most, and whether or not he thinks the real Pope will watch this movie. Having also written the TV show Wolf Hall about Tudor England, Straughan also talks about the surprising connection between King Henry VIII and the modern Catholic Church. “Both the world of the Tudors and the world of Conclave give us a way of looking at human behavior and the pursuit of power from a sort of angle that makes it particularly clear and fresh, without the clutter of the normal secular world of elections, that really anchors it in the human individual. So, Tudor England was maybe the last time where the sexual desires of one man was going to dominate the political landscape of an entire country. Maybe not the last time. Maybe this still happens in the world. But it becomes really pared down to basics, so you see very clearly what's going on. And I think it feels the same with Conclave, it's about the personalities and the morals of these few individuals,” says Straughan. Just a warning, there are spoilers about the ending of Conclave in this episode, but we give you plenty of warning before they are discussed. To hear more about Straughan’s writing process, listen to the podcast. /episode/index/show/finaldraft/id/34739705

Write On: 'Only Murders In The Building' Co-Creator & Showrunner John Hoffman 01/03/2025

Write On: 'Only Murders In The Building' Co-Creator & Showrunner John Hoffman “There's no greater laugh than when you're at your most vulnerable. You're at a funeral, or you're in church and something's happening and there's great reprieve from the most human moments through humor. And even in those moments, something is funny or human and fumbling. And that scene itself [when Charles discovers Sazz’s ashes], when I was watching it, I really felt like this scene is encapsulating the whole experience of the best of this show for me when he is standing there and then watching him wipe her ashes off and he’s in deep pain over it, but caring so much. And then she pops in the doorway. I don't know, things like that just made me happy to have been able to do anything like that,” says John Hoffman, co-creator and showrunner for Only Murders in the Building, about balancing the humor and the grief in the show. In this episode, we go deep into Season 4 of Only Murders in the Building with co-creator, showrunner and writer/director John Hoffman. He talks about writing from theme, shares details about that rip-roaring fight scene between Meryl Streep and Melissa McCarthy, and exploring visual motifs this season. “The twins and the reflections made me think of so many of my favorite films and the way cinema is used to show reflections and to do parallels and the Bergman-esque stuff. And I mean, granted, none of that might relate to what you're watching on this show. But playing off that theme felt really good. We are a show that's about three isolated, very lonely people in New York City and finding connection and so I think that recognition of we're more alike than we're apart also plays a huge part in the telling of the stories of Season 4. I like organizing them that way,” he says. Hoffman also shares his advice for writing great scenes: “Know what a scene is and know that a scene wants to move in a certain way, and flip in a certain way. It might not take you in the direction you thought it was going to, but sometimes it will give you something of great comfort. Check yourself over and over again… is it honest? And check yourself on the truth of a character's motivation. Would a human being do that, ever? And if not, what could compel them to do it? There are all those things that are just very basic to me,” he says. To learn more about Hoffman’s writing process, listen to the podcast. Please note: this episode contains mention of suicide. /episode/index/show/finaldraft/id/34710185

Write On: A Screenwriting Podcast

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