While working the front desk at Miramax, Dave Pullano created the fictional exec, Jay Flannick, to field unwanted and overly persistent pitches. Ironically enough, through a series of adventures, Pullano found himself in Hong Kong, sitting on an old mattress ... and pitching his own script to Jackie Chan.

Conflict is what drives a story. Without opposition, the story becomes lifeless. Learn the four types of conflict and how to effectively use them in your next screenplay.

Some writers struggle in transitioning from one type of writing to another, but Nicholas Meyer has conquered many forms. Learn Meyer’s cross-format storytelling processes and what encouraged him to write his memoir, The View From the Bridge: Memories of Star Trek and a Life in Hollywood.

Doug Richardson, writer of Die Hard 2, Bad Boys and Hostage, shares advice on whether you need to get the life rights before you start that screenplay.

Screenwriters Michael Weber and Scott Neustadter describe their creative process and the decisions that went into writing their Oscar-nominated comedy, The Disaster Artist.

Screenwriters Michael Weber and Scott Neustadter dig into details about the development and writing behind their Oscar-nominated comedy, The Disaster Artist.

David Goyer, who co-wrote Batman Begins with director Christopher Nolan, reflects on the creative choices he and Nolan made in bringing the darkest of the DC Comics’ characters to life.

Story analyst Joel Haber explains the process of adaptation: How it’s done, and how practice makes perfect. If you're a screenwriter or novelist, Haber's insights are a must-read.

Writer-director Douglas McGrath chats about "shrinking" Dickens' classic, Nicholas Nickleby, into a Golden Globe nominee.

The Third Act can make or break your screenplay. As films explore new territory in terms of plot and storytelling, the craft of writing them becomes more of a challenge.

Jeremy Robinson examines the differences between the genres of science fiction and fantasy. Knowing these differences is critical for any screenwriter or author in these genres.

Doug Richardson, writer of Die Hard 2, Bad Boys and Hostage, takes an author through the process of book to film and what an author can expect when working with Hollywood.

Script's Editor Jeanne Veillette Bowerman shares why screenwriters should take on the NaNoWriMo challenge by adapting backwards, screenplay to novel.

Writing a story that has all the enticing elements of a screenplay in novel form can be a challenge, but if done right it can lead to a cinematic manuscript that's bound to catch the eye of agents and readers. Here are seven ways to take your eye for big screen story ideas and craft them into can't-miss novel ideas.

For 28 seasons, “The Simpsons” has celebrated authors and their work through cameos and callouts. Showrunner Al Jean reflects on the animated classic’s literary legacy.

If you regard your writing career as a business, you should be planning your novel at the drawing board to make it appealing to filmmakers. Here's how.

Being a writer in TV and film is difficult as is, but being a female writer throws and extra wrinkle in things. Here's how to find success in the challenging screenwriting world.