Jeffrey York

For all the talk in Hollywood given to seeking out vital roles for women, the woman warrior has become every bit an egregious cliché as the hooker with a heart of gold was for half a century on film.

If a screenwriter thinks that there’s little to learn from the niche because they’re writing a horror film or a thriller, they’re (ahem) way off-key.

The limited series really must be considered long-from filmmaking, a brilliant hybrid of the best of the big and small screens.

What happened to sci-fi? When did it become so predictable, so unvaried, so unimaginative?

1985 gave us three such movies blending commerciality, narrative discipline, and daring—their scripts a marvel to behold.

Being uncaged or unencumbered isn’t really freedom in writing, it’s absurdity.

Being bad is a state of mind, and in the 1970s, being bad was very, very good.

One of the worst pieces of advice ever given to a screenwriter has to be: “Write what you know.” The key is relatability. If you can relate, you can write.

It’s all storytelling, be it a product or a film or a TV show. Combining art and business is a tale as old as time.