... character decisions are rooted in their emotions. Those emotions, in turn, are rooted in the character’s core beliefs and their perspective on the world, in their backstory.

It’s also important to not forget about the voice and tone of the story when creating your synopsis.

There are a lot of reasons, of course, but let’s just boil this down to the punchline—you have to meet people to sell your work.

The strike back in 2007/2008 lasted one hundred days. I don't know if this one will end up being quite so lengthy, but if it does, what do you do?

Everything that follows is what they actually said, whether you like it or not.

I remember the intense emotionality of that day—there wasn't a dry eye in the room.

Profits are good. Greed is not.

If everything around AI feels unsettling and sketchy, that’s because the market hasn’t decided what exactly to do with it yet and businesses are taking wild swings.

Writer’s lives are not clickbait, and they are not a work of fiction to be dramatized for effect.

I'm still convinced this doesn't actually exist and was a nightmare I had after watching too many movies set in New York.

... one of the most worrisome fears for writers is that they could end up penning something that damages ‘the brand.’

I was a Hollywood assistant for almost ten years ... let’s go ahead and get the basic stuff out of the way.

Established IP is always the perfect place for film and TV producers to find gems that need to be adapted for the screen.

Drawing didn’t heal me. Risk taking did.

I think, for the first time, I bled in the Goldilocks Zone.