But instead of falling victim, she became independent, argumentative, curious, and precocious.

“It really did feel like, ‘We’ve never seen one of your kind before.’”

Mark broke down creative struggles into three main stages—the creatively crashed, the creatively frustrated, and the creatively excited (albeit a bit directionless)—before providing ideas on how to push through each stage.

I’m sure there’s someone out there going, “Oh, good. You’re a hard worker.” But the whole point is there is not a system here that allows people who are not independently wealthy to do what it takes to break in.

Scott Neustadter discusses the challenges of turning a true story into a cinematic experience, how he and Michael sold their first script, and his search for the story he “can’t not write.”

Before we can subtly communicate the desires of our character to the audience, we have to fully understand those desires ourselves.

I’m not necessarily interested in partying with people who are only doing it out of obligation or cause “it’s the thing to do.” I want people who are committed. Don’t show up to the Super Bowl asking “Who’s playing?”, or “What’s this about again?”

Dustin Guy Defa discusses how he approached the structure of "Person to Person," writing genuine dialogue, and the benefits and drawbacks of complete creative control.

Hollywood families aren’t a new thing, but it’s rare to see a movie where the co-stars are twins in real life who also wrote the film together.

A conversation with the director and cast of "Ben-Hur" on practical effects, strong voices, and the power of forgiveness.

Best practices are not to entirely depend on your friends and family but for your first campaign or two, it’s largely unavoidable. So what can you do if your starting “crowd” is broke?

Coming-of-age stories have long been a staple of storytelling. Since the early days of film and television, audiences have enjoyed watching characters that mature before our very eyes.

Luxor tells the story of a British aid worker taking a hiatus in the ancient Egyptian city, where she bumps into a former lover, Sultan, an archeologist.

An interview with James Schamus, the writer of the "Indignation," on his writing process, screenplays that aren’t over-written, and the violence of adapting great books.

Diana Henriques is an award-winning writer for The New York Times. Her book, The Wizard of Lies, is the basis for HBO’s Emmy-nominated project by the same name.