# Read

The problem isn't that writers dream big in this draft. The problem is most of them don't realize that a second, very different draft is coming.

Sadie chats with multi-hyphenate creative Spider One (Allegoria) and vocalist of 90s rock band Powerman 5000 about his new horror film, Big Baby, and battling your inner critic.

Matt and Jeanne discussed so many topics with Amy B. Scher—rewrites, working with a small press, pitching your own book to publishers, and ... the afterlife. Seriously, she gives the best advice on rewrites we've ever heard. Trust us.

Because when you love someone the way the world came to love Bourdain, the last thing you should do is flatten them into a monument. The braver move is to show them being spectacularly, recognizably human.

Your platform is not just the number of followers you have. It is the collection of relationships, credibility, and visibility you have built around your expertise.

What’s at stake? It is perhaps the single most important question when writing a story, be it a novel, screenplay, or newspaper article. What is at stake in the story?

It's been way too long since Sadie and Jeanne had some "alone time" on Reckless, so buckle up, we're all over the place. Some very big news in this episode! Actually, lots of news ... plus we give each other advice on productivity, for whatever that's worth. And, as usual, Jeanne talks too much.

So are these “good” people who do bad things, or just bad people?

Jeniffer Thompson dives into working with authors, discovering your writing routine, the value (or not) of social media for writers, the importance of authenticity, and ... even reveals a secret desire she's never admitted publicly. We tore the veneer off and dove right in!

Zhao and Zal masterfully interpreted this omniscient literary narration into an all-seeing camera that gives the film the sense that something bigger than us is always watching.

It’s unexpected, it’s honest, and it’s the funniest outcome that sets the tone for an emotional rollercoaster of an evening.

Day Seven came, and slow acceptance crept in. Or maybe it was realizing we may be mid-life, but we’re both still a little too cute for prison.

It was 12 years of learning the craft. Of endless rejections. Of promises made and not kept. Of trusting the wrong people because I wanted it so badly. It was a long hard journey. Like every other screenwriter who’s seen success.

What good is having a book, when you are not proud of the product and/or no one ever sees it?

It seems to me that with advertising coming on too strong these days across our leisure destinations, the task for advertisers should be to do less damage, be less offensive, and find savvier ways to pitch all of us.