# Read

After college, I worked as a freelance writer and editor, along with several other side gigs, including an ill-fated stint as a Hollywood apartment manager.

You may not have heard Brian Lynch’s name, but you definitely know his work. He’s one of the writers behind Hop, Puss in Boots, and Minions—the eleventh highest grossing animated movie of all time.

“There’s a specific flavor of darkness that only comes from an inner scream ..."

I asked if they would show me that this was in­deed real by do­ing a chore­o­graphed dance of some sort. Im­me­di­ate­ly, I was treat­ed to an in­cred­i­ble version of the Broad­way Hit Chica­go. The play was nev­er crisper or tighter or more brazen.

Only the bravest writers dare to share their difficulties, embarrassments, and addictions with their audiences. Charlene deGuzman is just such a brave writer.

That’s when she says she had her Slumdog Millionaire moment: the moment her training in the arts, animation, theater, film, and television all came together.

Life is just too damn short to prevent yourself from enjoying something as an adult that you as a kid would have gone crazy over, merely because it didn’t have a screening in Cannes.

I’ve learned I’m really stubborn about my work. I just can’t bring myself to give up on something once I’ve started.

LA Screenwriter’s John Bucher interviews director Ron Howard on "Hillbilly Elegy."

It’s long overdue we stopped pretending that media representation has no influence over how people are treated in the real world.

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.”