Hello and welcome.

Come here on John August or Juan August, if prefer,

Um, uh, my name is Craig Brazen.

And you right now is

listening to Script Notes,

a podcast about guionism and the

things that are those

guionistas

Craig,

it is nice

to see you

again.

Ay, caramba. I just felt like doing it. I'd do it in French every once in a while. I just hadn't done in Spanish, maybe ever, so I thought like I'll just try to I'll tell you, wow, we're going to have to run this by Melissa and do a little accent check on you.

Yeah, I sound like a North American person speaking Spanish, hopefully.

Like a guy who grew up in Colorado who learned Spanish in grade school. That sounds about right. That sounds right, right. But today on this show, Craig, I am coming in hot with a thesis that I ran by you a little bit at D&D this week. You did, yeah. So I believe that screenwriting is distinct from other literary forms, largely because of its orality.

So morality without the end on front.

As screenwriters, we write things that are largely meant to be spoken, not just the dialogue,

but the action, the screen description, everything, which raises the question,

are we in fact oral storytellers that just happen to be writing things down?

Is every script just a long pitch?

I've got a tiny bit of the data, and Craig, I think you're going to be game,

so let's have this discussion and figure out whether we are mostly just storytellers who are writing things down rather than other traditional scribes.

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