Look, folks, I've been podcasting since 2005, and while the thought of doing a panel-styled episode

like this has occurred many times, I've never done it. But honestly, now after having finally done it,

I'm going to do it again. Howdy. I'm Jeff Goldsmith, and this is the Q&A. My agenda is simple. Each

week I plan to bring you in-depth insights into the creative process of storytelling.

And folks, this is a really fun, unique episode, and I'm really pleased with the way that it turned out.

Here's what's in store for you. There are two parts to this episode.

Part one, I interview our panelists, which are four journalists from Backstory Magazine, about what is one thing that they gleaned that was important to them in their

articles. And their articles, of course, are from Issue 51 of Backstory, which is our

Oscar issue. So we are going to satisfy my need for Horses' mouth information because each of these

journalists have interviewed the editors, directors, animation directors, cinematographers,

and of course screenwriters that make up our Oscar issue. Of course, if you're a backstory

subscriber or thinking of becoming one, don't worry, we're not giving away the whole article.

What's interesting is our articles are so in depth that we did focus on one element of the

article, but there's still plenty of other information

in the article itself. And since this is our Oscar issue for most of the films, you could also

read the entire screenplay in the magazine as well. So that is part one. Part two is a roundtable

discussion where we all get together and we analyze the 10 screenwriting nominees, so best original and best adapted.

Now, this is an interesting year for it because the screenwriting nominees, it's not really clear

who's going to win. There's a lot of debate, there's a lot of opinion, and we are giving

our opinions, but nobody knows for sure because of the writer's strike, the WGA awards themselves

will be after the Oscars this year. And writing is also a tricky category even in a normal

year because there's a differential between the nominees of the WGA writers and the Oscar

...