Screenwriter Christine Conradt reveals the secret to Christmas movie magic is hiding in plain sight.
Screenwriter, producer and director Christine Conradt shares insights on scriptwriting, effective pitching, and the evolving Christmas movie market. Controversially she reveals how the protagontist’s lessons learned is more important than plot resolution. Christine’s expert advice on storytelling, networking and pitching tools is invaluable for anyone looking to make their mark in the industry.
Preroll:
[0:00] This is the Christmas Movie Screenwriter Podcast, episode number 16.
Introduction:
[0:14] Hello and welcome to the Christmas Movie Screenwriter Podcast. I’m your host, Caryn McCann. The Christmas Movie Screenwriter is a podcast about writing, producing, and selling Christmas movies. The show notes, including the transcript and a brand new checklist of actions to take for this episode are at www.christmasmoviescreenwriter.com and look for this episode, which is number 16.
A quick few words about what I’m working on. I’m shortlisting ideas for my next Christmas script. I was about to start one, but it really didn’t have enough of a Christmas angle. So we’ll have to save that for a pure rom-com script next month. I’ll soon reach out to folks to get feedback on my faith-based script. I realize this isn’t Christmassy, but sometimes an idea just won’t let you alone until you write it.
Introduction Christmas Movie Magic:
[1:05] So that is finally done and I can move on to the next Christmas movie script. And now here is the main segment.
[1:13] Christine Conradt is a LA-based screenwriter, director, producer, and author with more than 70 produced television and film credits. Her Christmas movies include 12 Days of Giving on UpTV and Amazon, in which she also directed and produced A Little Christmas Charm, Hallmark Movies and Mysteries, On the 12th Date of Christmas, Hallmark Channel, and Open by Christmas, Hallmark Channel.
In addition to holiday TV movies, she’s written three non-holiday rom-coms for Hallmark titled, As Luck Would Have It, Pearl in Paradise, and the upcoming Tipline Mysteries, and has directed and produced two others titled Love Game Match on Pure Flix and Amazon and The Nature of Romance on UP TV and Amazon.
Prior to making the shift into rom-com’s family, Christine wrote 65 thrillers, which aired on a variety of networks, including Lifetime, LMN, USA, Showtime, and Fox, and has directed four. In 2018, she published three of her Lifetime movies as YA novels with HarperCollins. She holds a BFA in screenwriting from the University of Southern California and an MCJ, Master’s in Criminal Justice, from Boston University, and in her spare time, works as a script consultant and enjoys traveling.
Well, Christine, I’m surprised you have any spare time after reading that.
[2:34] I know, I know, right? I’m older than you would think I am, so I’ve had plenty of years to accomplish those things.
[2:42] You look very young, and welcome again to the podcast.
[2:46] Thank you. Thank you. Very nice to be here, Caryn. Thank you for inviting me.
[2:50] Of course. Well, you are a prolific writer and I wasn’t going to miss out on having you on the podcast, but I’ve told the audience a little bit about you, but why don’t you take a minute and tell us about yourself and your work?
[3:02] Yeah. So basically I’m from Nebraska originally.
[3:06] Grew up there, graduated in the nineties and there was no film industry in Nebraska at the time. So I basically applied to film school in California. I didn’t really like the snow, so it wasn’t an option staying in Nebraska.
They have it about four months out of the year. And got into film school and came out here to Los Angeles when I was 18, attended film school, really found my people, found my calling, loved it, and worked briefly in development after that.
Realize Your Purpose and Christmas Movie Magic
Realized that I didn’t like development that much because I was always jealous because I wanted to be the one writing instead of giving notes on the scripts. But it was a great experience in terms of meeting people and basically just, getting to read a lot of scripts, both good and bad, and really kind of honing my skills that way.
And then after that, kind of launched my career as a writer. I worked, like you said, mostly in the thriller world, mostly for a lifetime, a few other networks as well. And then eventually just made the transition to rom-coms. It was interesting, right?
Aiming for Hallmark and Christmas Movie Magic
[4:38] But I still do both, and I love both. And it’s been a lot of fun. I’m very grateful for all the opportunities that I’ve had.
[4:46] What we need now is like a master’s in Christmas movies or something?
[4:52] I think we’re going in that direction. There’s so many of them now. It’s really boomed.
[4:57] Yeah. Well, you sort of answered my first question, which is, you know, share your journey to break it into the into the Christmas movie industry. And you did mention that you’re still writing both. Is there one that you prefer?
[5:09] No, not really. I think for a while I was preferring the rom-coms and the holiday movies simply because I’d done that dark world so long that it was a nice change, right? But I think now that I’ve done so many rom-coms, I’m feeling like sometimes I gravitate back to doing the darker thriller type stuff, you know? Right.
[5:30] Well, those, you know, both of them are broadcast year round. I mean, the Christmas movies and the thrillers, obviously. Now, speaking of rom-coms and Christmas movies, how do you balance meeting audience expectations while staying fresh and not predictable or cliché?
Christmas Movie Magic: Inside the Hallmark box
[5:48] Oh, it’s such a good question, because, you know, it depends on, number one, the network that you’re working with. Right. So Hallmark is sort of, you know, the king of Christmas films and rom coms, and they’re very branded. And so I’d say they’re a little more in the box in terms of what they’re looking for.
They you know, when you watch a Hallmark movie, you know, it’s a Hallmark movie and you have those expectations. expectations and they really don’t want to subvert those expectations too much, but they want to stay original and fresh.
Christmas Movie Magic: Outside the box with other networks
With other networks, you can go a little more outside of the box in terms of your characters and some of the conflict and some of that, but not too much, right? Because there’s still an expectation that it’s going to be people who get together and fall in love and that’s what’s going to happen.
And so I think to me, the biggest thing is creating the conflict, right? Because we know that it’s going to be about two people. We know they’re going to fall in love. We know they’re going to end up together at the end. That’s sort of the standard for a rom-com.
But it’s the conflict that you build within your second act that makes it different and unique. And also the hook. I think if you come up with a great hook that’s unique and original and give these people goals that are unique and original, then I think it just kind of automatically builds in some originality, even though you stay within that very accepted, anticipated structure.
[7:10] Oh, good, good. Now, after you finish a script and it’s ready to go out, what’s the next step? How do you move it towards getting into production?
Christmas Movie Magic: The first sale
Now that I’m with the WGA, I can’t write them unless we become a signatory. So we hire writers to do those. But we had been pitching the ideas. And the distributor liked the idea, a couple of them. It was a love game match and nature of romance.
And so I helped the writer develop them. And then we ended up shooting them. So on those projects, they start out just as pitches. And we kind of sold the pitch first. On my other specs, a lot of times I’ll just write it.
And then I either give it to my manager, or I send it. I have a network of producers and distributors that I know for over the years that I’ve become friendly with. And if it seems like it’s something that’s right for them, I send it directly to them to see if that’s something they’d like to pursue.
[8:40] When you are sending these out to producers, are you sending out just a logline or are you actually writing the full script beforehand?
[8:49] Sometimes it’s a logline. Sometimes it’s the full script. If it’s something I’m really passionate about, it’s a project I really want to work on, I just write the script because that’s sort of what I love doing. A lot of my work is work for hire.
So I’m rewriting other people’s stuff. I’m getting ideas already from the network that they know are going to go. So when I get to write something I want to write, I like to just write the whole script. Although I have done it just as a log line. I’ve done it as a pitch deck. It just depends what I think is the best sales tool.
[9:18] Is our pitch deck, I’m just curious, are producers wanting more pitch decks these days?
[9:23] Yes, they are. It’s, I really think it’s the difference between getting, you know, we’ll send projects and one will have a pitch deck and three of them will have log lines. Lines and almost always it’s the one with the pitch deck that they come back and like, Hey, let’s, let’s see the script on that one. Really?
[9:39] Okay. Yeah.
[9:40] Yeah. It really, it really helps them visualize sort of the, who’s going to be in it and what the tone is and all of that. But for new writers, for new writers, I say always write the script because, because it, they’re not as likely to take a chance on a new writer just from a pitch deck. Because you can make a great pitch deck.
But you might not be able to execute that story well in the script. So I would say write that script and follow up with the script. Some of the ones that I do are pitch decks and we’re going to develop it with the producer. So there’s not more than just sort of my ideas behind that pitch deck that we can then start developing.
[10:22] Right. Okay. Now, how would you balance the heartwarming Christmas elements with perhaps another genre, like a heist that would create a unique and appealing story?
[10:32] I love those movies. I love movies that are set against a Christmas background, but aren’t necessarily about Christmas. And I’ve done two of them. Two of my Hallmark movies were like that. One was A Little Christmas Charm, and it was a mystery.
Just the short pitch for that one was basically a woman who is a jewelry designer, doesn’t really have the confidence to start her own business, is helping her friend with her business.
And it’s a thrift store. She finds a really expensive bracelet in the pocket of a donated coat. And she realizes that this was a mistake. Someone didn’t mean to donate this. She makes it her mission to try to find that person.
Later she uses the little charms on the bracelet to try to figure out who the woman is. And so that’s sort of a mystery that we follow and she teams up with a with a reporter who’s doing a feel-good Christmas story who decides he’s going to help her with this.
And of course they fall in love um so that was one and I really enjoyed it’s one of my favorites. I really enjoyed writing that because of the mystery aspect and it kind of keeps you on your toes. And they you know you get to do a lot of research for those projects.
They’re a lot of fun. Then Open by Christmas which was on Hallmark that was also sort of a mystery. It was more of an ensemble a story. We’re following number one, number two. They’re both women and best friends., They both have their own things going. But the one character, Nikki played by Alison Sweeney. She finds this old and she opens up an old textbook because her parents are moving and she’s cleaning out her room.
And eventually it leads her to a place where she doesn’t need to figure it out. Every conversation she has with these guys, and they’re all not the right guy, helps her kind of reframe her experience in high school. And she realizes it wasn’t quite as bad as she thought it was. And so that’s where her thematic change comes from. But it’s a fun little mystery that she has to solve.
[12:45] That’s a good arc. You know, I like that. Now, do you think back to this question about a heist? I’m kind of an action girl and I like I like to see not pure action, but I wonder if Christmas movies can have a villain.
[13:04] I think they can. I think Christmas movies can be anything we want them to be, right? You can still have the nostalgia. And you can still have the feel-good. The feel-good aspect comes from a satisfying ending, really, right? So as long as the character learns what they need to learn.
Even if they don’t achieve what they, you know, set out to achieve necessarily in the plot, as long as they learn something and grow. We believe that their lives are going to be better in some way because of that. It’s a satisfying ending.
So I think that you can absolutely have a heist. You know, you can have any story you want it to be. I think it was either BET or Bounce did a heist Christmas movie this last year. I don’t remember the name of it.
[13:42] Yeah, Santa Claus. Santa Caper or something. I think I saw that. Yeah.
[13:47] Yeah. I don’t think that’s the title.
[13:49] But I think that’s something like that. I’m making it up. I’ll put it in the show notes, folks.
[13:56] Now, how would you suggest screenwriters expand their network of producers? Would you, you know, networking, film markets, if so, which ones, competitions, or even online platforms?
[14:05] Well, I think a lot of that depends on where you are geographically in the country or even the world, right? Some of us have a lot more access to those things than others. But that doesn’t mean that you can’t find, you know, festivals and networking opportunities.
Let me start by saying that, to me, networking is the most important thing you can do. Networking, you know, people like to work with people they like. And if you are one of those people and you find like-minded people who like the same kinds of projects and work the same way that you do, I think that’s really, really a valuable thing to hold on to. So, yes, I would say There are certain markets that are the big markets, AFM, you know, Cannes, all these ones that we hear about that are in the trades.
But there are smaller markets and there are certainly people who are in the film industry or on the brink of making their name in the film industry that you can meet at those things by volunteering at pitch fests and markets and festivals. Festivals, those are a great way to get in without having to pay to get in because it can also be expensive.
And you get invited to the after parties and the galas and you get to meet people. Those are great ways. Networking, also just reaching out to people, volunteering at other things, you know, volunteering in an office. Volunteering on set. If you have that spare time, even if you have a day job, those are great ways that volunteering to do coverage. Those are all ways to start to show someone that you know what you’re doing and that you deserve the opportunity.
[15:35] Now, you mentioned earlier that you have a network of producers, you have a manager, but I’m going to ask this anyway. Do you attend film markets to pitch your projects or do you rely on your reps or a combination of both?
Film Markets
[15:47] I’ve gone to meetings at film markets to meet producers. I haven’t actually gone and gotten a booth and tried to pitch my projects that way. For a writer, you know, a lot of those are finished films. So if you and the finished films that I’ve produced, we already had distribution. So there was there was no point in doing that.
But it’s a great way to meet people, you know, being there and taking those meetings. And if you, you know, I don’t know that you’re going to sell a script necessarily that way because people are more looking for finished films, but you might, you might make, you might meet the person that, you know, you pitch the project to and they develop it with you. So there’s a way to do that. I haven’t done that. But I wouldn’t discount it as, you know, a waste of time on, in, on, in any way. Yeah.
[16:33] And what do you think of the market for Christmas movies? Do you think it’s oversaturated or do you think it’s growing?
[16:38] I think it’s growing. And yeah, I don’t think it’s going anywhere. What was it like last year, 2023? It was 115 original.
[16:50] I heard 152. 172.
[16:53] Okay. So 100 and 100. Well, over 100 original movies. And what I’m seeing in terms of trends, they’re spending more money. You know, everyone’s getting into the Christmas movie game. They’re either emulating Hallmark and doing a lot of those really feel-good rom-coms and family dramas. Or they’re trying to set themselves apart and do something a little different, like the comedies or an edgier rom-com.
For example lifetime had that cowboy Christmas movie that had a vaccine in it that was a first um so you know they’re trying to reach their own demographic but still find these movies that everyone is loving which are the Christmas movies right um so yeah I don’t think it’s saturated at all I think that it’s growing and I think there’s a lot of opportunity for new writers to get in get in on that how.
[17:46] Does that compare to opportunities, Christmas, I was just kind of, this came to the top of my head. How does the opportunities for writers, if you were to advise a young writer, write Christmas movies, write rom-coms, or write thrillers, or write all three?
[18:03] I would say write what you want.
[18:04] Yeah. that’s the right answer.
[18:06] Write what you like.
[18:07] Because that’s what you’re going to be good at. That is the right answer.
[18:11] I think writers are inherently creative, and they get bored easily. Right and so they’re always sort of looking for that next creative energy and if that means taking you from rom-coms to holiday to thrillers and back then then let that be what that is I really do think a lot of people get very stuck on oh I want to write a movie for Hallmark.
Here’s the rules that I need that you know Hallmark this and this and it happens on this page and I’m not really a fan. Because first of all Hallmark breaks their own rules all the time. Hallmark developed a lot of their stuff in-house anyway. So the chances of selling to Hallmark is slim compared to a lot of these other networks.
Whether it’s a heist or it’s a rom-com or whatever, they want that nostalgia. They want to feel good afterward. And so I think as long as it has that component, you know, you can find a network or a platform that would be interested in it. But write what you love. You know, that’s why we’re here, right?
[19:20] That’s right. Good advice. Now, what is your favorite script you’ve written and why? And I know there’s many to choose from.
[19:27] Oh, my goodness. I would have to say… It’s 12 Days of Giving, which was the Christmas movie that I wrote, produced, and directed. One of the reasons for that was because I still get emails every single year when it re-airs. Like, I love this movie. It made me cry.
Like, it really did what it was supposed to do. So I think that’s one of my favorites. And it was one of my favorites to work on. The idea came to me so quickly. And a funny story. I would never advise anyone to do this. But I pitched it to a producer and he’s like, great, send me the script. I was like, OK. And it wasn’t written yet. So I went home and I wrote it in like a weekend. And then I spent another few days rewriting it and then sent it off.
And it was one of those projects that, you know, it was optioned twice. They didn’t end up making it. It was out of the box. It had a male lead, not a female lead. And at that time, they only wanted female leads in Christmas movies.
Right and it had a male lead and then it went to another network. Another production a big production company that wanted me to change the lead to a female and it changed too much in the story. I actually said I don’t think I can do that which is another thing. I don’t advise people do I usually advise people to just do the notes okay. Do the notes. Make the changes on this one though I kind of stuck to my guns and it paid off. Because I was able to make that film exactly the way I wanted to make it. And it’s still the one that people contact me about.
[20:55] Well, that’s great. And good for you for sticking to your guns. Thank you. That’s brave. Now, getting a movie made can be stressful. How do you maintain a work-life balance? Do you have any hobbies? I know you have no spare time, but let’s hear it.
[21:12] Traveling is sort of my hobby. I don’t have kids. My husband and I both love to travel and it’s sort of what we spend our spare time doing. So we do a lot of international and domestic travel. That’s kind of our thing. I read. I love to read scripts and obviously watch movies. I’m always really jealous when a great movie comes out.
I’m like, oh, I wish I had written that. That’s sort of the feeling that you get. But yeah, and I think a work-life balance, um, you know, definitely in my, my twenties and my thirties, um, and maybe even into my forties, I, I struggled with that a lot.
So basically I was a workaholic, but part of it was that I loved what I did and I wanted to be doing it all the time. And I really immersed myself in it. I think since I’ve gotten older and I’ve gotten married, I’ve found a better work-life balance. I do a page count every day. So if it takes me six hours to hit that, if it takes three, if it takes 10, that’s what I do, you know, and then I stop for the day. So that’s kind of how I create a little rule for myself.
[22:17] If I may ask, what’s your page count?
Pages
[22:21] Mine’s 15 pages a day, but I know that sounds really ambitious. Let me explain the process though, because it’s not quite as ambitious as you think. I’m a big believer in vomit drafts. So I do an outline and then I just write. And as I’m writing, if something’s not quite working or a scene I’m not quite sure about – I just put a placeholder in. And I keep writing.
So there’s a lot to go back and rework. Versus I know writers who, you know, they write five pages a day, because they literally, you know, craft that thing so meticulously. And it’s just not how I do it. I like to go back, and I come up with ideas as I’m writing, and I want to go back later, you know, or earlier and be like, oh, I need to lay this in earlier.
And so it’s just a matter of like making notes to myself within the script. The script, before it’s done, it looks like a mess. It’s X’s everywhere. And it’s like little notes, go back to page this and add this. And, you know, so that’s how I get the 15.
[23:22] And then if, let’s say you’ve got 100% of the pie, how much of that pie percentage-wise is outlined and how much is writing in final draft or whatever?
[23:33] That’s a good question. So I start an outline. So when I’m working with a network, usually the first step is to do an outline that they approve, right? And then they’ll give you notes on that outline before you’re commenced to draft. So you have to do it. And they’re about 12 pages, single spaced, those outlines.
[23:52] For me, when I’m doing it myself, they’re a little less. They’re probably about eight pages, but I do them in Word. And again, they’re really messy until I get exactly what I want in terms of the outline. Then I just copy and paste that into Final Draft.
I write into my outline. So at the bottom of my outline, I’m just making more and more notes until eventually as I write the scene, I delete the outline scene. And it gets replaced with a screenplay scene. And then by the end of it, it’s pretty clean.
[24:22] That sounds like a good idea. Kind of like write a short treatment, copy and paste that, put that into Final Draft, and then just fill it in with dialogue and text.
[24:31] The thing about the outlines, I think you have to kind of be careful of is there’s a creative process that you use when you’re outlining. And then there’s a separate creative process you use when you’re writing. And never the twang shall really meet, to be honest with you.
One is about creating a structure that works, making sure that you’re tracking those plot goals, those theme goals, how those A, B, and C stories are interweaving and informing each other. That’s all very cerebral, right? That’s the outline part of that.
Outlines
And then when you’re writing, you don’t want to go too far because you want that creative process where you’re writing the dialogue and you’re really seeing those characters come to life and understanding the dynamics between those characters. That all happens in the writing process. You want to be a little bit careful that you’re not overwriting your outline and then you feel so married to it that there’s no creative process when you’re actually writing.
So, yeah, I’ve seen writers do that. Writers that I’ve coached have sometimes do that, too. And I try to get them to break away from that. And like, it’s fine to have some of that stuff in your head, leave it in your head, because you’re going to come up with better stuff as you’re actually writing.
[25:36] That’s right. And you can always save a good part that you might cut for another script.
[26:01] Good, good.
[26:02] So I can go back to those any time. I mean, do I go back? Not usually. I mean, usually you come up with more good stuff as you’re writing, but that way it’s not lost and you’re not deleting. I think it’s hard to delete things that you love, but you got to,
[26:13] like they say, kill your babies.
[26:14] Yeah, exactly. Now, what advice would you give to your younger self?
[26:20] I would say be more open to opportunities and to notes. You know, I think part of it was coming out of USC film school. They kind of make you feel like, oh, you’re going to graduate and the next day you’re going to have a three picture deal. And it does not work that way at all. There’s a lot to be learned in the real world.
You know, you can read as many scripts, you can read as many screenwriting books as you want. The reality is until you start writing and until you start seeing how movies are made and you start networking and really getting involved in the practical aspect of filmmaking, there’s a lot you don’t know. So I would say, I would tell myself that, get into that aspect as well. Don’t think that just sitting behind a computer and expecting a manager or an agent or someone else to do everything once you finish is your job.
It’s not your job. Your job is to get out there and learn as much as you can about filmmaking, meet as many people as possible and immerse yourself in the culture of filmmaking, which is hard for a lot of writers because a lot of writers are introverts you know and they like sitting behind the computer yes and just sending it off to someone else to do you know whatever they’re going to do but you have to you know no one believes in your project as much as you do so get out there and champion it yeah.
[27:33] Yeah and you know that especially if you can try and translate that enthusiasm because that’s a big selling point to producers is are you enthusiastic about the story.
[27:44] And that goes back to why you don’t just say, oh, I want a movie that’s going to be on Hallmark or I want a movie that’s going to be on Netflix. And so I’m going to try to figure out exactly what the structure of those movies are. And I’m going to recreate that. Write what you are enthusiastic about, because when you pitch that, that will absolutely come through, you know, and believe in your and believe in your characters.
Make an impression
Make sure your characters are going somewhere. You know um to me the biggest thing the best movies are the ones that sit with you afterward right now what is it about those movies that sit with you sometimes they’re haunting sometimes they’re just you know they bring all the feels sometimes they just make you think about things in a different way.
I think coming up with that versus saying oh I’m going to come up with a structure that works and it’s exactly what you know every other rom-com structure every other thriller structure is, um, you know, don’t do that. Those aren’t, those aren’t going to be the movies that sit with people and really affect them.
[28:41] Exactly. Well, and to wrap up, would you like to share any, uh, social media details or website links so our audience can keep track of your work?
[28:49] Sure. You can, you can reach out to me at my website, which is christineConradt.com. My first name and my last name and my last name is C-O-N-R-A-D-T. It has that weird little T at the end. ChristineConradt.com. There’s a contact page. So you’re welcome to reach out to me if you’d like. I’m on Instagram, Christine Conradt.
I’m on Facebook. Screenwriter Christine Conradt is my professional page. And that’s where I announce all the movies and the air dates and all of that kind of stuff. I also tend to post a lot of resources that I find for writers there. And then also I’ve just recently launched my Substack newsletter which I’m really excited about.
[29:25] And that’s at ChristineConradt.substack.com and that’s a newsletter it’s free there’s a paid version also if you if you want to pay but it’s a free newsletter it comes out twice a month on Thursdays and it’s sort of me ruminating about writing and storytelling and the craft and the business and um giving people information I feel that new writers should know so um so yeah. So please feel free to subscribe to that.
[29:54] Definitely. I’ll definitely subscribe to that. Well, Christine, thank you so much for sharing this great information and your experience. Thank you for coming on the podcast today.
[30:03] Thank you.
[30:04] And now for my new segment. Your checklist of actions to take. I’ve changed this last section from top takeaways to an action checklist. And I have six from my interview with Christine.
Your Checklist of Actions to Take
Understand Networks Creative Boundaries:
Grasp the stringent guidelines of Hallmark versus the broader artistic freedom of other networks.
Master Your Pitching Tools:
Develop captivating pitch decks to grab producers’ attention.
Emphasize Character Development:
Ensure your stories culminate in character growth and learned lessons, not just plot resolutions.
Expand Your Professional Network:
Engage actively in the film community by attending film festivals and volunteering.
Capitalize on Christmas Movie Trends:
Leverage the growing market for Christmas movies by creating stories that stir nostalgia and offer comfort. Keep abreast of industry trends, such as increasing budgets and the push for diversity in storylines.
Hone Your Writing and Industry Skills:
Retain and repurpose scenes cut from your scripts for future projects.
Next Up
[31:57] On the next episode of the podcast, I interview producer, writer, director Jesse Ikeman from Vortex Media. He talks about innovative Christmas movie storytelling, the importance of character driven narratives, and strategic approaches to funding and distributing Christmas films.
Lastly, I’d like to give a big shout out to Lynn, who bought me not one but two cups of hot cocoa this week through the buy me a coffee button on my website. Thank you, Lynn. You rock.
Well, that’s the show. Thank you for listening. To show your support, please give us a five-star rating on Apple or wherever you get your podcasts. You can check out other great podcasts and blogs on our website at christmasmoviescreenwriter.com. I’m your host, Caryn McCann. Thanks for listening, and I’ll see you on the next Christmas movie screenwriter podcast. Bye.
The Christmas Movie Screenwriter Podcast – Episode 16
Christine Conradt, Screenwriter, Director, Producer, and Author
Show Notes
HOST: Caryn McCann
Website: https://christmasmoviescreenwriter.com
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BET movie mentioned: Holiday Heist
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Be sure to check out helpful content such as:
Podcasts
13: How to Write Exactly What Producers Want
10: Success Tactics – Christmas Screenwriters’ Essential Guide
Blogs
The Magic of Christmas TV movies: Exploring Their Marketability and Demand