The Matrix (1999)

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How can exposition twist your story in new directions?

In the second part of Draft Zero’s two-part episode on “Exposition”, Stu & Chas take an even deeper look at this notoriously challenging part of screenwriting. For many stories there are pre-existing facts (or given circumstances) that need to be communicated to an audience, and often we rely on dialogue to do it. But exposition can do more than just communicate, it can serve as dramatic revelation that twists a story into a new direction or provides an emotional payoff - or both!. So how do great writers make exposition work for the story, rather than just tell audience stuff they need to know? And how can writers go wrong… →

⏱ 1h 52m

Words · Structure · Scenes | 6 DEC 2016

Listen to learn how to use exposition as dramatic revelation rather than mere information delivery.

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In the second part of Draft Zero’s two-part episode on “Exposition”, Stu & Chas take an even deeper look at this notoriously challenging part of screenwriting. For many stories there are pre-existing facts (or given circumstances) that need to be communicated to an audience, and often we rely on dialogue to do it. But exposition can do more than just communicate, it can serve as dramatic revelation that twists a story into a new direction or provides an emotional payoff - or both!. So how do great writers make exposition work for the story, rather than just tell audience stuff they need to know? And how can writers go wrong… →

Films: Gone Girl (2014) , Shutter Island (2010) , Ghostbusters (2016) , The Matrix (1999) , The Matrix Reloaded (2003) , Captain America: The Winter Soldier (2014)

Words: Exposition , Dialogue

Structure: Setups & Payoffs , Given Circumstances , Emotional Event

Scenes: Dramatic Irony , Secrets and Clues

DZ-15: World Building Rules, Okay?

How does setting up rules help you build a world?

In our most epic/longest episode yet, Chas and Stu tackle world building in films. Specifically, how the rules make something a world and not just a setting. Starting with world-centric genres like sci-fi and fantasy, we also cover horror, crime drama and - er - “other”. We discuss a variety of techniques for setting up the rules of the world, including cold opens, voiceover, title cards and outsider characters! We’ve limited ourselves to the opening 3-5 pages… mostly… because (so the theory goes) they’re the pages that teach the audience how to read/watch your story/film… →

⏱ 2h 0m

Structure · Words · Tone | 4 NOV 2014

Listen when your opening pages feel like exposition dumps (which is bad, okay?)

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In our most epic/longest episode yet, Chas and Stu tackle world building in films. Specifically, how the rules make something a world and not just a setting. Starting with world-centric genres like sci-fi and fantasy, we also cover horror, crime drama and - er - “other”. We discuss a variety of techniques for setting up the rules of the world, including cold opens, voiceover, title cards and outsider characters! We’ve limited ourselves to the opening 3-5 pages… mostly… because (so the theory goes) they’re the pages that teach the audience how to read/watch your story/film… →

Films: The Matrix (1999) , Inception (2010) , The Lord of the Rings: The Fellowship of the Ring (2001) , Jurassic Park (1993) , Pan's Labyrinth (2006)

Structure: World Building , Cold Open , Openings

Words: Exposition , Voiceover

Tone: Establishing Tone

Referenced In

DZ-15

World Building Rules, Okay?

⏱ 2h 0m

NOV 2014

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