[{"categories":"","content":"","date":"30 April 2026","externalUrl":null,"genres":"Thriller · Mystery · Comedy","permalink":"/films/wake-up-dead-man-2025/","section":"Films","summary":"","title":"Wake Up Dead Man (2025)","type":"films"},{"categories":"","content":"","date":"30 April 2026","externalUrl":null,"genres":"","permalink":"/categories/","section":"Categories","summary":"","title":"Categories","type":"categories"},{"categories":"","content":"","date":"30 April 2026","externalUrl":null,"genres":"","permalink":"/categories/character/","section":"Categories","summary":"","title":"Character","type":"categories"},{"categories":"","content":"","date":"30 April 2026","externalUrl":null,"genres":"","permalink":"/hosts/chas/","section":"Hosts","summary":"","title":"Chas Fisher","type":"hosts"},{"categories":"","content":"","date":"30 April 2026","externalUrl":null,"genres":"","permalink":"/episode_type/craft/","section":"Episode_type","summary":"","title":"Craft","type":"episode_type"},{"categories":"","content":"","date":"30 April 2026","externalUrl":null,"genres":"","permalink":"/","section":"Draft Zero","summary":"","title":"Draft Zero","type":"page"},{"categories":"Structure · Character · Scenes","content":"“Getting information puts your character in danger. And danger rewards your character with information.\u0026quot; — One of three ideas we steal from game design in this episode. In this two part series, we talk about how secrets, clues and hidden information motivate characters and may (or may not) help you plot from a character perspective. Part One (this episode) looks at WAKE UP DEAD MAN; while Part Two looks at SIDE EFFECTS, and the pilot episode of SHRINKING.\nThe other two (related) ideas are:\nLandmark information (characters just have it), Secret (they know it\u0026rsquo;s there, need to unlock it), and Hidden (invisible until they pay the cost) Narrative velocity — are characters pushed forward or are they pulled forward? To that end, in this episode Stu, Chas and Mel start with the murder mystery (ostensibly the easier deep-dive): Rian Johnson’s WAKE UP DEAD MAN. But this is a complex film made even more complex by being a dual-protagonist film. Uhuh. Benoit Blanc is pulled through the story by his need to solve the case; Father Judd pushed through, against his will, to prove his innocence. Breaking down how that plays out — and why it matters for the kind of escalation each character can sustain — is the heart of the episode.\nAnd inevitably we go on some tangents: pointers, plants, and underpinnings (from our Everything Everywhere All At Once episode) fair play in locked-room mysteries, Narrative POV (as always) and node-based plotting and what dungeon-crawl game design has to do with writing a web of clues.\n","date":"30 April 2026","externalUrl":null,"genres":"","permalink":"/2026/dz-126/","section":"Episodes","summary":"How can Secrets and Clues motivate characters?","title":"DZ-126: Secrets and Clues","type":"episodes"},{"categories":"","content":"","date":"30 April 2026","externalUrl":null,"genres":"","permalink":"/episode_type/","section":"Episode_type","summary":"","title":"Episode_type","type":"episode_type"},{"categories":"","content":"","date":"30 April 2026","externalUrl":null,"genres":"","permalink":"/episodes/","section":"Episodes","summary":"","title":"Episodes","type":"episodes"},{"categories":"","content":"","date":"30 April 2026","externalUrl":null,"genres":"","permalink":"/films/","section":"Films","summary":"","title":"Films","type":"films"},{"categories":"","content":"","date":"30 April 2026","externalUrl":null,"genres":"","permalink":"/hosts/","section":"Hosts","summary":"","title":"Hosts","type":"hosts"},{"categories":"","content":"","date":"30 April 2026","externalUrl":null,"genres":"","permalink":"/hosts/mel/","section":"Hosts","summary":"","title":"Mel Killingsworth","type":"hosts"},{"categories":"","content":"","date":"30 April 2026","externalUrl":null,"genres":"","permalink":"/categories/scenes/","section":"Categories","summary":"","title":"Scenes","type":"categories"},{"categories":"","content":"","date":"30 April 2026","externalUrl":null,"genres":"","permalink":"/series/secrets-and-clues/","section":"Series","summary":"","title":"Secrets and Clues","type":"series"},{"categories":"","content":"","date":"30 April 2026","externalUrl":null,"genres":"","permalink":"/series/","section":"Series","summary":"","title":"Series","type":"series"},{"categories":"","content":"","date":"30 April 2026","externalUrl":null,"genres":"","permalink":"/categories/structure/","section":"Categories","summary":"","title":"Structure","type":"categories"},{"categories":"","content":"","date":"30 April 2026","externalUrl":null,"genres":"","permalink":"/hosts/stu/","section":"Hosts","summary":"","title":"Stu Willis","type":"hosts"},{"categories":"","content":"","date":"26 February 2026","externalUrl":null,"genres":"Music · History · Drama · Comedy","permalink":"/films/blue-moon-2026/","section":"Films","summary":"","title":"Blue Moon (2026)","type":"films"},{"categories":"Structure · Character · Words","content":"BLUE MOON is a talky, period-drama that film about an obscure songer-writer in the 1940s. Yet, it attracted world-class talent AND Academy Award nominations, including for it\u0026rsquo;s script. Join Chas \u0026amp; Mel as they explore how narrative POV, interweaving relationships, hooky dialogue, and even the screenplay format itself make the script for BLUE MOON so great.\nWhile Stu is still on show and we are between the 2026 Oscar nominations and the actual ceremony, our patreons selected BLUE MOON for this one-shot and boy are Mel and Chas glad they did. They dive into many lessons learned in previous episodes, like our character-driven episode… or analysis of French scenes in Adolescence… or the story-telling power that comes from the audience knowing the ending from biopics.\n","date":"26 February 2026","externalUrl":null,"genres":"","permalink":"/2026/dz-125/","section":"Episodes","summary":"What craft tools make a low-budget, contained, period drama riveting?","title":"DZ-125: Oscars One-shot - BLUE MOON","type":"episodes"},{"categories":"","content":"","date":"26 February 2026","externalUrl":null,"genres":"","permalink":"/episode_type/one-shot/","section":"Episode_type","summary":"","title":"One-Shot","type":"episode_type"},{"categories":"","content":"","date":"26 February 2026","externalUrl":null,"genres":"","permalink":"/categories/words/","section":"Categories","summary":"","title":"Words","type":"categories"},{"categories":"","content":"","date":"30 January 2026","externalUrl":null,"genres":"Thriller · Crime · Mystery","permalink":"/films/devil-in-a-blue-dress-1995/","section":"Films","summary":"","title":"Devil in a Blue Dress (1995)","type":"films"},{"categories":"","content":"","date":"30 January 2026","externalUrl":null,"genres":"Crime · Thriller","permalink":"/films/double-indemnity-1944/","section":"Films","summary":"","title":"Double Indemnity (1944)","type":"films"},{"categories":"","content":"","date":"30 January 2026","externalUrl":null,"genres":"Mystery · Drama · Crime","permalink":"/films/the-long-goodbye-1973/","section":"Films","summary":"","title":"The Long Goodbye (1973)","type":"films"},{"categories":"","content":"","date":"30 January 2026","externalUrl":null,"genres":"Crime · Drama · Thriller","permalink":"/films/woman-of-the-hour-2024/","section":"Films","summary":"","title":"Woman of the Hour (2024)","type":"films"},{"categories":"Character · Theme · Structure","content":"Mel and Chas continue to explore what Noir (the genre) can teach writers of all other genres. In particular:\nHow to keep the audience on side of characters doing reprehensible things; How to control your audience understanding of those reprehensible actions; and Distinguishing between characters undergoing transformative arcs against discovering their true natures In finding the common craft tools of Noir over 100 years, this Part 2 looks at two modern noirs – DEVIL IN A BLUE DRESS (1995) and WOMAN OF THE HOUR (2024) – after Part 1 looked at the classic DOUBLE INDEMNITY and THE LONG GOODBYE.\nDespite Chas claiming to have edited this episode it was, in fact, Chris Walker who saved the day and got this done. Thanks Chris.\n","date":"30 January 2026","externalUrl":null,"genres":"","permalink":"/2026/dz-124/","section":"Episodes","summary":"How does Film Noir show us terrible people doing terrible things without endorsing it?","title":"DZ-124: Making the Despicable Compelling","type":"episodes"},{"categories":"","content":"","date":"30 January 2026","externalUrl":null,"genres":"","permalink":"/series/noir/","section":"Series","summary":"","title":"Noir","type":"series"},{"categories":"","content":"","date":"30 January 2026","externalUrl":null,"genres":"","permalink":"/categories/theme/","section":"Categories","summary":"","title":"Theme","type":"categories"},{"categories":"Character · Theme · Scenes","content":"In this two part series, Mel and Chas use Noir (the genre) as a lens to interrogate flawed characters. How can characters doing reprehensible things still engage audiences? How can you ensure representation isn’t endorsement? And whether these characters undergo transformative arcs, or simply reveal their true natures?\nPart 1 (DZ-123) focuses on two (now classic) noirs: DOUBLE INDEMNITY and THE LONG GOODBYE.\nWhile Part 2 (DZ-124) looks at two more contemporary examples DEVIL IN A BLUE DRESS and WOMAN OF THE HOUR.\nDespite Chas claiming to have edited this episode it was, in fact, Chris Walker who saved the done and got this done by the end of 2025. Thanks Chris.\n","date":"31 December 2025","externalUrl":null,"genres":"","permalink":"/2025/dz-123/","section":"Episodes","summary":"What can Film Noir teach us about character arcs and audience engagement?","title":"DZ-123: Flawed Characters in Noir","type":"episodes"},{"categories":"","content":"","date":"1 October 2025","externalUrl":null,"genres":"Comedy · Romance","permalink":"/films/meet-the-parents-2000/","section":"Films","summary":"","title":"Meet The Parents (2000)","type":"films"},{"categories":"","content":"","date":"1 October 2025","externalUrl":null,"genres":"Crime · Action · Thriller · Drama","permalink":"/films/rebel-ridge-2024/","section":"Films","summary":"","title":"Rebel Ridge (2024)","type":"films"},{"categories":"Character · Structure · Genre","content":"In this episode Chas, Stu and guest Kim Ho continue their exploration into the power(s) of antagonism and how focusing on them can develop story.\nWhile Part 1 looked at the horror film SINNERS, in Part 2 we venture into genres beyond horror with the action-thriller REBEL RIDGE, and the comedy classic MEET THE PARENTS.\nTo both these films we apply the generative story framework TOMBS (Transgression – Omens – Manifestation – Banishment – Slumber) and are surprised at just how well it maps. TOMBS comes from the MOTHERSHIP sci-fi horror table-top role-playing game. Which we love.\nWe explore how TOMBS, and thinking about antagonism in general, allows writers to deepen their understanding of their characters, their relationship of the heroes with the antagonists, and generate story fuel in a way that escalates the story.\nWe discuss how thinking of your hero as the horror for your villains helps everything become more dynamic.\nOh, and we talk about launching an actual play podcast. Which is happening. Stay tuned!\n","date":"1 October 2025","externalUrl":null,"genres":"","permalink":"/2025/dz-122/","section":"Episodes","summary":"How can you apply horror ideas to action and comedy?","title":"DZ-122: Escalating Antagonism Across Genres","type":"episodes"},{"categories":"","content":"","date":"1 October 2025","externalUrl":null,"genres":"","permalink":"/series/escalating-antagonism/","section":"Series","summary":"","title":"Escalating Antagonism","type":"series"},{"categories":"","content":"","date":"1 October 2025","externalUrl":null,"genres":"","permalink":"/categories/genre/","section":"Categories","summary":"","title":"Genre","type":"categories"},{"categories":"","content":"","date":"1 October 2025","externalUrl":null,"genres":"","permalink":"/guests/","section":"Guests","summary":"","title":"Guests","type":"guests"},{"categories":"","content":"","date":"1 October 2025","externalUrl":null,"genres":"","permalink":"/guests/kim-ho/","section":"Guests","summary":"","title":"Kim Ho","type":"guests"},{"categories":"","content":"","date":"29 August 2025","externalUrl":null,"genres":"Horror · Action · Thriller","permalink":"/films/sinners-2025/","section":"Films","summary":"","title":"Sinners (2025)","type":"films"},{"categories":"Structure · Character · Genre","content":"We often struggle to develop the middle stages of a story. Could this be because we focus on our protagonists’ journeys and plot structure more than on how the antagonistic powers are awakened, wronged, discovered, gathering strength and revealing themselves?\nIn this episode, Chas and Stu are joined by professional screenwriter and playwright Kim Ho to explore how a generative story cycle (from tabletop role-playing game MOTHERSHIP) can be used to develop stories, not just write them better. This cycle is TOMBS: Transgression – Omens – Manifestation – Banishment – Slumber. Kim also contrasts this cycle with the Onset, Discovery, Confirmation, Confrontation cycle identified by horror philosopher Noel Carroll, as well as the philosophy of the FINAL DESTINATION franchise as analysed by The Morbid Zoo.\nBy applying the TOMBS cycle to Ryan Coogler’s amazing 2025 original feature SINNERS, we discover how focusing on the rising power of the various sources of antagonism can generate narrative fuel (and make your second Act sing); force your protagonists to Survive, Solve or Save (pick one); and how this escalation in antagonism can be mapped quite separately from your protagonists’ character arcs.\nTo prove that TOMBS does not just work for horror stories, we polled our patreons for which other genres to explore. Stay turned for the next episode (DZ-122) where we apply the TOMBS cycle to thriller REBEL RIDGE and comedy classic MEET THE PARENTS.\n","date":"29 August 2025","externalUrl":null,"genres":"","permalink":"/2025/dz-121/","section":"Episodes","summary":"How do the antagonistic forces in your story escalate distinctly from the protagonists’ journey?","title":"DZ-121: Escalating Antagonism in SINNERS","type":"episodes"},{"categories":"","content":"","date":"1 August 2025","externalUrl":null,"genres":"Drama · Thriller · War","permalink":"/films/inglourious-basterds-2009/","section":"Films","summary":"","title":"Inglourious Basterds (2009)","type":"films"},{"categories":"","content":"","date":"1 August 2025","externalUrl":null,"genres":"Drama · Thriller · Crime","permalink":"/films/michael-clayton-2007/","section":"Films","summary":"","title":"Michael Clayton (2007)","type":"films"},{"categories":"","content":"","date":"1 August 2025","externalUrl":null,"genres":"Horror · Science-Fiction","permalink":"/films/the-substance-2024/","section":"Films","summary":"","title":"The Substance (2024)","type":"films"},{"categories":"Character · Theme · Scenes","content":"Or, how focusing on good drama will result in good subtext.\nWe often hear how subtext is important for good screenwriting. We\u0026rsquo;re here to tell you it isn\u0026rsquo;t. Good subtext is a result of good drama, and your focus should be on creating that good drama. But how?\nIn this episode, Chas Fisher and Stu Willis are joined by screenwriter and teacher Tom Vaughn (Winchester) to delve into the world of subtext.\nWe kick off the discussion by talking through Tom\u0026rsquo;s article \u0026ldquo;Why Subtext is Overrated\u0026rdquo; and break down his core idea that subtext is a byproduct of character goals, tactics and fears.\nWe explore this further through close examination of \u0026ldquo;the other way\u0026rdquo; scene from MICHAEL CLAYTON, \u0026ldquo;the strudel\u0026rdquo; scene from INGLOURIOUS BASTERDS (both known for their subtext) and the \u0026ldquo;new years\u0026rdquo; sequence from THE SUBSTANCE.\nInevitably discussion also turns to the relationship of subtext to emotional truth, theme, symbolism, dramatic irony and filmmaker\u0026rsquo;s subtext.\n","date":"1 August 2025","externalUrl":null,"genres":"","permalink":"/2025/dz-120/","section":"Episodes","summary":"How do character goals, tactics, and fears create subtext automatically?","title":"DZ-120: Subtext is Overrated!","type":"episodes"},{"categories":"","content":"","date":"1 August 2025","externalUrl":null,"genres":"","permalink":"/guests/tom-vaughn/","section":"Guests","summary":"","title":"Tom Vaughn","type":"guests"},{"categories":"","content":"","date":"18 June 2025","externalUrl":null,"genres":"Fantasy · Adventure · Comedy","permalink":"/films/dungeons-dragons-honor-among-thieves-2023/","section":"Films","summary":"","title":"Dungeons \u0026 Dragons: Honor Among Thieves (2023)","type":"films"},{"categories":"","content":"","date":"18 June 2025","externalUrl":null,"genres":"Animation · Family · Adventure","permalink":"/films/finding-nemo-2003/","section":"Films","summary":"","title":"Finding Nemo (2003)","type":"films"},{"categories":"","content":"","date":"18 June 2025","externalUrl":null,"genres":"Thriller · Crime · Drama","permalink":"/films/promising-young-woman-2020/","section":"Films","summary":"","title":"Promising Young Woman (2020)","type":"films"},{"categories":"","content":"","date":"18 June 2025","externalUrl":null,"genres":"Horror · Fantasy","permalink":"/films/talk-to-me-2022/","section":"Films","summary":"","title":"Talk to Me (2022)","type":"films"},{"categories":"Character · Structure · Theme","content":"In this episode, Stu and Chas focus solely on the final choices made by protagonists and how that reflects their character journey and successfully, or not, dramatises the internal.\nWe compare and contrast different uses of narrative POV in respect to these final choices. And in particular whether and when the audience is made aware of the options available to the character, the act of making the choice, and the consequences of the choice.\nWe breakdown examples from DUNGEONS \u0026amp; DRAGONS: HONOR AMONG THIEVES, FINDING NEMO, MICHAEL CLAYTON, PROMISING YOUNG WOMAN and TALK TO ME.\n","date":"18 June 2025","externalUrl":null,"genres":"","permalink":"/2025/dz-119/","section":"Episodes","summary":"How do you dramatise a protagonist's internal journey through their final decision?","title":"DZ-119: Final Character Choices \u0026 Great Endings","type":"episodes"},{"categories":"","content":"","date":"1 May 2025","externalUrl":null,"genres":"Drama · Crime","permalink":"/films/adolescence-2025/","section":"Films","summary":"","title":"Adolescence (2025)","type":"films"},{"categories":"","content":"","date":"1 May 2025","externalUrl":null,"genres":"","permalink":"/categories/audience/","section":"Categories","summary":"","title":"Audience","type":"categories"},{"categories":"Structure · Audience · Scenes","content":"In this episode, Stu and Chas delve into the cultural phenomenon of ADOLESCENCE. We try to find the craft tools that have made the show so compelling and such a catalyst for conversation.\nIn particular, we breakdown how the show’s emphasis on questions creates tension: not just tension through plot, but tension through character, and ultimately tension through theme.\nWe analsyse the show episode-by-episode, and discuss how the overall structure skilfully shifts from a plot-heavy police procedural towards a thematic-heavy melodrama and the impact that has on our experience.\nWe discuss how the decision to shoot the show in a series of “oners” affects the writing and what tools we can take from that to apply to our own writing (even if we’re not writing it to be a one-shot): POV characters, handovers, French scenes, emotional events, and more.\nAs always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.\n","date":"1 May 2025","externalUrl":null,"genres":"","permalink":"/2025/dz-118/","section":"Episodes","summary":"How do dramatic questions create tension?","title":"DZ-118: ADOLESCENCE and Tension Through Questions","type":"episodes"},{"categories":"","content":"","date":"31 March 2025","externalUrl":null,"genres":"Horror · Comedy","permalink":"/films/shaun-of-the-dead-2004/","section":"Films","summary":"","title":"Shaun Of The Dead (2004)","type":"films"},{"categories":"","content":"","date":"31 March 2025","externalUrl":null,"genres":"Fantasy · Science-Fiction · Comedy","permalink":"/films/sorry-to-bother-you-2018/","section":"Films","summary":"","title":"Sorry To Bother You (2018)","type":"films"},{"categories":"","content":"","date":"31 March 2025","externalUrl":null,"genres":"Comedy · Drama · Romance · Fantasy · Adventure","permalink":"/films/swiss-army-man-2016/","section":"Films","summary":"","title":"Swiss Army Man (2016)","type":"films"},{"categories":"Character · Words · Genre","content":"Following on from our episodes on establishing tone through action lines and through character, this is what we have been building up to: how to pull off a tonal switch… that does NOT throw the audience out of the film. And, in particular, how to pull that off on the page when writers don’t have framing, lighting, music, editing, etc. at our disposal?\nWith that goal in mind, Mel and Chas dissect specific moments on the pages of SHAUN OF THE DEAD, SORRY TO BOTHER YOU and SWISS ARMY MAN.\nWhile there are definite craft tools identified - rhythm of action lines, varying use of unfilmmables and metaphors, establishing language patterns - the two big takeaways are:\n(1) pulling off a tonal shift takes a lot of setup; and (2) when the time comes, contrast on the page is key.\nThanks to Chris Walker for editing this episode.\n","date":"31 March 2025","externalUrl":null,"genres":"","permalink":"/2025/dz-117/","section":"Episodes","summary":"How can we teach our audience new storytelling rules in the middle of our story?","title":"DZ-117: Pulling Off Tonal Shifts","type":"episodes"},{"categories":"","content":"","date":"31 March 2025","externalUrl":null,"genres":"","permalink":"/series/tone/","section":"Series","summary":"","title":"Tone","type":"series"},{"categories":"","content":"","date":"26 February 2025","externalUrl":null,"genres":"Comedy · Romance","permalink":"/films/bridesmaids-2011/","section":"Films","summary":"","title":"Bridesmaids (2011)","type":"films"},{"categories":"","content":"","date":"26 February 2025","externalUrl":null,"genres":"Comedy · Romance","permalink":"/films/bringing-up-baby-1938/","section":"Films","summary":"","title":"Bringing Up Baby (1938)","type":"films"},{"categories":"","content":"","date":"26 February 2025","externalUrl":null,"genres":"Mystery · Comedy · Crime","permalink":"/films/game-night-2018/","section":"Films","summary":"","title":"Game Night (2018)","type":"films"},{"categories":"","content":"","date":"26 February 2025","externalUrl":null,"genres":"Comedy","permalink":"/films/happy-endings-2011/","section":"Films","summary":"","title":"Happy Endings (2011)","type":"films"},{"categories":"Words · Structure · Genre","content":"Mel joins Chas to tackle physical comedy. We limited our homework selection to extended scenes (as opposed to moments and sight gags) in live action projects and – with the help of our Patreons – selected early sequences from BRINGING UP BABY, the pilot for HAPPY ENDINGS and that wonderful food poisoning scene in BRIDESMAIDS.\nWe discover how these incredible writers take their time (on the page) to set up geography, framing and running gags. We also get tips on judicious use ALL CAPS, ellipses and M-dashes to recreate visual gags… and when to just let a paragraph go long and draw attention to itself.\nThis episode brought to you by (drum roll) ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription!\n","date":"26 February 2025","externalUrl":null,"genres":"","permalink":"/2025/dz-116/","section":"Episodes","summary":"How do you make extended technical scenes funny on the page?","title":"DZ-116: Writing Physical Comedy","type":"episodes"},{"categories":"","content":"","date":"23 December 2024","externalUrl":null,"genres":"Drama · Family · Fantasy","permalink":"/films/its-a-wonderful-life-1946/","section":"Films","summary":"","title":"It's a Wonderful Life (1946)","type":"films"},{"categories":"","content":"","date":"23 December 2024","externalUrl":null,"genres":"Comedy · Crime · Mystery · Thriller","permalink":"/films/kiss-kiss-bang-bang-2005/","section":"Films","summary":"","title":"Kiss Kiss Bang Bang (2005)","type":"films"},{"categories":"","content":"","date":"23 December 2024","externalUrl":null,"genres":"Action · Comedy · Drama · Thriller","permalink":"/films/riders-of-justice-2020/","section":"Films","summary":"","title":"Riders of Justice (2020)","type":"films"},{"categories":"","content":"","date":"23 December 2024","externalUrl":null,"genres":"","permalink":"/episode_type/backmatter/","section":"Episode_type","summary":"","title":"Backmatter","type":"episode_type"},{"categories":"Tone · Structure · Theme","content":"In this “backmatter” episode of Draft Zero, Stu, Chas, and Mel Killingsworth embark on a festive exploration of what makes holiday films so engaging and so re-watchable that they can become part of our rituals. To that end, we breakdown the charm of of Christmas films like KISS KISS BANG BANG, RIDERS OF JUSTICE, and IT’S A WONDERFUL LIFE.\nWe discuss what defines a holiday movie, the power of nostalgia, the importance of ensembles to a sense of family, and how voiceover, snappy dialogue and intricate plots can make something rewatchable. For each of us, we see these films as gateways to introspection and shared experiences during the holidays.\nAnd we are briefly joined by filmmaker (and friend of the podcast) Damien Cassar who talks us through the meaning of nostalgia and it’s relationship with the “pain of homecoming”, and how Christmas/Holiday films provide comfort and a sense of belonging amid ever-changing societal dynamics.\nMerry Christmas!\nThis episode brought to you by (drum roll) ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription!\nThanks to Chris Walker for his excellent editing this episode.\n","date":"23 December 2024","externalUrl":null,"genres":"","permalink":"/2024/dz-115/","section":"Episodes","summary":"What magic do Christmas movies use to make them so rewatchable?","title":"DZ-115: A Christmas Special - Rewatching \u0026 Rituals","type":"episodes"},{"categories":"","content":"","date":"23 December 2024","externalUrl":null,"genres":"","permalink":"/categories/tone/","section":"Categories","summary":"","title":"Tone","type":"categories"},{"categories":"","content":"","date":"29 November 2024","externalUrl":null,"genres":"Drama · Romance","permalink":"/films/challengers-2024/","section":"Films","summary":"","title":"Challengers (2024)","type":"films"},{"categories":"Character · Structure · Theme","content":"While Stu is on show, Mel and Chas sit down to analyse the meaning behind the ending of 2024\u0026rsquo;s CHALLENGERS, especially when - upon reading the script - the most impactful moment of the ending on screen (for Chas in particular) is not written on the page.\nFollowing on from episodes on Filmmakers Talking Directly To The Audience as well as previous explorations into Choices and Decisions (and hopefully serving as a prelude to our episode on Hero\u0026rsquo;s Choice - aka DZ-119), Mel and Chas explore the choices the characters make in that final moment, what happens when filmmakers obscure character motivation, and ultimately how that final moment in CHALLENGERS impacts theme.\nThis conversation ends up being a deep exploration of what is the experience on the audience (and its impact on the perceived theme) when a story cuts out at the climax without further resolution.\nThis episode brought to you by (drum roll) ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription!\n","date":"29 November 2024","externalUrl":null,"genres":"","permalink":"/2024/dz-114/","section":"Episodes","summary":"How does ending your story on the climax affect audience experience?","title":"DZ-114: Climaxes in Challengers","type":"episodes"},{"categories":"","content":"","date":"22 September 2024","externalUrl":null,"genres":"Comedy · Crime · Drama","permalink":"/films/adaptation-2002/","section":"Films","summary":"","title":"Adaptation (2002)","type":"films"},{"categories":"","content":"","date":"22 September 2024","externalUrl":null,"genres":"Documentary","permalink":"/films/stories-we-tell-2012/","section":"Films","summary":"","title":"Stories We Tell (2012)","type":"films"},{"categories":"","content":"","date":"22 September 2024","externalUrl":null,"genres":"Comedy · Drama · Music","permalink":"/films/the-forty-year-old-version-2020/","section":"Films","summary":"","title":"The Forty-Year-Old Version (2020)","type":"films"},{"categories":"Theme · Words · Structure","content":"In our final (ha!) episode looking at Talking Directly to the Audience, we turn away from character-and-text based craft tools to look at other ways that filmmakers - whether they be directors, writers, editors, or anyone else - can make the audience feel their \u0026lsquo;hand\u0026rsquo; more. To that end, Mel, Stu and Chas dive into ADAPTATION, STORIES WE TELL and THE FORTY-YEAR-OLD VERSION.\nWe discuss structure (in particular how to structure more meta stories), the influence of TikTok and YouTube in portraying character authenticity, how to set up scenes where your characters can actually debate what your story is really about., and get into the gritty of where \u0026ldquo;in the story world\u0026rdquo; the communication from the filmmakers is.\nUltimately, in exploring these three powerful films through this lens, we discover that these tools give filmmakers more control in conveying their theme. Quelle surprise.\nThis episode brought to you by (drum roll) ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription!\nThanks to Chris Walker for his excellent editing this episode.\n","date":"22 September 2024","externalUrl":null,"genres":"","permalink":"/2024/dz-113/","section":"Episodes","summary":"What tools help ensure that you as the filmmaker are not misunderstood?","title":"DZ-113: Tools For Filmmakers To Talk To The Audience","type":"episodes"},{"categories":"","content":"","date":"22 September 2024","externalUrl":null,"genres":"","permalink":"/series/talking-directly-to-the-audience/","section":"Series","summary":"","title":"Talking Directly to the Audience","type":"series"},{"categories":"","content":"","date":"31 July 2024","externalUrl":null,"genres":"Comedy","permalink":"/films/abbott-elementary-2022/","section":"Films","summary":"","title":"Abbott Elementary (2022)","type":"films"},{"categories":"","content":"","date":"31 July 2024","externalUrl":null,"genres":"Comedy · Drama","permalink":"/films/fleabag-2016/","section":"Films","summary":"","title":"Fleabag (2016)","type":"films"},{"categories":"","content":"","date":"31 July 2024","externalUrl":null,"genres":"Comedy · Drama","permalink":"/films/high-fidelity-2020/","section":"Films","summary":"","title":"High Fidelity (2020)","type":"films"},{"categories":"Character · Words · Tone","content":"As part of our series on how filmmakers can directly communicate to the audience, we finally examine the most blatant tool of them all: when character look directly down the barrel of the camera… and thus look directly at us, the viewer. Chas, Stu and Mel take the craft tools/levers they identified in previous episodes and use them to examine the tv-version-of HIGH FIDELITY (\u0026ldquo;Top Five Breakups\u0026rdquo;), ABBOTT ELEMENTARY (\u0026ldquo;Attack Ad)\u0026rdquo;) and - of course - FLEABAG.\nBy examining how “in-world” the camera is, who is talking, and whom the character is talking to (i.e. who we are in the relationship), we end up discovering how breaking the 4th wall can involve the audience in the emotional present of the character and also grants the character a degree of narrative control (a craft lever that can be dialled in and out).\nSeparately, in a Backmatter to this episode (which can be found on our Patreon page), Mel and Chas answer a listener question and take a deep dive into how breaking the 4th wall changes the RELATIONSHIP between you - the viewer - and character.\nThis episode brought to you by (drum roll) ArcStudio: go to $30 off a pro subscription! Thanks to Chris Walker for his excellent editing this episode.\n","date":"31 July 2024","externalUrl":null,"genres":"","permalink":"/2024/dz-112/","section":"Episodes","summary":"How is the effect of breaking the 4th wall different to voiceover?","title":"DZ-112: Breaking the 4th wall","type":"episodes"},{"categories":"","content":"","date":"2 July 2024","externalUrl":null,"genres":"Drama · Thriller","permalink":"/films/fight-club-1999/","section":"Films","summary":"","title":"Fight Club (1999)","type":"films"},{"categories":"Character · Structure · Words","content":"In this episode, Stu and Mel (sans Chas!) take a deep dive into FIGHT CLUB and its use of the unreliable narrator. This is a bridging episode between our previous episode on VOICEOVER and our forthcoming episode on TALKING TO CAMERA as Fight Club does both.\nWe dissect the film\u0026rsquo;s disconnected sequence-driven structure and how the voiceover ’stitches’ the film together. And then we look at what makes ‘Jack’ an unreliable narrator and how his control over the storytelling impacts us.\nThanks to Chris Walker for his excellent editing this episode.\n","date":"2 July 2024","externalUrl":null,"genres":"","permalink":"/2024/dz-111/","section":"Episodes","summary":"How does the unreliability of a narrator impact the way a story is told?","title":"DZ-111: Unreliable Narrators and FIGHT CLUB","type":"episodes"},{"categories":"","content":"","date":"31 May 2024","externalUrl":null,"genres":"Comedy · Crime · Action","permalink":"/films/pain-and-gain-2013/","section":"Films","summary":"","title":"Pain and Gain (2013)","type":"films"},{"categories":"","content":"","date":"31 May 2024","externalUrl":null,"genres":"Adventure · Animation · Comedy · Family · Fantasy","permalink":"/films/the-emperors-new-groove-2000/","section":"Films","summary":"","title":"The Emperor's New Groove (2000)","type":"films"},{"categories":"","content":"","date":"31 May 2024","externalUrl":null,"genres":"Mystery · Drama · Comedy","permalink":"/films/veronica-mars-2004/","section":"Films","summary":"","title":"Veronica Mars (2004)","type":"films"},{"categories":"Character · Audience · Words","content":"How can you use Voiceover without it feeling like a cheat?\nIn this episode, we finally delve into the world of VOICEOVERS (as part of our larger series exploring craft tools that allow characters \u0026amp; storytellers to talk directly to the audience). Chas, Stu and Mel deep dive into the VERONICA MARS pilot, Disney’s THE EMPEROR’S NEW GROOVE, and the Michael Bay epic PAIN \u0026amp; GAIN.\nIn exploring what makes these particular examples of Voiceover great (and not feel like a cheat or a well-worn trope), we apply the four levers identified in our Part 1 (in particular ‘when in time is the Voiceover coming from’). In this episode we discover how Voiceover can set tone, reveal character motivations, enhance viewer empathy, or even create tension.\nDon’t forget to check out the Backmatter (to this episode) answering Patreon Abigail’s question —\n\u0026ldquo;I\u0026rsquo;m currently writing a screenplay where the twist relies on the audience believing the narrator is a different character until Act III. Thus, have been thinking a lot about casting and audience voice recognition, etc. Would be interested in hearing thoughts on this.\u0026rdquo;\nThanks to Chris Walker for his excellent editing this episode.\n","date":"31 May 2024","externalUrl":null,"genres":"","permalink":"/2024/dz-110/","section":"Episodes","summary":"How can you use voiceover without it feeling like a cheat?","title":"DZ-110: Voiceover","type":"episodes"},{"categories":"","content":"","date":"1 May 2024","externalUrl":null,"genres":"Documentary","permalink":"/films/f-is-for-fake-1973/","section":"Films","summary":"","title":"F for Fake (1973)","type":"films"},{"categories":"","content":"","date":"1 May 2024","externalUrl":null,"genres":"Adventure · Action · Science-Fiction","permalink":"/films/star-wars-1977/","section":"Films","summary":"","title":"Star Wars (1977)","type":"films"},{"categories":"","content":"","date":"1 May 2024","externalUrl":null,"genres":"Comedy · Drama","permalink":"/films/the-big-short-2015/","section":"Films","summary":"","title":"The Big Short (2015)","type":"films"},{"categories":"Words · Character · Structure","content":"What are the different ways a filmmaker can ask something of the audience?\nChas and Stu are joined by Mel in this prelude episode to upcoming episodes on Voiceover (DZ-110, DZ-111) and Breaking the 4th Wall (DZ-112). In this episode, we attempt to taxonomise the different ways filmmakers can ask something directly of their audience.\nTo this end, we identify 4 levers that can be pulled:\nDiagetic to non-diagetic (in story world to outside story world) Who is talking? From story-teller to a character Whom are they talking to? Themselves or directly to the audience? From when in time is the communication coming? They then take these levers and ask a series of questions, including:\nWhat does the communication want from the audience? Does the audience know who’s talking? How reliable is the information? How aware is who is communicating of the audience? They then apply these questions and levers to… *deep breath… *: STAR WARS, ROBOCOP, STARSHIP TROOPERS, KILLERS OF THE FLOWER MOON, MINORITY REPORT, CHILDREN OF MEN, NEVER HAVE I EVER, ARRESTED DEVELOPMENT, STRANGER THAN FICTION, DUNE, OPPENHEIMER, YELLOWJACKETS, HUSTLERS, THE OFFICE, MASTERCHEF, ZOMBIELAND, FLEABAG, PRETTY LITTLE LIARS, THE BIG LEBOWSKI, SPONTANEOUS, BLACKKKLANSMAN, AMERICAN FICTION, AMERICAN SPLENDOR, THE KILLER, VERONICA MARS, FIGHT CLUB, SHUTTER ISLAND, SIXTH SENSE, HAUNTING OF BLY MANOR. FALL OF THE HOUSE OF USHER, GOODFELLAS, EMPERORS NEW GROOVE, THE TRUMAN SHOW, HOW I MET YOUR MOTHER, DIE HARD, THE BIG SHORT, THE USUAL SUSPECTS, DERRY GIRLS, THE LAST JEDI, THE LAST DUEL, RASHOMON, BONES AND ALL, ARCHIVE 81, SANS SOLEIL, F IS FOR FAKE, THE PRINCESS BRIDE, THE BALLAD OF BUSTER SCRUGGS, JULIUS CAESAR, GUARDIANS OF THE GALAXY Vol. 1\nThanks to Chris Walker for his excellent editing this episode.\n","date":"1 May 2024","externalUrl":null,"genres":"","permalink":"/2024/dz-109/","section":"Episodes","summary":"What are the different ways a filmmaker can ask something of the audience?","title":"DZ-109: Talking DIRECTLY to your audience","type":"episodes"},{"categories":"","content":"","date":"1 May 2024","externalUrl":null,"genres":"","permalink":"/episode_type/survey/","section":"Episode_type","summary":"","title":"Survey","type":"episode_type"},{"categories":"","content":"","date":"31 March 2024","externalUrl":null,"genres":"Adventure · Action · Thriller","permalink":"/films/casino-royale-2006/","section":"Films","summary":"","title":"Casino Royale (2006)","type":"films"},{"categories":"","content":"","date":"31 March 2024","externalUrl":null,"genres":"Drama · History","permalink":"/films/oppenheimer-2023/","section":"Films","summary":"","title":"Oppenheimer (2023)","type":"films"},{"categories":"","content":"","date":"31 March 2024","externalUrl":null,"genres":"Drama · Romance","permalink":"/films/past-lives-2023/","section":"Films","summary":"","title":"Past Lives (2023)","type":"films"},{"categories":"Character · Scenes · Structure","content":"How and why should every scene have an emotional event?\nFor the first episode of our tenth anniversary year, we are joined by Judith Weston to talk about Emotional Events. What is an emotional event? Well, it’s a way of thinking about scenes through relationships rather than plot. Instead of asking how a scene moves the plot forward, ask how the scene alters the relationship between characters. While emotional events are ostensibly a tool for directors to interpret scenes, we believe that the emotional event starts with the writer(s).\nBut it is an idea better illustrated through examples and discussion rather than sound bites. To that end, we breakdown scene from OPPENHEIMER, CASINO ROYALE (the Daniel Craig one), and PAST LIVES and explore how the emotional event is written (and not written) on the page.\nThrough a close reading of each scene, we talk about subtext, power dynamics, status transactions, tactics, beats and much much more. Because Chas, Stu and Judith are also reading the scripts there lot of discussion about table reads and how to get the most out of them.\nFor those unfamiliar with Judith, she is a famed teacher of writers, directors and actors with a focus on the directing or actors. Her books Directing Actors and The Film Director’s Intuition are basically industry standards.\nYou can find Judith Weston (and her books!) at her website: https://judithweston.com/web/\nThanks to Chris Walker for his excellent editing this episode.\n","date":"31 March 2024","externalUrl":null,"genres":"","permalink":"/2024/dz-108/","section":"Episodes","summary":"How and why should every scene have an emotional event?","title":"DZ-108: The Emotional Event with Judith Weston","type":"episodes"},{"categories":"","content":"","date":"31 March 2024","externalUrl":null,"genres":"","permalink":"/guests/judith-weston/","section":"Guests","summary":"","title":"Judith Weston","type":"guests"},{"categories":"","content":"In this episode, Chas and Stu continue their deep dive into how to write tone by examining films with “light” (we use the phrase loosely) tones: LADY BIRD, EMILY THE CRIMINAL, THE BALLAD OF BUSTER SCRUGGS, and SPONTANEOUS. We also talk a surprising amount about DUNE and CRAZY STUPID LOVE.\nWe focus on the relationship between character \u0026amp; tone and how the writers of these films use dramatisation to create their unique tones. We talk minimalism vs maximalism, dialogue, character actions \u0026amp; reactions, emotional dynamic range, and rules of the world vs given circumstances.\nStu proposes a new triangle to help us understand the dials we as writers have to affect tone:\nThe given circumstances of the story, How that effects character actions \u0026amp; reactions, How the audience are told about those elements. Thanks to Chris Walker for his excellent editing this episode.\n","date":"29 February 2024","externalUrl":null,"genres":"","permalink":"/2024/dz-107/","section":"Episodes","summary":"How can we use dramatisation to create tone?","title":"DZ-107: Establishing Tone through Character","type":"episodes"},{"categories":"","content":"In this episode, Chas, Stu and Mel attempt to answer a listener question:\n“In your own pre-writing process, how do you know you have enough for a feature? And do you have a specific pre-writing method you\u0026rsquo;re going to?”\nThus we launch into a discussion on our writing processes and the varying usefulness of tools such as log lines, turning points, beat sheets, synopsis, treatments, and scene breakdowns. We also tackle the challenges encountered while developing an idea to first draft, such as balancing the pace of the story, developing distinct character voices, character choices, plot changes, pacing, and thematic clarity.\nIs this backmatter? Or is it development tools? You decide! Hahaha.\nThanks so much to Chris Walker for his excellent editing on this episode!\n","date":"31 December 2023","externalUrl":null,"genres":"","permalink":"/2023/dz-106/","section":"Episodes","summary":"How do you know if you have enough narrative fuel to write a script?","title":"DZ-106: How do you know if you have enough story?","type":"episodes"},{"categories":"","content":"Chas and Stu finally start their long-mooted exploration of tone with a series that examines films and shows with unusual tones and dives into how the writers establish those tones in the first 5 pages.\nHow does your script want your reader to experience violence in your story? Humour? Sex? Prejudice?\nTo answer these questions, this episode look at how films with “darker” or “sadder” tones teach the reader what they can laugh at, namely: THE NICE GUYS, THE BANSHEES OF INISHERIN and the pilot for YELLOWJACKETS.\nTogether they learn how to better talk about tone, how to frame tone for a scene or sequence, and what levers writers can use on the page to compensate for cinematic tools like music, performance, composition, lighting, design, editing, etc etc etc.\nFuture episodes plan to explore establishing lighter or quirkier tones, as well as tools in shifting or changing tone on the page.\nAs always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.\n","date":"30 November 2023","externalUrl":null,"genres":"","permalink":"/2023/dz-105/","section":"Episodes","summary":"How can we teach the reader to find the humour in our darkness?","title":"DZ-105: Establishing Tone through Big Print","type":"episodes"},{"categories":"","content":"In this episode, we explore the audience\u0026rsquo;s connection with characters through the lens of characters being alone.\nChas and Stu breakdown scenes (and their scripts) from AFTERSUN, SENSE AND SENSIBILITY and THE EQUALIZER to discuss the significance of solitude in giving the audience insight into a character’s interiority. We talk how big print can reflect character; how finding moments for vulnerability allows characters to drop their masks; and how staging can help these moments occur organically.\nThanks to Chris Walker for editing this episode.\nAs always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.\n","date":"1 November 2023","externalUrl":null,"genres":"","permalink":"/2023/dz-104/","section":"Episodes","summary":"How can scenes where characters are alone increase our connection with them?","title":"DZ-104: Characters Alone - Dramatizing the Internal","type":"episodes"},{"categories":"","content":"In part two of this two parter, Stu and Chas go further into the game (of the scene) and look at how games force characters other than the protagonist to interact. We deep dive into the wonderful social satires of TRIANGLE OF SADNESS and THE FAVOURITE.\nWe discuss how games reveal character through competency and decisions, how resources and skills impact the tactics that characters employ, and the difference between referees, rule lawyers, rule makers and rule breakers.\nThanks to Chris Walker for editing this episode.\nAs always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.\n","date":"1 October 2023","externalUrl":null,"genres":"","permalink":"/2023/dz-103/","section":"Episodes","summary":"How can games elevate dramatic scenes?","title":"DZ-103: Game of the Scene 2 - Triangle of Sadness, The Favourite","type":"episodes"},{"categories":"","content":"","date":"1 October 2023","externalUrl":null,"genres":"","permalink":"/series/game-of-the-scene/","section":"Series","summary":"","title":"Game of the Scene","type":"series"},{"categories":"","content":"Stu and Chas turn their attention to a topic that has long eluded them: the game of the scene. We look at how considering the game that characters are playing — its rules, arenas, players, referees, and win conditions — can help you write more dynamic scenes.\nThis will be a two-parter, and for this half, we talk BLUEY, “The Quiet Game” (from Season 2) and “Phones” (from Season 3), and JOHN WICK 4. We also touch on GAME NIGHT and LIFE OF BRIAN.\nThanks to Chris Walker for editing this episode.\n","date":"31 August 2023","externalUrl":null,"genres":"","permalink":"/2023/dz-102/","section":"Episodes","summary":"How can 'games' help us write better scenes?","title":"DZ-102: Game of the Scene - Bluey, John Wick 4","type":"episodes"},{"categories":"","content":"Chas, Stu and Mel reunite to talk about writing the feel of camerawork in screenplays. We use “oners” — a long-playing continuous take — as a lens to talk about how some writers have “directed” from the page. We talk immediacy, camera positions, handovers, and anchoring action and more.\nWe breakdown the famous Copacabana shot from GOODFELLAS, the awe-inspiring chase sequence from THE ADVENTURES OF TINTIN, and the heart pounding ‘Zed attack’ from CHILDREN OF MEN. We also briefly discuss THE BOURNE IDENTITY, HEREDITARY, THE BEAR, ALL THE PRESIDENTS MEN and TOUCH OF EVIL.\nAnd we do this breakdown by closely reading the actual words on the page!\nSo thanks to Meegan May (of Starship Q Star) for performing the big print / action lines. Script Pages available on our Patreon -\u0026gt; https://www.patreon.com/posts/dz-99-scene-82312058\nThanks to Chris Walker for editing this episode.\n","date":"3 July 2023","externalUrl":null,"genres":"","permalink":"/2023/dz-101/","section":"Episodes","summary":"What can we learn by analysing how 'oners' are written on the page?","title":"DZ-101: Oners - Creating Immediacy \u0026 Anchoring Action on the Page","type":"episodes"},{"categories":"","content":"","date":"29 May 2023","externalUrl":null,"genres":"","permalink":"/guests/damon-young/","section":"Guests","summary":"","title":"Damon Young","type":"guests"},{"categories":"","content":"In this slightly unusual episode of Draft Zero (but also incredibly on brand), Stu and philosopher-swordsperson Damon Young discuss how the lessons they have learned from martial arts can be applied to scenes. In particular, they discuss how approaching an opponent in a sword fight can be analogous to how characters approach conflict, such as: the distance between the characters, who chooses to engage first, how to feint, how to lure an attack by leaving yourself vulnerable, etc.\nThey reference classic conflicts such as Clarice interviewing Dr. Lecter in SILENCE OF THE LAMBS, when Miranda puts down Andrea in THE DEVIL WEARS PRADA, and the final showdown between Obi-Wan and Darth Maul in the animated series THE CLONE WARS.\nYou can find Damon Young here: https://www.damonyoung.com.au/\n","date":"29 May 2023","externalUrl":null,"genres":"","permalink":"/2023/dz-100/","section":"Episodes","summary":"What scene-writing tools can be learned from martial arts?","title":"DZ-100: Scenes through Swords","type":"episodes"},{"categories":"","content":"Inspired by our earlier episodes on sequences, Chas and Stu narrow their focus to look at the atomic unit of screen storytelling: the scene. In particular, we breakdown how question and answers prompted in the audience structure individual scenes.\nWe talk plot, character, and theme questions (and their hybrids) by analysing scenes from LOKI, THE LAST CRUSADE, THE BOURNE SUPREMACY, QUEEN AND SLIM, and DO THE RIGHT THING. We also briefly discuss SUCCESSION, DUNGEONS \u0026amp; DRAGONS: HONOUR AMONG THIEVES, and ANDOR.\nAnd how can we forget our awesome Patreons, especially Alexandre, Casimir, Eduardo, Jennifer, Thomas, Garrett, Randy, Jesse, Sandra, Theis, Alex, Khrob.\n","date":"1 May 2023","externalUrl":null,"genres":"","permalink":"/2023/dz-99/","section":"Episodes","summary":"How do audience questions shape scenes?","title":"DZ-99: Scene Questions","type":"episodes"},{"categories":"","content":"In Part 3 (the final part? Ha!) of our exploration into ensemble stories, Stu, Chas \u0026amp; Mel examine films whose genres do not conventionally require a ton of character or that use those ensembles in unconventional ways - in particular, adding whole storylines that are separate from the main character’s story. To that end, we dive into three films that were horrifically snubbed by the Oscars: THE WOMAN KING, RIDERS OF JUSTICE and NOPE.\nWe breakdown the effects of choosing to use an ensemble on the narrative function of characters, their skills, the webs they exist within, and, ultimately, the story’s theme. Plus we re-apply and re-contextualise the tools uncovered in previous episodes in how to service all these characters.\nThanks to Chris Walker for editing this episode.\n","date":"31 March 2023","externalUrl":null,"genres":"","permalink":"/2023/dz-98/","section":"Episodes","summary":"What effect does adding a ton of characters have on your story?","title":"DZ-98: Ensembles 3 - Character Function \u0026 Theme","type":"episodes"},{"categories":"","content":"","date":"31 March 2023","externalUrl":null,"genres":"","permalink":"/series/ensembles/","section":"Series","summary":"","title":"Ensembles","type":"series"},{"categories":"","content":"In Part 2 of our exploration into ensemble stories, Stu, Chas and Mel examine films whose plot and genre require a lot of characters. Thus we tackle a team sports film (PITCH PERFECT), a murder mystery (GLASS ONION), a slasher (SCREAM 2022) and a family holiday flick (THE FAMILY STONE).\nBy looking at these films, we discover tools for writers to service characters and give them more dimension. These tools include: shifting group dynamics; the spectrum of private to public behaviour; breaking POV, and quintessential group introductions.\nThanks to Chris Walker for editing this episode.\n","date":"28 February 2023","externalUrl":null,"genres":"","permalink":"/2023/dz-97/","section":"Episodes","summary":"How do you give your audience access to a lot of characters?","title":"DZ-97: Ensembles 2 - Servicing Characters","type":"episodes"},{"categories":"","content":"In the first part of our series on ensembles, Chas, Stu and Mel start by laying the groundwork for our future episodes. And we begin by asking the seemingly innocuous question: What do we mean by calling a story an ensemble?\nAs we unpack our own assumptions, biases and thoughts, we ask (and attempt to answer) more questions: How does an ensemble differ from a single protagonist or two hander? Why does this distinction even matter? What challenges What genres inherently are ensembles? And what do we hope to learn from the series?\nWe ice-skate over myriad films including JURASSIC PARK, ALIEN, TOP GUN vs TOP GUN: MAVERICK, DEATH AT A FUNERAL, WAR OF THE WORLDS vs INDEPENDENCE DAY, LORD OF THE RINGS vs WILLOW, OCEAN’S 11 vs OUT OF SIGHT, THIEF vs HEAT, AWAY FROM HER, DIRTY DOZEN, SAVING PRIVATE RYAN, SE7EN, READY OR NOT. Look, there’s heaps. We talk a lot of movies. Thanks to Chris Walker for editing this episode. \u0026lt;3 Chris!\n","date":"31 January 2023","externalUrl":null,"genres":"","permalink":"/2023/dz-96/","section":"Episodes","summary":"How can the same story feel different when you have more characters?","title":"DZ-96: Ensembles 1 - What do we mean by an ensemble?","type":"episodes"},{"categories":"","content":"Time for our annual backmatter episode, where we drop any ruse of any objectivity, and fully embrace our subjective opinions!\nIn this episode we discuss: potential topics for 2023; the ostensible shortening of first acts; balancing new projects vs current projects; how to maintain hope in the face of an industry as fickle as ours; and end with a discussion of Andor vs Obi-Wan. Yup, Star Wars is the new Die Hard. Get over it.\nFYI we recorded this episode with both of us in the same room (for a more casual atmosphere )but that means there’s more technical gremlins like crosstalk. Our apologies in advance!\nThanks to Chris Walker for editing this episode. \u0026lt;3 Chris!\n","date":"31 December 2022","externalUrl":null,"genres":"","permalink":"/2022/dz-95/","section":"Episodes","summary":"How do you maintain hope in the face of, er, screenwriting","title":"DZ-95: Backmatter - Building and Maintenance","type":"episodes"},{"categories":"","content":"In part two of our two-part series on TALISMANS, we break down the beats used to turn objects (in a broad sense) into talismans; how talismans can track character journeys and transitions; and how they can be used to create powerful moments without words.\nWhile Part 1 looked a range of talismans in a bunch of different movies, in this episode we deep dive into just three examples. We look at how Thor’s crisis of masculinity is articulated through his relationship with Mjolnir and Stormbreaker in THOR: LOVE AND THUNDER; how the yearning love in PORTRAIT OF A LADY ON FIRE is communicated through paintings and music; and how the impact of an emotional affair is charted through key locations in INTHE THE MOOD FOR LOVE.\nThanks to Chris Walker for editing this episode.\n","date":"30 November 2022","externalUrl":null,"genres":"","permalink":"/2022/dz-94/","section":"Episodes","summary":"How can you use physical objects to track character change… wordlessly?","title":"DZ-94: Talismans (Part 2)","type":"episodes"},{"categories":"","content":"","date":"30 November 2022","externalUrl":null,"genres":"","permalink":"/series/talismans/","section":"Series","summary":"","title":"Talismans","type":"series"},{"categories":"","content":"In this series, Chas and Stu discuss TALISMANS. Physical objects that are imbued with meaning by a character or characters. They’re a powerful tool to access inner character.\nIn this first part, we lay the groundwork to discuss talismans and present something of a taxonomy. What makes talismans powerful? What makes them different from MacGuffins or characters? What types of Talismans are there? In the second part, we will breakdown THOR: LOVE AND THUNDER, IN THE MOOD FOR LOVE, and another film.\nExamples we cover here include: TOP GUN, SEARCHING FOR BOBBY FISCHER, BETTER CALL SAUL, LORD OF THE RINGS, CASTAWAY, NO COUNTRY FOR OLD MEN, THE DARK KNIGHT, THOR: LOVE AND THUNDER, RONIN, PULP FICTION, RAIDERS OF THE LOST ARK, BREAKING BAD, BACK TO THE FUTURE, THE TERMINATOR, TITANIC, INCEPTION, STAR WARS (of course), THE MATRIX, ANDOR (spoilers!), LITTLE MISS SUNSHINE, MAD MAX: FURY ROAD, and PULP FICTION.\nThanks to Chas Fisher \u0026amp; Chris Walker for editing this episode.\n","date":"31 October 2022","externalUrl":null,"genres":"","permalink":"/2022/dz-93/","section":"Episodes","summary":"How can you use physical objects to reveal inner character?","title":"DZ-93: Talismans (Part 1)","type":"episodes"},{"categories":"","content":"","date":"29 September 2022","externalUrl":null,"genres":"Action · Science-Fiction · Adventure","permalink":"/films/inception-2010/","section":"Films","summary":"","title":"Inception (2010)","type":"films"},{"categories":"","content":"","date":"29 September 2022","externalUrl":null,"genres":"Comedy · Drama · Romance","permalink":"/films/la-la-land-2016/","section":"Films","summary":"","title":"La La Land (2016)","type":"films"},{"categories":"","content":"","date":"29 September 2022","externalUrl":null,"genres":"Crime · Thriller · Western","permalink":"/films/no-country-for-old-men-2007/","section":"Films","summary":"","title":"No Country for Old Men (2007)","type":"films"},{"categories":"","content":"","date":"29 September 2022","externalUrl":null,"genres":"Animation · Family · Comedy · Fantasy","permalink":"/films/turning-red-2022/","section":"Films","summary":"","title":"Turning Red (2022)","type":"films"},{"categories":"","content":"Stu \u0026amp; Chas set out to explore what makes certain endings powerful, in particular those of LA LA LAND, INCEPTION, NO COUNTRY FOR OLD MEN and TURNING RED. The lens they bring to those endings is Aristotle’s moment of “anagnorisis” (don’t worry - we can’t pronounce it either), traditionally when a character moves from ignorance to knowledge (particularly of self).\nBut in analysing these films, Chas and Stu discover that endings can be particularly powerful when the characters experience insightful recognition in others, or in the world, or - perhaps most powerfully - when the anagnorisis is aimed at the audience. In other words, are there craft tools for your ending to prompt an audience to ask itself the question “What was that all about?”? Turns out, we think there are.\nThanks to Chris Walker for editing this episode.\n","date":"29 September 2022","externalUrl":null,"genres":"","permalink":"/2022/dz-92/","section":"Episodes","summary":"How can endings prompt an audience to reflect on your story?","title":"DZ-92: Insightful Recognition in Powerful Endings","type":"episodes"},{"categories":"","content":"Chas, Stu and Mel take a deep dive into stakes, using then lens of biopics to help us think about them. If an audience already knows the “plot” outcome of a story, then how do you create stakes to make a story tense for the audience?\nTo explore this, we deep dive into HIDDEN FIGURES (about the NASA Friendship 7 mission), DOWNFALL (the final days of Berlin in WW2), and BRIGHT STAR (the life and death of romantic poet John Keats). We unpack the ideas around internal, external and philosophical /moral stakes and propose some new terminology that may help us write stakes more effectively.\nAs always: SPOILERS ABOUND.\nAudio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3.\nThanks to Chris Walker for editing this episode.\n","date":"31 August 2022","externalUrl":null,"genres":"","permalink":"/2022/dz-91/","section":"Episodes","summary":"How can you keep your audience hooked when they know the end of the story?","title":"DZ-91: Raising (different kinds of) Stakes","type":"episodes"},{"categories":"","content":"In this one-shot, Chas and Stu dive into the awesomeness of EVERYTHING EVERYWHERE ALL AT ONCE. In particular, we focus on its use of setups, payoffs and reversals; breakdown the difference between Pointers and Plants and Stitches; deep dive into its Michael Arndt inspired ending. And, of course, we talk hotdog fingers and butt-plugs.\nThanks to Chris Walker for editing this episode.\n","date":"27 July 2022","externalUrl":null,"genres":"","permalink":"/2022/dz-90/","section":"Episodes","summary":"How can you use setups and payoffs to stitch your film together?","title":"DZ-90: Setups \u0026 Payoffs in Everything Everywhere All At Once","type":"episodes"},{"categories":"","content":"Inspired by her tweet on how subversive an opening OCEAN’S ELEVEN has, Chas and Stu invited amazing writer/director Jessica Ellis onto the show to deep dive into opening sequences. How does a good opening setup character, genre, and theme?\nIn exploring how best to open your story - instead of looking at the almost mandatory studio note of “dropping you in the action” - Stu, Chas and Jess look at the inventive openings of OCEAN’S ELEVEN, LONG SHOT, ARRIVAL and A SERIOUS MAN. Each of these films opens in a way that seems to defy its genre conventions and yet still provide all the set-up it needs to perfectly tell its story.\nThanks to Chris Walker for editing this episode.\n","date":"31 May 2022","externalUrl":null,"genres":"","permalink":"/2022/dz-89/","section":"Episodes","summary":"How does your opening sequence set up your audience?","title":"DZ-89: Opening Sequences","type":"episodes"},{"categories":"","content":"","date":"31 May 2022","externalUrl":null,"genres":"","permalink":"/guests/jessica-ellis/","section":"Guests","summary":"","title":"Jessica Ellis","type":"guests"},{"categories":"","content":"","date":"31 May 2022","externalUrl":null,"genres":"","permalink":"/series/sequences/","section":"Series","summary":"","title":"Sequences","type":"series"},{"categories":"","content":"","date":"30 April 2022","externalUrl":null,"genres":"Drama · Comedy · Crime","permalink":"/films/hustlers-2019/","section":"Films","summary":"","title":"Hustlers (2019)","type":"films"},{"categories":"","content":"","date":"30 April 2022","externalUrl":null,"genres":"Drama · Thriller · Mystery","permalink":"/films/pig-2021/","section":"Films","summary":"","title":"Pig (2021)","type":"films"},{"categories":"","content":"","date":"30 April 2022","externalUrl":null,"genres":"Drama · Western","permalink":"/films/the-power-of-the-dog-2021/","section":"Films","summary":"","title":"The Power of the Dog (2021)","type":"films"},{"categories":"","content":"Stu and Chas reunite with TV writer \u0026amp; director Kodie Bedford to look at how some films start out as genre but gradually become character dramas. Or, as Stu never said on the episode \u0026ldquo;Genre in the streets, Drama in the sheets\u0026rdquo;.\nTogether, they break down HUSTLERS, PIG and POWER OF THE DOG, to see how these films use their genre trappings to hook their audience while ultimately delivering something else entirely. We discuss chapter breaks, inciting incidents, character questions, theme and MORE.\nThanks to Chris Walker for editing this episode.\n","date":"30 April 2022","externalUrl":null,"genres":"","permalink":"/2022/dz-88/","section":"Episodes","summary":"How can dramas use genre elements to hook their audiences?","title":"DZ-88: Drama in Genre clothing","type":"episodes"},{"categories":"","content":"","date":"30 April 2022","externalUrl":null,"genres":"","permalink":"/guests/kodie-bedford/","section":"Guests","summary":"","title":"Kodie Bedford","type":"guests"},{"categories":"","content":"","date":"30 April 2022","externalUrl":null,"genres":"","permalink":"/series/twisting-genre/","section":"Series","summary":"","title":"Twisting Genre","type":"series"},{"categories":"","content":"","date":"28 March 2022","externalUrl":null,"genres":"Mystery · Thriller · Horror","permalink":"/films/get-out-2017/","section":"Films","summary":"","title":"Get Out (2017)","type":"films"},{"categories":"","content":"","date":"28 March 2022","externalUrl":null,"genres":"Thriller · Science-Fiction · Horror","permalink":"/films/the-invisible-man-2020/","section":"Films","summary":"","title":"The Invisible Man (2020)","type":"films"},{"categories":"","content":"In tackling this enormous topic, Stu and Chads enlist professional TV writer and director Kodie Bedford, someone who has somehow managed to defy genre pigeon-holing by writing mystery, comedy and vampire shows.\nThe three of them look at GET OUT, PROMISING YOUNG WOMAN and THE INVISIBLE MAN (with reference to PARASITE, JOHN WICK, TAKEN, KNIVES OUT and more) to see what tools the writers have used to deliver on the expectations of a genre while moving that genre on, without writing something stale.\nThanks to Chris for editing this episode.\n","date":"28 March 2022","externalUrl":null,"genres":"","permalink":"/2022/dz-87/","section":"Episodes","summary":"How do you deliver on the emotional contract of a genre while surprising the audience?","title":"DZ-87: Keeping Genre fresh","type":"episodes"},{"categories":"","content":"In their annual full backwater episode, Stu and Chas let out their pandemic hair, drop the ruse of objectivity, and allow themselves to have even more options about writing and the business of writing.\nIn this Backmatter entry, they go deep on: future episode topics; their screenwriting lessons from 2021 (especially on control); pitching projects; the minimum viable product \u0026amp; minimum loveable thing; and share their exper iences with running a writers workshop/group.\nThere are no Star Wars references in this episode, but there are plenty of Die Hard ones. Die Hard is the new Star Wars. Get over it.\nThanks to Chris Walker for editing this episode.\n","date":"1 February 2022","externalUrl":null,"genres":"","permalink":"/2022/dz-86/","section":"Episodes","summary":"How do you determine what is your MVP?","title":"DZ-86: Backmatter - Minimum Viable Product","type":"episodes"},{"categories":"","content":"","date":"17 November 2021","externalUrl":null,"genres":"","permalink":"/series/choices-and-decisions/","section":"Series","summary":"","title":"Choices and Decisions","type":"series"},{"categories":"","content":"In our second part of our “series” on Choices \u0026amp; Decisions, we take a deep dive into THE FAREWELL and WRATH OF MAN, with a sidebar on NOMADLAND.\nIn THE FAREWELL, we consider how the choice/decision to lie underpins every sene of the film (to great effect).\nIn NOMADLAND, we consider how using choice and decision is a great way to show how a character doesn’t change.\nAnd in WRATH OF MAN, we look at how non-linear narrative - and its decoupling of choice, decisions and consequence (wouldn’t that be a detripling???) impacts the audience experience, especially how we feel about characters.\nThe terminology we settled on in Part 1 was:\nCHOICE: Are the options presented to the character. DECISION: Is the knowing consideration of the choice and resulting action. CONSEQUENCE: is the resulting outcome from the choice. Thanks to Chris for editing this episode.\n","date":"17 November 2021","externalUrl":null,"genres":"","permalink":"/2021/dz-85/","section":"Episodes","summary":"What is difference between choice and decision when it comes to audience experience?","title":"DZ-85: Choices \u0026 Decisions 2 - The Farewell \u0026 Wrath of Man","type":"episodes"},{"categories":"","content":"","date":"30 October 2021","externalUrl":null,"genres":"Comedy","permalink":"/films/booksmart-2019/","section":"Films","summary":"","title":"Booksmart (2019)","type":"films"},{"categories":"","content":"In order to better understand dramatising of character, Chas and Stu take a very draft zero look at very specific tool: choices and decisions. We analyse three films through the decisions made by their characters. In particular, how the audience understanding of: the choice available, the considered decision itself, and the consequence changes how we feel about these characters. And how separating those three things can create different emotional effects on your audience.\nWe debate this in the episode, but this is the terminology we settle on:\nCHOICE: Are the options presented to the character. DECISION: Is the knowing consideration of the choice and resulting action. CONSEQUENCE: is the resulting outcome from the choice. Part 1 (this part) establishes what we mean by choice and decision, and then takes a deep dive into BOOKSMART, directed by Olivia Wilde, and written by Emily Halpern, Sarah Haskins and Susanna Fogel. We all discuss FLEABAG, SEVEN, and old favourite, Star Wars.\nPart 2 will turn our analytical eye on THE FAREWELL and WRATH OF MAN.\nThanks to Chris for editing this episodes.\n","date":"30 October 2021","externalUrl":null,"genres":"","permalink":"/2021/dz-84/","section":"Episodes","summary":"What is the difference between choice and decision when it comes to characters?","title":"DZ-84: Choices \u0026 Decisions 1 - Booksmart","type":"episodes"},{"categories":"","content":"","date":"8 September 2021","externalUrl":null,"genres":"Comedy","permalink":"/films/baby-cobra-2016/","section":"Films","summary":"","title":"Baby Cobra (2016)","type":"films"},{"categories":"","content":"","date":"8 September 2021","externalUrl":null,"genres":"Comedy · Drama","permalink":"/films/inside-2021/","section":"Films","summary":"","title":"Inside (2021)","type":"films"},{"categories":"","content":"","date":"8 September 2021","externalUrl":null,"genres":"Comedy","permalink":"/films/its-the-fireworks-talking-2007/","section":"Films","summary":"","title":"It's The Fireworks Talking (2007)","type":"films"},{"categories":"","content":"","date":"8 September 2021","externalUrl":null,"genres":"Comedy","permalink":"/films/nanette-2017/","section":"Films","summary":"","title":"Nanette (2017)","type":"films"},{"categories":"","content":"","date":"8 September 2021","externalUrl":null,"genres":"","permalink":"/guests/alice-fraser/","section":"Guests","summary":"","title":"Alice Fraser","type":"guests"},{"categories":"Character · Theme · Audience","content":"Standup comedians can keep audiences gripped to their every word for over an hour, and often bring them to emotional climaxes by the end. So how do they do it and what tools can apply to scripted narratives?\nFor this deep dive into standup, Stu and Chas are joined by the super-talented comic and podcaster Alice Fraser. Which is rather fortuitous. Because not only are we schooled on comedy techniques, but because Alice also has a Masters in Narrative Rhetoric.\nSo as we dive in to NANETTE by Hannah Gadsby, BABY COBRA by Ali Wong and IT’S THE FIREWORKS TALKING by Daniel Kitson (with more than a passing reference to Alice’s own show SAVAGE and INSIDE by Bo Burnham), we analyse narrative structure, transitions, set-ups and pay-offs used by stand-ups…\nBut we end up focusing on exploring thematic tools - particularly the Aristotelean concepts of the rhetorical triangle:\nlogos (how the story is told), ethos (who the storyteller is); and pathos (how the audience emotionally engages). With these powers combined, storytellers of all kinds can produce work of thematic power and resonance. Or just funny.\nAnd in backmatter, we discuss adapting Savage for the recorded stage with Alice!\nThis episode brought to you by ScriptUp – https://www.scriptupstudio.com – use promo code DZ10 to get 10% off.\nEnjoy!\n","date":"8 September 2021","externalUrl":null,"genres":"","permalink":"/2021/dz-83/","section":"Episodes","summary":"What can screenwriters learn from the storytelling techniques used by stand-up comedians?","title":"DZ-83: A Very Thematic Stand-up Special!","type":"episodes"},{"categories":"","content":"For this podcast release, we focus on a single craft tool: GIVEN CIRCUMSTANCES. Traditionally an acting tool, we look at how it is also a useful writing tool: how is your story world different to your audience’s lived world and how best to communicate that?\nIn terms of WATCHMEN (as you will hear), there is so much given circumstances to convey — in terms of alternate history, superhero rules, political rules, character backstory, character worldview — that is done excellently in both the movie and the TV show that this becomes a masterclass in exposition.\nWe also touch on narrative structure and tone: how presenting the exact same information in a different order or through a different tonal lens can change how it lands for an audience. ie this diagram \u0026ndash;\nBut this is explored much more fully in the very-visual companion YouTube videos. Subscribe to our YouTube to be notified when they’re released!\nWhile this episode may not be for the feint of heart, we feel it is one of our best. Hope you do too. Quantity has a quality of its very own.\nSpoilers abound. Audio excerpts used for educational purposes. Thanks to Chris for wrangling this into shape!\n","date":"18 August 2021","externalUrl":null,"genres":"","permalink":"/2021/dz-82/","section":"Episodes","summary":"In this final podcast release of last year's run of LiveSoLation episodes, Chas and Stu are joined by Uber-geek Mel Killingsworth (who else?) in an epic exploration of how Dave Gibbons' and Alan Moore's seminal graphic novel WATCHMEN is adapted differently in Zack Snyder's 2009 film and Damon Lindelof's 2019 HBO television show.","title":"DZ-82: Dramatising Given Circumstances in Watchmen","type":"episodes"},{"categories":"","content":"","date":"18 August 2021","externalUrl":null,"genres":"","permalink":"/episode_type/live/","section":"Episode_type","summary":"","title":"Live","type":"episode_type"},{"categories":"","content":"","date":"30 June 2021","externalUrl":null,"genres":"","permalink":"/series/development-tools/","section":"Series","summary":"","title":"Development Tools","type":"series"},{"categories":"","content":"Chas and Stu are joined by writer/director/producer/multi-hyphenate Marc Furmie of Rezistor Studios to talk all things pitch decks and look books. Coming from an advertising and music video background, Marc shares his experience in putting together visual materials to pitch a project. We discuss the difference between pitch decks and lookbooks, how they help you sell your projects, what buyers are looking for, television vs features, and how do we make yours better?\nThis is a podcast cutdown of the live stream that was done with Marc. So if you\u0026rsquo;d like to see what we are discussing, including a critique of a listener\u0026rsquo;s pitch deck, then check out our YouTube recording.\nThanks to Chris Walker for editing this episode.\n","date":"30 June 2021","externalUrl":null,"genres":"","permalink":"/2021/dz-81/","section":"Episodes","summary":"How do you make effective pitch decks and look books for your projects?","title":"DZ-81: Pitch Decks \u0026 Look Books - Development Tools 4","type":"episodes"},{"categories":"","content":"","date":"30 June 2021","externalUrl":null,"genres":"","permalink":"/guests/marc-furmie/","section":"Guests","summary":"","title":"Marc Furmie","type":"guests"},{"categories":"","content":"In our final part, part 3, of our Interweaving Timelines series, we — Chas, Stu \u0026amp; Mel — take a deep dive into Greta Gerwig\u0026rsquo;s 2019 adaptation of Little Women. In her adaptation of Louisa May Alcott\u0026rsquo;s iconic novels, Greta chose to interweave the seperate timelines of Little Women and it\u0026rsquo;s sequel, Good Wives, to create a thematically and emotionally potent work. This differs from all the other adaptations, which have chosen to keep the chronological storytelling of the source material.\nWe compare Gerwig\u0026rsquo;s choices and their resulting effects with Gilliam Armstrong \u0026amp; Robin Swicord\u0026rsquo;s more faithful (and chronological) 1994 version. It\u0026rsquo;s almost like a scientific experiment!\nStay tuned! SPOILERS ABOUND!\nAudio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. Thanks to Chris Walker for editing this episode.\n","date":"31 May 2021","externalUrl":null,"genres":"","permalink":"/2021/dz-80/","section":"Episodes","summary":"How can interweaving timelines elevate the emotional experience for the audience?","title":"DZ-80: Interweaving Timelines 3 - Little Women","type":"episodes"},{"categories":"","content":"","date":"31 May 2021","externalUrl":null,"genres":"","permalink":"/series/interweaving-timelines/","section":"Series","summary":"","title":"Interweaving Timelines","type":"series"},{"categories":"","content":"In this Part 2 of Interweaving Timelines (aka The Stu Monologue Episode), Mel, Chas and Stu tackle Sorkin/Fincher\u0026rsquo;s The Social Network. As you’ll hear, it is clearly Stu’s favourite of the examples we cover and, ah, not Mel’s favourite. While all three bring their own biases and opinions on the reality of Facebook as it has become, we do manage to put the destruction of democracy to one side to actually analyse the meticulous craft that this film displays.\nWe analyse Sorkin’s on-the-page skill with time jumps, managing intercutting and introducing characters - as well as explore how the flash-forward technique manages the absence of stakes (i.e. we know Facebook exists) and creates a different emotional experience to the flashbacks of Destroyer. Finally, and most importantly, we look at how the interweaving timelines change how the audience feel about Mark Zuckerberg (as portrayed in this film).\nStay tuned! SPOILERS ABOUND!\nAudio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. Thanks to Chris Walker for editing this episode.\n","date":"30 April 2021","externalUrl":null,"genres":"","permalink":"/2021/dz-79/","section":"Episodes","summary":"How can interweaving two timelines change how we feel about a character?","title":"DZ-79: Interweaving Timelines 2 - The Social Network","type":"episodes"},{"categories":"","content":"Stu and Chas are joined by Mel Killingsworth to dissect interweaving timelines. Not anthology films. Not Cloud Atlas. But films where two plot lines featuring the same characters, but from different timelines, are woven together.\nHow do you manage stakes when you know a character’s future? What questions does this prompt in the viewer? And how the hell do you orient the reader?\nTo answer these questions, it will take three episodes. In this Part 1, our intrepid team (and Mel’s 42 pages of homework) tackle the 2018 film DESTROYER directed by Karen Kusama, written by Hay \u0026amp; Manfredi and starring Nicole Kidman.\nMeanwhile, Part 2 will cover THE SOCIAL NETWORK and Part 3 will compare the 1994 Gillian Armstrong version with 2019 Greta Gerwig version of LITTLE WOMEN. Whew.\nStay tuned! SPOILERS ABOUND!\nAudio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3.\nThanks to Chris Walker for editing this episode.\n","date":"1 April 2021","externalUrl":null,"genres":"","permalink":"/2021/dz-78/","section":"Episodes","summary":"How does interweaving two timelines change how the audience feel?","title":"DZ-78: Interweaving Timelines 1 - Destroyer","type":"episodes"},{"categories":"","content":"In their now-annual full backmatter episode, Stu and Chas let their hair down, drop the guise of objectivity, and allow themselves to have an even more subjective opinion about writing and the business of writing.\nIn this particular Backmatter entry, they wax lyrical on [deep breath]: character journeys, hyperlink cinema, keeping genre fresh, beginning a new co-writing relationship, managing multiple projects, choosing your next project, and - naturally - Star Wars (and Ready or Not)\nBTW the system using folders is actually from Anthony Johnston.\nThanks to Chris Walker for editing this episode.\n","date":"28 February 2021","externalUrl":null,"genres":"","permalink":"/2021/dz-77/","section":"Episodes","summary":"How do you choose which project to start next?","title":"DZ-77: Backmatter - Prioritising and choosing projects","type":"episodes"},{"categories":"","content":"Following the success of the Tips from Tarantino episode, we have again decided to look at three different scripts from over the course of a long screenwriting career from a single writer to see what we can learn. Our beloved patreons not only selected Sofia Coppola as said writer, but also selected the scripts to analyse: LOST IN TRANSLATION, THE BLING RING and THE BEGUILED.\nStu and Chas are joined by repeat Draft Zero offender Melanie Killingsworth and are surprised to find that Coppola does not often write the tone or experience of her films into her scripts (given how specific her tone is and how unique the experiences of her films are). Instead, we are treated to a masterclass in writing character performance on the page - actor catnip, if you will - as well as Coppola’s insightful use of white space.\nYou can also watch the complete live stream on YouTube:\nThanks to Chris Walker for editing this episode, and to Carissa Lee for reading the script excerpts.\n","date":"1 February 2021","externalUrl":null,"genres":"","permalink":"/2021/dz-76/","section":"Episodes","summary":"What can we learn from Sofia Coppola's on-the-page skills over her career?","title":"DZ-76: Spotlight on Sofia Coppola","type":"episodes"},{"categories":"","content":"Stu and Chas are joined by filmmaker, podcaster and writer Lia Matthew Brownn to deep dive into FURY ROAD and its astounding visual storytelling, both on the page and on screen. We talk about setups and payoffs, given circumstances, image systems, environmental storytelling, and how the relationship between Furiosa and Max is built over the course of the story with very little dialogue (besides Tom Hardy’s grunts and the odd bellow of “MEDIOCRE!”).\nYou can also watch the complete live stream on YouTube or just the breakdown of the Furiosa/Max fight (which isn’t in the podcast) here:\n","date":"31 December 2020","externalUrl":null,"genres":"","permalink":"/2020/dz-75/","section":"Episodes","summary":"How can you do powerful storytelling... without dialogue?","title":"DZ-75: Fury Road \u0026 Visual Storytelling","type":"episodes"},{"categories":"","content":"","date":"31 December 2020","externalUrl":null,"genres":"","permalink":"/guests/lia-matthew-brown/","section":"Guests","summary":"","title":"Lia Matthew Brown","type":"guests"},{"categories":"","content":"","date":"1 December 2020","externalUrl":null,"genres":"","permalink":"/guests/catherine-smyth-mcmullen/","section":"Guests","summary":"","title":"Catherine Smyth Mcmullen","type":"guests"},{"categories":"","content":"Draft Zero return with their next YouTube livestream! Stu and Chas are joined by previous guest (and successful screenwriter) C.S. McMullen for a deep dive into MIDSOMMAR! We analyse the film through the lens of Folk Horror, but tackle broader topics such as horror vs dread, rising tension, transgressions, unfilmables, and portraying toxic relationships.\nYou can also watch the recorded live stream on YouTube.\nAudio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3.\n","date":"1 December 2020","externalUrl":null,"genres":"","permalink":"/2020/dz-74/","section":"Episodes","summary":"What can we learn from folk horror?","title":"DZ-74: Midsommar \u0026 Folk Horror","type":"episodes"},{"categories":"","content":"In developing our stories and scripts, we have probably written some combination of treatments and loglines and outlines. Some of us have probably even sent these development materials out to producers or agencies when “selling” a project — as a step towards getting someone to read or gulp produce your material. If so… have you written them differently? Should you have? You probably should have\u0026hellip;\nIn this final part from the epic recording on short documents, Stephen explores how we should craft the words on the page and structure these documents differently when they are to *sell *the project as opposed to *develop *the project. Something that Chas and Stu badly need to hear, learn and apply right now.\n","date":"21 October 2020","externalUrl":null,"genres":"","permalink":"/2020/dz-73/","section":"Episodes","summary":"How do I write selling documents differently to development documents?","title":"DZ-73: Selling documents - Development Tools 3","type":"episodes"},{"categories":"","content":"","date":"21 October 2020","externalUrl":null,"genres":"","permalink":"/guests/stephen-cleary/","section":"Guests","summary":"","title":"Stephen Cleary","type":"guests"},{"categories":"","content":"","date":"28 September 2020","externalUrl":null,"genres":"Adventure · History · War","permalink":"/films/lawrence-of-arabia-1962/","section":"Films","summary":"","title":"Lawrence of Arabia (1962)","type":"films"},{"categories":"","content":"","date":"28 September 2020","externalUrl":null,"genres":"War · Drama","permalink":"/films/macbeth-1971/","section":"Films","summary":"","title":"Macbeth (1971)","type":"films"},{"categories":"","content":"","date":"28 September 2020","externalUrl":null,"genres":"Crime · Drama · Thriller","permalink":"/films/witness-1985/","section":"Films","summary":"","title":"Witness (1985)","type":"films"},{"categories":"","content":"Continuing our look at tools used in development, Chas \u0026amp; Stu are joined by Stephen Cleary to talk about Theme, The Thematic Logline and what Stephen calls The Story Synopsis. All are tools to help writers better understand their theme and how it is dramatised. We use the classic film WITNESS as an example, so spoilers abound.\nThanks to Meegan May for reading the examples. Meegan May is an emerging queer screenwriter and former military intelligence analyst with plenty of award winning scripts and extensive experience in development. Look her up! http://meeganmay.com\n","date":"28 September 2020","externalUrl":null,"genres":"","permalink":"/2020/dz-72/","section":"Episodes","summary":"How can I develop my theme without writing script pages?","title":"DZ-72: Theme \u0026 The Story Synopsis - Development Tools 2","type":"episodes"},{"categories":"","content":"Stu and Chas are joined by fan-favourite, Stephen Cleary, to NOT look at what makes great screenplays work \u0026ndash; but what makes great \u0026ldquo;short documents\u0026rdquo; work. We draw on Stephen Cleary\u0026rsquo;s wealth of experience in developing work with writers, as a producer, as a script editor and as a former head of development.\nThis recording turned especially epic and so we have divided it into three parts that can be listened to in any order.\nPart 1 (this part) explores the short documents and tools you can use to develop your story’s PLOT before going to script, including the Premise, the Logline, various synopses, character documents, and - of course - the dreaded Treatment… But also looks at development tools that aren’t written like: script reads, mini-shoots and animatics.\nStay tuned for :\nPart 2 (DZ-71) which delves into documents that develop your story’s theme; and then Part 3 (DZ-73) where we look at how to write short documents differently when your objective isn’t story development but rather selling your idea/project. ","date":"1 September 2020","externalUrl":null,"genres":"","permalink":"/2020/dz-71/","section":"Episodes","summary":"How can I develop my plot before writing the screenplay?","title":"DZ-71: Treatments \u0026 Loglines - Development Tools 1","type":"episodes"},{"categories":"","content":"Draft Zero return with their next YouTube livestream! Stu and Chas take a deep dive into JOKER and analyse the film through the story paradigm of melodrama. Is it a melodrama? Why or why not does that matter? And does that influence how it has been written on the page?\nThey then answer listeners questions on JOKER and more.\nIf you want to watch along instead of listen, you can watch on YouTube: https://youtu.be/pcMKhzJ1LkM\n","date":"23 July 2020","externalUrl":null,"genres":"","permalink":"/2020/dz-70/","section":"Episodes","summary":"How does Joker use melodramatic techniques to elevate its storytelling?","title":"DZ-70: Joker \u0026 Melodrama","type":"episodes"},{"categories":"","content":"Draft Zero return with their next YouTube livestream! Stu and Chas take a deep dive into PARASITE and how its mastery of audience questions elevates the film. They then answer listeners questions on PARASITE and much more.\nIf you want to listen in on the next live recording, find details here: and/or subscribe to us on YouTube via\nIf you want to watch along instead of listen, you can watch on YouTube:\nAudio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3.\n","date":"10 June 2020","externalUrl":null,"genres":"","permalink":"/2020/dz-69/","section":"Episodes","summary":"How can you use audience questions to heighten emotional investment?","title":"DZ-69: Parasite \u0026 Audience Questions","type":"episodes"},{"categories":"","content":"","date":"17 May 2020","externalUrl":null,"genres":"Comedy · Crime · Mystery","permalink":"/films/knives-out-2019/","section":"Films","summary":"","title":"Knives Out (2019)","type":"films"},{"categories":"","content":"Born out of isolation madness, this episode is an edited version of Draft Zero’s first YouTube livestream. Stu and Chas both watched KNIVES OUT and - together with our listeners - broke down each sequence and turning point by reference to what the audience knows in relation to the characters (aka narrative point of view). hey then answer listener questions on KNIVES OUT and much else besides live on air.\nIf you want to watch along instead of listen, the video of the episode can be found here:\nAudio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3.\n","date":"17 May 2020","externalUrl":null,"genres":"","permalink":"/2020/dz-68/","section":"Episodes","summary":"How can shifting narrative point of view drive your sequences?","title":"DZ-68: Using POV to structure KNIVES OUT","type":"episodes"},{"categories":"","content":"","date":"30 April 2020","externalUrl":null,"genres":"Comedy · Drama","permalink":"/films/ladies-in-black-2018/","section":"Films","summary":"","title":"Ladies in Black (2018)","type":"films"},{"categories":"","content":"","date":"30 April 2020","externalUrl":null,"genres":"Drama · Sci-Fi-\u0026-Fantasy · Action-\u0026-Adventure","permalink":"/films/the-handmaids-tale-2017/","section":"Films","summary":"","title":"The Handmaid's Tale (2017)","type":"films"},{"categories":"","content":"Stu and Chas are joined by Stephen Cleary following his exploration into Melodrama, and together they try to reclaim the word from its pejorative meaning.\nBy examining powerful Melodramas - like THE HANDMAID’S TALE, LADIES IN BLACK and STRANGER THINGS… with many a tangent on MARRIAGE STORY, PETE’S DRAGON, MILDRED PIERCE, GAME OF THRONES, LOST, THE JOKER, THE KILLING, THE WITCHER, war movies and survival films - the three hosts try to unpick what makes Melodrama an alternate story paradigm to the Hero’s Journey.\nThey delve into how Melodramas centre on characters that don’t have agency; where the plot happens to characters (as opposed to being driven by them); how Melodramas don’t end so much as close; and how all of the above delves into character questions more deeply than the Hero’s Journey. And to wrap it all up, the kind of techniques you use on the page to write effective melodramas.\nContent Warning : There is a lot of discussion in this episode about melodrama being associated with “women’s stories” vs the “hero’s journey” - which is biased towards a ‘masculine’ mode of storytelling - and we fully acknowledge in the show and here that we are three cismen talking about these things.\nThis episode was edited by Christopher Walker. Audio excerpts used for educational purposes only.\n","date":"30 April 2020","externalUrl":null,"genres":"","permalink":"/2020/dz-67/","section":"Episodes","summary":"How do I tell a powerful story where the protagonist cannot drive the plot?","title":"DZ-67: Writing Passive Protagonists \u0026 Melodrama","type":"episodes"},{"categories":"","content":"By Order 66: Chas and Stu are joined by special guest - filmmaker Mel Killingsworth - to talk all things Star Wars. Well. Focusing on The Mandalorian and The Rise of Skywalker and wherever else our tangents take us.\nOur primary lens is look at how both shows handle “fan service” — but really its about how you handle character motivations when your audience has more knowledge than your characters, especially knowledge from outside the show itself. To that end, we discuss the characters of Poe, Rey, Kylo, and Palpatine in depth. We also discuss the Watchmen TV Show, Mind-hunter, Jojo Rabbit, Snowtown and Zodiac.\nSPOILERS ABOUND. Excerpts used for educational purposes. Thanks to Chris Walker for editing this episode.\n","date":"17 March 2020","externalUrl":null,"genres":"","permalink":"/2020/dz-66/","section":"Episodes","summary":"How does audience knowledge affect your character's motivations?","title":"DZ-66: The Mandalorian and The Rise of Skywalker - Audience Knowledge vs Character Motivation","type":"episodes"},{"categories":"","content":"","date":"14 February 2020","externalUrl":null,"genres":"","permalink":"/guests/ben-mizzi/","section":"Guests","summary":"","title":"Ben Mizzi","type":"guests"},{"categories":"","content":"This episode, Chas steps down as co-host (kinda) and is interviewed by Stu as a guest, alongside director Ben Mizzi, about the short rom-com that Chas wrote and Ben directed \u0026amp; produced. The episode covers taking an idea from pitch to screen, working with a director, directing performance on the page, and marketing and distribution strategies for short films.\nAnd if you want to watch The Snip - a 16 min rom com about a guy who gets a vasectomy without telling his wife - here it is: https://youtu.be/_iBdDFKqqbs\nThanks to Chris Walker for editing this episode.\n","date":"14 February 2020","externalUrl":null,"genres":"","permalink":"/2020/dz-65/","section":"Episodes","summary":"HOw does a writer work with a director (on a short film?)","title":"DZ-65: Collaborating with a Director - The Snip","type":"episodes"},{"categories":"","content":"","date":"14 February 2020","externalUrl":null,"genres":"","permalink":"/episode_type/interview/","section":"Episode_type","summary":"","title":"Interview","type":"episode_type"},{"categories":"","content":"In our annual Backmatter-only episode, Stu and Chas indulge themselves by offering personal opinions on the life and work of emerging screenwriters based on their own personal experience.\nTo that end, they discuss: what is and is not in your control in relation to an emerging writing career; choosing what project to develop next; using the Black List site to gain traction; the difference between treatments for pitching as opposed to for development; and the difference in writing style when writing on spec as against work for hire.\nWe also unexpectedly have a guest: David Wappel kindly joins us to share his thoughts on anchoring nouns.\n","date":"30 January 2020","externalUrl":null,"genres":"","permalink":"/2020/dz-64/","section":"Episodes","summary":"What can and should you do next?","title":"DZ-64: Backmatter - Controlling your Work, Treatments, and Writing Styles","type":"episodes"},{"categories":"","content":"","date":"31 December 2019","externalUrl":null,"genres":"","permalink":"/series/better-dialogue/","section":"Series","summary":"","title":"Better Dialogue","type":"series"},{"categories":"","content":"A full three years after the first instalment (and one of our most popular), Stu and Chas have kidnapped Stephen Cleary to once again develop some craft tools around dialogue. It would be fair to say that - in that time - all three have learnt a lot more about dialogue than they knew in 2016. It would be also fair to say that Stephen perhaps learnt a little more through his research into “genderlect”.\nIn Part II, we analyse key scenes from films and TV shows famous for their dialogue, namely FLEABAG (Season 2, Episode 5), JUNO and DEADWOOD (The Pilot). The biggest tools we explore are: the hook and eye; how dialogue can reveal status and empathy; rhythm; contrast and affinity; and pacing.\nAnd just to help us all out, Stephen rounds out the episode with some quick fire examples - FIVE EASY PIECES, JERRY MAGUIRE, GROSSE POINTE BLANK, and NOTTING HILL (again) - and further dialogue tips.\nThanks to Chris Walker for editing this episode during the holiday season.\n","date":"31 December 2019","externalUrl":null,"genres":"","permalink":"/2019/dz-63/","section":"Episodes","summary":"How can you create flow and contrast in your dialogue?","title":"DZ-63: Tools for Better Dialogue (Part 2) - Hook and Eye","type":"episodes"},{"categories":"","content":"In this third and final part of our series on unfilmables, Chas and Stu turn their critical eye to\u0026hellip; each other’s work! They take their key learnings from the previous episodes and apply them to rewriting scenes from their own projects. They discuss metaphors, emotional context, and how you can write tone on the page without resorting to unfilmables.\nThey are also joined by Carissa Lee (who has been reading the excerpts) to discuss her perspective as an actor on the scripts we’ve been reading; and they answer listener questions about unfilmables.\nAnd, lastly, in backmatter Carissa reads the entire script to Stu’s award-nominated script, DUST BUNNY.\nThanks to Chris Walker for editing this episode, and Carissa Lee for performing the big print.\n","date":"2 December 2019","externalUrl":null,"genres":"","permalink":"/2019/dz-62/","section":"Episodes","summary":"How do you know if your unfilmable is good... or if you're just being a wanker?","title":"DZ-62: Unfilmables 3 - As Ifs \u0026 Emotional context","type":"episodes"},{"categories":"","content":"","date":"2 December 2019","externalUrl":null,"genres":"","permalink":"/series/unfilmables/","section":"Series","summary":"","title":"Unfilmables","type":"series"},{"categories":"","content":"In this second part of our series on unfilmables, Chas and Stu continue their deep dive into how writing the “unfilmable” can enhance your script. Rather than looking at micro moments, they turn their gaze to ‘moments of awe’ — those often breathtaking cinematic moments that feel beyond writing. But are those scenes actually unscriptable?\nIn this episode we look at sequences from YOU WERE NEVER REALLY HERE, SEARCHING FOR BOBBY FISCHER, THE INVITIATION, and MOONLIGHT. We talk writing cinematically, performance beats, breaking (and maintaining) “the spell”, limited palettes of language, self-contextualising writing, and ‘instructables’.\nThanks to Chris Walker for editing this episode, and Carissa Lee for performing the big print.\nAs always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.\n","date":"25 September 2019","externalUrl":null,"genres":"","permalink":"/2019/dz-61/","section":"Episodes","summary":"How can unfilmables help you create those cinematic moments of awe?","title":"DZ-61: Unfilmables 2 - Moments of Awe","type":"episodes"},{"categories":"","content":"*AKA Why your screenwriting guru is wrong *\nIn this episode, Chas and Stu deep dive into the controversial area of “unfilmables” — those alleged screenwriting sins, where a writer writes a line that (apparently) cannot be seen or heard. But many produced spec scripts use unfilmables to great effect. So how and why do they “get away with it”?\nIn this first part, they look at unfilmables in micro moments: to describe locations, set (or change) the mood/tone, bring performances to life, and communicate certain types of humour. To that end, they breakdown into examples from LETHAL WEAPON, MY BRIDESMAID IS A BITCH, HEREDITARY, FLEABAG, KILLING EVE, A QUIET PLACE, KILLING THEM SOFTLY, SHARP OBJECTS, SPARTAN, THE NICE GUYS, DRIVE, THREE BILLBOARDS OUTSIDE EBBING MISSOURI, TREE OF LIFE, and MICHAEL CLAYTON.\nThanks to Chris Walker for editing this episode, and Carissa Lee for performing the big print.\nAs always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.\n","date":"7 August 2019","externalUrl":null,"genres":"","permalink":"/2019/dz-60/","section":"Episodes","summary":"How can unfilmables enhance the experience of your script?","title":"DZ-60: Unfilmables 1 - Engaging imagination","type":"episodes"},{"categories":"","content":"","date":"1 July 2019","externalUrl":null,"genres":"Adventure · Science-Fiction · Action","permalink":"/films/avengers-endgame-2019/","section":"Films","summary":"","title":"Avengers: Endgame (2019)","type":"films"},{"categories":"","content":"One day, Chas saw Avengers: Endgame for the second time and wrote a review on Letterboxd. In particular, he had issues with how little he perceived the characters of Cap and Tony changed within the film, their big finale (spoiler). Then friend and patron of the podcast Julio Olivera vehemently disagreed in the comments. He was egged on by Stu. And there in the comments began a debate that looked a lot like an episode of Draft Zero. So we decided to make it one.\nAnd what began as an exploration of how to dramatise character change swiftly became an exploration of how to position audience in relation to your characters. Do you want the audience empathising with the characters? Feeling what they are feeling in the moment? Or do you want your audience sympathising with your characters? Being rocked by surprise after the fact? Reminding your audience of their own personal relationship with the characters.\n","date":"1 July 2019","externalUrl":null,"genres":"","permalink":"/2019/dz-59/","section":"Episodes","summary":"Do you want your audience feeling with or for your characters?","title":"DZ-59: Avengers Endgame \u0026 Ending Character Journeys","type":"episodes"},{"categories":"","content":"","date":"1 July 2019","externalUrl":null,"genres":"","permalink":"/guests/julio-olivera/","section":"Guests","summary":"","title":"Julio Olivera","type":"guests"},{"categories":"","content":"In watching Season 7 (and the first three episodes of Season 8) of Game of Thrones, Stu noticed that there were lots of scenes where characters either met for the first time or were reunited after a long time apart. In these scenes, the audience knows (or thinks they know) more than either character. And so the fascination, power and subversion comes from what the characters choose to reveal\u0026hellip; or not.\nAnd yet\u0026hellip; while we thought this episode would be an extension of our previous musings on exposition, in nearly every great scene we assessed, the characters basically said “screw talking about plot or backstory” and instead exposited about their character.* *How it feels to be them. How they have, or have not, changed.\nAnd so this episode unexpectedly but rewardingly pivoted to learnings on how to set up and sell character exposition.\nAs always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.\nRUNNING ORDER\nGAME OF THRONES \u0026amp; EXPOSITION [@ 00:01:10]\nSCENES CONVEYING PRE-EXISTING FACTS\nJAIME VS CERSEI IN THE MAP ROOM [@ 00:12:54]\n*YouTube: *\nARYA \u0026amp; HOT PIE AT THE CROSSROADS [@ 00:28:23]\n*YouTube: *\nJON VS THE BROTHERHOOD AT EASTWATCH [@ 00:39:10]\n*YouTube: *\nCONTRASTING SCENES WITH AND WITHOUT CHARACTER ACTION\nJON VS TYRION AT DRAGONSTONE [@ 00:47:54]\n*YouTube: *\nJON \u0026amp; DAVOS VS MISSANDEI AT DRAGONSTONE [@ 01:01:06]\n*YouTube: *\nSTARK SIBLING REUNION SCENES\nARYA VS SANSA IN THE CRYPT [@ 01:07:05]\nBRAN, ARYA \u0026amp; SANSA IN THE WEIRWOOD [@ 01:18:46]\n*YouTube: *\nARYA VS JON IN THE WEIRWOOD [@ 01:27:14]\n*YouTube: *\nCHARACTER MONOLOGUING\nBRAN VS MEERA AT WINTERFELL [@ 01:33:06]\n*YouTube: *\nLEARNINGS [@ 01:37:14]\nEDUCATION \u0026amp; THWARTING [@ 01:40:13]\nEPISODE LINKS\n","date":"16 May 2019","externalUrl":null,"genres":"","permalink":"/2019/dz-58/","section":"Episodes","summary":"How can you let your characters tell us how they feel?","title":"DZ-58: Game of Thrones - Character Exposition","type":"episodes"},{"categories":"","content":"It is time (in fact, well past time) for our semi-annual #Backmatter episode. For the uninitiated, this is an episode where Stu and Chas discuss career and craft-related topics beyond what makes great screenplays work. To that end, Stu and Chas dive into: a five year review of Draft Zero and how it has changed their writing craft and process; a discussion on the aesthetics of writing; learnings for emerging writers in having their work produced; and finally forgiving yourself for not writing.\nAs always: an amazing thank you to out Patreons for supporting more Draft Zero more often, and in particular Patreon Chris Walker who edited this episode for us.\n","date":"1 May 2019","externalUrl":null,"genres":"","permalink":"/2019/dz-57/","section":"Episodes","summary":"How can you best articulate your ideas?","title":"DZ-57: Backmatter - Aesthetics and Forgiveness in Writing","type":"episodes"},{"categories":"","content":"In this second part of their exploration of character motivations, Chas and Stu dive into what makes “BAD” screenplays NOT work. They examine at moments where they (and maybe you, dear listeners) did not believe a key decision being made by a character and so were taken out of the movie. In a departure from the Draft Zero format, they apply the tools they developed in Part 1 to workshop potential fixes to these beats.\nCharacter decisions that come under the microscope are AVENGERS: INFINITY WAR (again), SOLO: A STAR WARS STORY, DIE HARD (which is a good example for contrast, not a bad one!), PREDATOR 2, SICARIO 2: DÍA DEL SOLDADO and PROMETHEUS (with an honourable mention to A PRINCESS BRIDE).\nLet us know if you like the variation on our format or not!\nAs always: SPOILERS ABOUND!\nAudio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. Watch it on on YouTube.\nRead the transcript on GitHub or in HTML.\nSpecial thanks to our Patreon supporters. If you would like more Draft Zero episodes more often, click here!\nLINKS\n","date":"30 March 2019","externalUrl":null,"genres":"","permalink":"/2019/dz-56/","section":"Episodes","summary":"Workshopping ways to fix character motivations.","title":"DZ-56: Character Motivations (Part 2)","type":"episodes"},{"categories":"","content":"In part 1 of this 2-part episode, Chas \u0026amp; Stu look at examples of *good *character motivation. * *We’ve all watched movies where we don’t believe the motivation of a character or characters. We may have even written scripts where readers don’t buy the character’s choices. And that’s often a real problem because most of these choices coincide with key structural moments — e.g. the moments where the characters decide to do something “out of character” in order to progress to the next part of the story. To help us solve the problem of how to improve our character motivations, in this episode we explore great examples of character motivation and how they have helped the audience believe a character’s decision.\nThis episode started out as an exploration of bad character decisions; ones which are universally derided by audiences. And, sadly for us filmmakers, it is often a key structural decision being made by a character that audiences just don’t buy. However, as Stu and Chas did their homework, this episode swiftly became an exploration of character motivations (because that is really what you have to get across in order for your audience to believe a decision) and - in true DZ style - *good *examples of character motivations.\nAnd so Chas and Stu dive into NOTTING HILL, TO ALL THE BOYS I’VE LOVED BEFORE, GAME NIGHT, ARRIVAL, IN THE BEDROOM, BEIRUT, BREAKING BAD, THE MATRIX, BLOCKERS, A NEW HOPE (of course) and AVENGERS: INFINITY WAR. Passing/honourable mention also to MANCHESTER BY THE SEA, THE COMMUTER, THE LOBSTER, GAME OF THRONES, IRON MAN, GUARDIANS OF THE GALAXY and DOCTOR STRANGE (as we re-visit and re-contextualise stuff we’ve analysed previously).\nThe potential craft tools they uncover are character patterning, structural timing of the decision, debating the decision (both internally and externally), withholding the decision from the audience, and using external plot elements to either remove obstacles or push the character into making a decision that is\u0026hellip; well\u0026hellip; out of character. But believably so.\nStay tuned for Part II where we - for once - actually do explore some bad examples of character motivation.\nAs always: SPOILERS ABOUND!\nAudio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. Watch it on on YouTube.\nRead the transcript on GitHub or in HTML.\nSpecial thanks to our Patreon supporters. If you would like more Draft Zero episodes more often, click here!\n","date":"15 January 2019","externalUrl":null,"genres":"","permalink":"/2019/dz-55/","section":"Episodes","summary":"What to do when a reader says \"I don't buy that he/she would do that\"?","title":"DZ-55: Character Motivations (Part 1)","type":"episodes"},{"categories":"","content":"Chas and Stu are joined, once again, by the inestimable Stephen Cleary. This episode is a spiritual sequel to our last episode with Stephen, the one on sequence structure. That episode explored how sequences could be broken into plot, character, and plot/character sequences.\nWell, Stephen’s back to talk about a different type of sequence: the thematic sequence. By limiting (or removing all together) questions related to character or plot, filmmakers can force their audience to engage with the deeper, underlying meaning of the story.\nOur deep dive onto this topic focuses on LOVE ACTUALLY, THE EXTERMINATING ANGEL, APOCALYPSE NOW, and IN THE BEDROOM. But it wouldn’t be a Draft Zero without numerous digressions including into HUNGER, GET OUT, INFINITY WAR, and THE THIN RED LINE.\nAs always: SPOILERS ABOUND!\nAudio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. Watch it on on YouTube.\nRead the transcript on GitHub or in HTML.\nSpecial thanks to our Patreon supporters. If you would like more Draft Zero episodes more often, click here!\nEPISODE LINKS\n","date":"10 October 2018","externalUrl":null,"genres":"","permalink":"/2018/dz-54/","section":"Episodes","summary":"How does removing character and plot question force your audience to engage with theme?","title":"DZ-54: Thematic Sequences","type":"episodes"},{"categories":"","content":"It’s time. The Epic Deep Dive(TM) into Antagonists has reached its shuddering conclusion. And for this Part V - by choosing films that have no obvious singular antagonist (and in some cases no obvious narrative either) - Stu and Chas realised there was indeed a final category of antagonists: the films themselves. Where the film (and the filmmaker) are engaging directly with the audience. Where the films are\u0026hellip; VERSUS AUDIENCE.\nThe films that led to this “insight” often lie to the audience; talk directly to the audience; misdirect the audience; take the audience on meandering narrative strolls; or make the central character the antagonist to all other characters. Sometimes these techniques power a single scene. Sometimes they take up the whole film. All this to keep the audience compelled in the absence of singular antagonists. And these films are - drum roll, please - OCEAN’S 8, THE SECOND, F FOR FAKE, SANS SOLEIL and FORREST GUMP.\nAs always: SPOILERS ABOUND!\nAudio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. Watch it on on YouTube. Read the transcript on GitHub or in HTML.\nSpecial thanks to our Patreon supporters. If you would like more Draft Zero episodes more often, click here!\nEPISODE LINKS\n","date":"26 August 2018","externalUrl":null,"genres":"","permalink":"/2018/dz-53/","section":"Episodes","summary":"What if there is no antagonist?","title":"DZ-53: Antagonists! 5 - vs Audience","type":"episodes"},{"categories":"","content":"This is Part Four (!!) of our Five Part Epic Exploration into antagonists forces and sources of conflict. In this episode we explore \u0026ldquo;system/world/society\u0026rdquo; antagonists. While stereotypically associated with science-fiction, these sources of conflict are found across genres.\nTo that end, we talk MINORITY REPORT, DAWN OF THE PLANET OF THE APES, MUDBOUND, and THE LOBSTER - with a special mention of high school movies.\nWe continue refining our tools surrounding antagonists/sources of conflict: obstacles, pressure, enablers, pushers, pullers, education and thwarting. We especially focus on how the pressures of the system/world/society force characters to either submit to the system, overthrow it or escape it; and how framing all of your characters’ journeys in relation to the rules of the world they inhabit can lead to a thematically strong story.\nAs always: SPOILERS ABOUND!\nAudio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. Watch it on on YouTube. Read the transcript on GitHub or in HTML.\nSpecial thanks to our Patreon supporters. If you would like more Draft Zero episodes more often, click here!\n","date":"28 June 2018","externalUrl":null,"genres":"","permalink":"/2018/dz-52/","section":"Episodes","summary":"How do systems pressure your characters to change?","title":"DZ-52: Antagonists! 4 - vs Systems","type":"episodes"},{"categories":"","content":"In this Part Three of our Five Part Epic Exploration™ into antagonistic forces (and sources of conflict), Chas \u0026amp; Stu explore “nature” antagonists, including some supernatural ones. What became clear in doing the homework (and recording this episode twice) was that the antagonistic forces - whether natural or supernatural - presented different narrative challenges to the protagonists if (a) they did not seem to make choices and (b) could not be bargained with or defeated.\nAnd so we embarked upon ALL IS LOST, THE GREY and CONTAGION — with special mentions of THE VVITCH, WORLD WAR Z, ZOMBIELAND, ANNIHILATION, ALIEN, ALIENS and probably some others we’ve forgotten.\nStu elaborates on his distinction between obstacles and pressure; Chas riffs on how nature antagonists can mirror the protagonist and reinforce theme; and they both explore the effect on protagonists who are pushed to their limits by antagonists that cannot be reasoned with.\nAs always: SPOILERS ABOUND!\nAudio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. Watch it on on YouTube. Transcripts on GitHub and\nSpecial thanks to our Patreon supporters. If you would like more Draft Zero episodes more often, click here!\nEPISODES LINKS\n","date":"31 May 2018","externalUrl":null,"genres":"","permalink":"/2018/dz-51/","section":"Episodes","summary":"What changes in your story if your antagonistic forces can't be bargained with?","title":"DZ-51: Antagonists! (Part 3) - vs Nature","type":"episodes"},{"categories":"","content":"In Part Two of our Five Part Epic Exploration™ into antagonists, Chas \u0026amp; Stu take a look at \u0026ldquo;vs self\u0026rdquo; stories. Stories where the protagonist (or main character) serves as their own antagonist as well as the antagonist for those around them.\nIt took us a long time to settle on our homework, but we ended up exploring LITTLE MISS SUNSHINE, SHAME, and MONSTER. Our discussion continues in backmatter with MINDHUNTER and STEVE JOBS.\nAs a result of our exploration, we manage to get a better understanding of our \u0026rsquo;thesu\u0026rsquo; on: internal vs external change; obstacles and pressure; stories without singular antagonists; and how it really is the antagonistic forces that carve out the protagonist’s journey.\nAs always: SPOILERS ABOUND!\nAudio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. Watch it on on YouTube.\nSpecial thanks to our Patreon supporters. If you would like more Draft Zero episodes more often subscribe to our Patreon! https://www.patreon.com/draftzero/\n","date":"19 April 2018","externalUrl":null,"genres":"","permalink":"/2018/dz-50/","section":"Episodes","summary":"How can characters be their own antagonist?","title":"DZ-50: Antagonists! (Part 2) - vs Self","type":"episodes"},{"categories":"","content":"Prompted by a listener (and patron of the podcast) question, Stu and Chas dive into antagonistic forces. And because Draft Zero does not do anything by halves, this is Part One of a Five Part Epic Exploration™ into antagonists; namely: vs humans, vs self, vs nature/supernatural, vs systems and “other”. aka the classic narrative conflicts.\nFor this “vs humans” part, we chose to look at DIE HARD, MISERY and THREE BILLBOARDS OUTSIDE OF EBBING, MISSOURI (with special mentions to THE DARK KNIGHT, LA LA LAND and - of course - STAR WARS). In particular, we look at some classical villains, internal vs external antagonists, and how antagonists and protagonists can swap roles over a scene or a sequence.\nAs always: SPOILERS ABOUND\nAudio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. Watch it on YouTube:\nSpecial thanks to our Patreon supporters. If you would like more Draft Zero episodes more often, click here!\nRead the computerised transcript here:\nOr edit it on our GitHub:\n","date":"31 March 2018","externalUrl":null,"genres":"","permalink":"/2018/dz-49/","section":"Episodes","summary":"What makes a strong human antagonist?","title":"DZ-49: Antagonists! 1 - vs Humans","type":"episodes"},{"categories":"","content":"To kick off 2018, Chas and Stu take a deep dive into one of their favourite movies of 2017: Blade Runner 2049. However, they abstained from “Fox News-ing this shit” by being joined by the most accomplished screenwriter they know, C.S. McMullen (Blood List 2017, Black List 2017, also a lover of Blade Runner 2049).\nFor a film that is thematically about choice, Stu and Chas thought this would be an excellent opportunity to explore how characters can be dramatised through binary choices. And yet, CS opened their eyes to the idea that characters can still be given choices without having agency. Without having choice in their choices. Not having choices that lead to different outcomes.\nIt is perhaps the lack of agency (rather than the lack of choice) that lead to some of the troubling depiction of women and minorities in Blade Runner 2049, which our intrepid hosts explore in detail.\nAs always: SPOILERS ABOUND\nAudio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3.\nSpecial thanks to our Patreon supporters. If you would like more Draft Zero episodes more often, click here!\n","date":"28 February 2018","externalUrl":null,"genres":"","permalink":"/2018/dz-48/","section":"Episodes","summary":"Can your characters be given choices and yet still be deprived of agency?","title":"DZ-48: One-Shot - Blade Runner 2049 - Agency vs Choice","type":"episodes"},{"categories":"","content":"Following our annual wrap up in 2017, we’ve decided to once again explore what craft issues/lessons we can garner from the latest Stars, namely Episode VIII: The Last Jedi, focusing on how consequences of character actions can do a lot of heavy lifting as to how the audience perceives that character (as well as looking at worldview and overall story structure).\nWe also discuss how the sexual assault allegations in our industry can impact on what work we choose to analyse as well as dive into a bunch of listener questions.\nWe end on whether - if our space pirates project gets off the ground - Chas should come on set, whether Stu will have him and whether it would do anyone any good.\nAs always: SPOILERS ABOUND\nAudio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3.\nSpecial thanks to our Patreon supporters. If you would like more Draft Zero episodes more often, click here!\nThanks to Khrob, Joakim and Christopher for being patrons. They\u0026rsquo;re good people. Sorry Christopher that you didn\u0026rsquo;t get a shout-out in the episode but hopefully this note immortalised in the very bottom of the show notes demonstrates how much we appreciate ja!\n","date":"11 January 2018","externalUrl":null,"genres":"","permalink":"/2018/dz-47/","section":"Episodes","summary":"Will Director Stu allow Writer Chas on his set?","title":"DZ-47: Backmatter - A Lost Jedi, White Knighting, and Writers-On-Set","type":"episodes"},{"categories":"","content":"Waaaaaaaaaay back in DZ-5, Stu and Chas examined how shifting narrative point of view (i.e. what the audience knows in relation to the characters on screen) heightens emotions in any given scene. We\u0026rsquo;ve now taken that micro idea and applied it to the macro: how can deciding what the audience knows and when in relation to the characters organise your story? Are whole sequences or even acts driven by the audience following a character, feeling concerned about a character, empathising with a character or being absorbed in the irony of knowing more than all the characters interacting on screen.\nTo tackle this topic, Stu and Chas dive in to films that make very conscious structural choices in relation to narrative POV, namely: GET OUT, DUNKIRK and the underrated German film THE LIVES OF OTHERS (with honourable mentions to LA CONFIDENTIAL and MANCHESTER BY THE SEA).\nWait till the end to hear poor Stu\u0026rsquo;s mind absolutely blown in relation to the Kuleshov effect.\nAs always: SPOILERS ABOUND\nAudio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3.\nSpecial thanks to our Patreon supporters. If you would like more Draft Zero episodes more often, click here!\nThanks to Khrob and Joakim for being patrons. They\u0026rsquo;re good people.\n","date":"19 December 2017","externalUrl":null,"genres":"","permalink":"/2017/dz-46/","section":"Episodes","summary":"What questions do you want your audience asking at any given time?","title":"DZ-46: Structure \u0026 POV - Get Out, Dunkirk, \u0026 The Lives of Others","type":"episodes"},{"categories":"","content":"As part of their ongoing exploration of scene-work, Stu and Chas apply their earlier thinking on theme and character worldview to individual scenes. Can examining a scene from a thematic perspective impact the drama, conflict or stakes of the scene? How does your character’s conscious and subconscious world views dramatise the overall theme of the work? How can an individual scene reflect the larger themes of the overall story? Do any of these questions or approaches lead to writing better scenes?\nTo this end, Stu and Chas examine particular scenes from works that have particularly apparent, strong and consistent themes; namely: FINDING NEMO, EX MACHINA, MANCHESTER BY THE SEA and the Netflix TV series GLOW.\n\u0026hellip; SPOILERS ABOUND!!\nAudio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3.\nSpecial thanks to our Patreon supporters. If you would like more Draft Zero episodes more often, click here!\nEPISODE LINKS YouTube: Nerdwriter: The Epidemic of Passable Movies - https://www.youtube.com/watch?v=Ukk5TJL27pE YouTube: Every Frame a Painting: Snowpiercer - Left or Right - https://www.youtube.com/watch?v=X05TDsoSg2Y Read: Film Crit Hulk: Ex Machina and the Art of Character Identification - http://birthmoviesdeath.com/2015/05/11/film-crit-hulk-smash-ex-machina-and-the-art-of-character-identification Read: Neuromancer: Dixie Flatline - https://www.shmoop.com/neuromancer/freedom-confinement-quotes-2.html YouTube: Finding Nemo Full Whale Scene - https://www.youtube.com/watch?v=aVVYr0kEBIg Read: Find it on Just Watch - https://www.justwatch.com/us/movie/finding-nemo Read: Script: Ex Machina by Alex Garland - https://www.slguardian.org/wp-content/uploads/2016/06/Ex-Machina.pdf YouTube: Ex Machina - Ave Session 5 Avas Test - https://www.youtube.com/watch?v=Wkgvzc1pvJw Read: Letterboxd: Stu\u0026rsquo;s Review - https://letterboxd.com/stuwillis/film/ex-machina-2014/ Read: Find it on Just Watch - https://www.justwatch.com/us/movie/ex-machina Read: Script: Manchester by the Sea by Kenneth Lonergan - https://drive.google.com/file/d/0B7KOogudEi7ub2ZpR2docWlacDA/view YouTube: \u0026ldquo;Can we ever have lunch\u0026rdquo;? scene - https://www.youtube.com/watch?v=IOBOwVRhvLA Read: Find it on Just Watch - https://www.justwatch.com/us/movie/manchester-by-the-sea Read: Podcast: The Contrarians — Bonus! Netflix\u0026rsquo;s Glow - http://www.wearethecontrarians.com/episodes/2017/9/20/bonus-netflixs-glow2017 YouTube: Stan Bush - Dare (from Transformers the Movie) - https://www.youtube.com/watch?v=AGrKfQ9Ss7w YouTube: \u0026ldquo;Dare\u0026rdquo; (Live) - The Cybertronic Spree - https://www.youtube.com/watch?v=SpY4na_ofxs\n","date":"27 October 2017","externalUrl":null,"genres":"","permalink":"/2017/dz-45/","section":"Episodes","summary":"How can you dramatise your theme on a scene level?","title":"DZ-45: Arguments of the Scene","type":"episodes"},{"categories":"","content":"First Acts are hard. They have to set so much in motion, especially setting up characters. To help them understand how to write effective first acts better, Stu and Chas turn their analytical gaze to a franchise that has been refining and reiterating its first act \u0026ldquo;schema\u0026rdquo; for over a decade\u0026hellip; THE MARVEL CINEMATIC UNIVERSE.\nThe MCU has made (to date) six separate origin films, each tasked with establishing their titular characters. So you\u0026rsquo;d think they\u0026rsquo;d have found some patterns that works for them. In this episode, we take a look at three of these: IRON MAN, GUARDIANS OF THE GALAXY, and DOCTOR STRANGE. Stu also makes numerous comparisons to THOR, and we enthuse about GUARDIANS OF THE GALAXY Vol 2.\nAs we breakdown where these first acts succeed (and, er, not-succeed), our discussion moves through sequence structure, macguffins, supporting characters, exposition\u0026hellip; and \u0026ndash; most importantly \u0026ndash; Character Wounds and Character Flaws.\nEven if you don\u0026rsquo;t care for MCU films, there is plenty to learn from how they approach their first acts.\nSPOILERS ABOUND!!\n\u0026hellip; and stick around after the end credits, for an important announcement re: our launching of a Patreon.\nAudio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3.\nThanks to Khrob and Nick for being patrons. They\u0026rsquo;re good people.\n","date":"17 September 2017","externalUrl":null,"genres":"","permalink":"/2017/dz-44/","section":"Episodes","summary":"How can your first act effectively establish your character journey?","title":"DZ-44: Marvel, First Acts and Establishing Characters","type":"episodes"},{"categories":"","content":"Chas and Stu are joined for the fourth time by the inestimable Stephen Cleary - this time to take a deep dive into sequences. A real deep dive. A 3+ hour deep dive.\nStephen postulates that sequences can compel the audience in different ways via the type of dramatic questions being posed. Are they plot questions (\u0026quot;Will she defuse the bomb?\u0026quot;) or character questions (\u0026quot;Will she understand what compels her to defuse bombs?\u0026quot;) or a combination of both? What is the impact on the pacing, structure of your story or audience experience of your characters by changing the type of question being asked? What happens to your story when your protagonist decides to literally abandon the plot?\nOur deep dive roams through THE BOURNE IDENTITY, NAKED, THE DIVING BELL \u0026amp; THE BUTTERFLY, THERE WILL BE BLOOD, FARGO (the movie) and CHILDREN OF MEN\u0026hellip; with many-a-tangent referencing HEAT, FRENZY, SAVING PRIVATE RYAN, AMOUR, CHEF, HAPPY-GO-LUCKY, THE KINGSMAN, FURY ROAD, THE COLOUR OF POMEGRANATES, LIVING IS EASY WITH YOUR EYES CLOSED, MOONLIGHT, and probably some more that we\u0026rsquo;ve forgotten.\nSPOILERS ABOUND!!\nAudio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3.\nPS: Thanks to all our listeners who provided feedback on a draft edit of this episode.\n","date":"8 July 2017","externalUrl":null,"genres":"","permalink":"/2017/dz-43/","section":"Episodes","summary":"What gives your sequences their intensity?","title":"DZ-43: Driving Sequences - Character and Plot Intensity","type":"episodes"},{"categories":"","content":"In our first (and perhaps last) one-shot, we take a close look at the M. Night Shyamalan\u0026rsquo;s SPLIT. Rather than having one topic with many examples, we use the one example to look at many topics. Well, okay, a few topics.\nFirstly, we take the opportunity to revisit theme. SPLIT offers a very clear example of the worldview of the characters and the rules of the world working together to create a coherent theme.\nThen we look at the SPLIT\u0026rsquo;s use of macro point of view. Given the film\u0026rsquo;s contained nature, it makes some interesting choices in the story structure in order to control what the audience knows vis-a-vis the characters. This assists in generating tension (in both conventional and unconventional ways) while also creating a dramatic journey for the protagonist and reinforcing the theme.\nWe also cover (in lesser detail) flashbacks, tactics, contained spaces, character individuation, and\u0026hellip; being a M. Night Shamalyan film\u0026hellip; TWISTS.\nAnd if its not obvious\u0026hellip; this episode is FULL OF SPOILERS.\nLove it, hate it or indiffererent, please let us know what you think of this new format. We\u0026rsquo;re not going to do it every episode, but it gives us the opportunity to look at some great films in more detail.\n","date":"26 April 2017","externalUrl":null,"genres":"","permalink":"/2017/dz-42/","section":"Episodes","summary":"What screenwriting lessons can be we learn from SPLIT?","title":"DZ-42: One-Shot -Split, Character Worldview \u0026 Macro POV","type":"episodes"},{"categories":"","content":"In this episode, Stu and Chas tackle one of the more esoteric topics in screenwriting (and writing in general): theme! To help us tackle this topic, we decided to look at television pilots, because we felt that television requires the theme to be more explicit. Our zig-zagging (and long) discussion covers thematic engines, music themes, thematic loglines, punishment vs reward, and - perhaps most of all - the worldview of characters.\nSo we take a look at the opening and closing scenes (and middle scenes, too) of some of our favourite shows: HOUSE OF CARDS, CRAZY EX-GIRLFRIEND, TRUE DETECTIVE, FARGO and TRANSPARENT. We also make passing reference to SPEC OPS: THE LINE, GAME OF THRONES (its Stu\u0026rsquo;s new Star Wars), and BOJACK HORSEMAN.\nIn backmatter, we talk about the difference between the written scripts of these pilots and their released versions.\nAudio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3.\nIt should go without saying but - SPOILERS AHEAD.\n","date":"24 March 2017","externalUrl":null,"genres":"","permalink":"/2017/dz-41/","section":"Episodes","summary":"How can your characters' worldview dramatise your theme?","title":"DZ-41: Theme and Worldview","type":"episodes"},{"categories":"","content":"","date":"4 February 2017","externalUrl":null,"genres":"Western · Crime · Drama","permalink":"/films/hell-or-high-water-2016/","section":"Films","summary":"","title":"Hell or High Water (2016)","type":"films"},{"categories":"","content":"","date":"4 February 2017","externalUrl":null,"genres":"Crime · Thriller · Drama","permalink":"/films/the-silence-of-the-lambs-1991/","section":"Films","summary":"","title":"The Silence of the Lambs (1991)","type":"films"},{"categories":"","content":"","date":"4 February 2017","externalUrl":null,"genres":"Action · Crime · Drama","permalink":"/films/training-day-2001/","section":"Films","summary":"","title":"Training Day (2001)","type":"films"},{"categories":"","content":"","date":"4 February 2017","externalUrl":null,"genres":"Drama · Mystery","permalink":"/films/winters-bone-2010/","section":"Films","summary":"","title":"Winter's Bone (2010)","type":"films"},{"categories":"","content":"","date":"4 February 2017","externalUrl":null,"genres":"Crime · Mystery · Thriller","permalink":"/films/zodiac-2007/","section":"Films","summary":"","title":"Zodiac (2007)","type":"films"},{"categories":"","content":"In this episode, Stu and Chas turn their gaze to the \u0026ldquo;tactics\u0026rdquo; that characters use in scenes to get what they want. Tactics are how the characters try to achieve their goals and (we reckon) can be revealing of the essence of their character. The shifting and thwarting of tactics can make scenes more dynamic; while over the course of a story, the changing of tactics can reflect the growth of characters\u0026hellip; even if their goal stays the same.\nWe take a close look at great single scenes from ZODIAC and TRAINING DAY. And then we look at a number of scenes over the course of HELL OR HIGH WATER, SILENCE OF THE LAMBS and WINTER\u0026rsquo;S BONE. And we also skate over WILE E COYOTE, GAME OF THRONES, MACBETH, HAMLET, and EDGE OF SEVENTEEN.\n","date":"4 February 2017","externalUrl":null,"genres":"","permalink":"/2017/dz-40/","section":"Episodes","summary":"How do tactics make your characters and scenes more dynamic?","title":"DZ-40: Tactics and Scenes","type":"episodes"},{"categories":"","content":"In another backmatter-only episode, Stu \u0026amp; Chas zig-zag through a range of topics. We talk about Chas\u0026rsquo; experience(s) hitting both Los Angeles and the Austin Film Festival, effective networking, career capital, the art of receiving feedback, and Stu\u0026rsquo;s harsh Three Strikes Rule. We look back at the most important lessons we\u0026rsquo;ve learned about storytelling in 2016 and that leads us to talk about character choices in a little-known and little-talked about film called ROGUE ONE.\nAnd, of course, we open the listener mail box for critiques, praise, suggestions and follow-up to earlier episodes \u0026ndash; especially our Exposition two-parter.\nThanks to everyone for their support in 2016! We look forward to erratically bringing you new episodes this year.\n","date":"15 January 2017","externalUrl":null,"genres":"","permalink":"/2017/dz-39/","section":"Episodes","summary":"How can writers make use of their time when hitting LA?","title":"DZ-39: Backmatter - Hitting LA, Receiving Feedback, and a Roguish One","type":"episodes"},{"categories":"","content":"In the second part of Draft Zero\u0026rsquo;s two-part episode on \u0026ldquo;Exposition\u0026rdquo;, Stu \u0026amp; 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?\nTo that end, we look at GONE GIRL, SHUTTER ISLAND, GHOSTBUSTERS: ANSWER THE CALL, THE MATRIX, THE MATRIX RELOADED, and CAPTAIN AMERICA: THE WINTER SOLDIER. Audio quotations are included for educational purposes.\nIt should go without saying but in case you missed it SPOILERS AHEAD.\n","date":"6 December 2016","externalUrl":null,"genres":"","permalink":"/2016/dz-38/","section":"Episodes","summary":"How can exposition twist your story in new directions?","title":"DZ-38: Excelling at Exposition (Part 2)","type":"episodes"},{"categories":"","content":"","date":"6 December 2016","externalUrl":null,"genres":"","permalink":"/series/exposition/","section":"Series","summary":"","title":"Exposition","type":"series"},{"categories":"","content":"In Draft Zero\u0026rsquo;s first two part episode, Stu \u0026amp; Chas take an in-depth look at one of screenwriting\u0026rsquo;s most common challenges: EXPOSITION. For many stories there are pre-existing facts that need to be communicated to the audience — whether those facts be about the rules of the world, the nature of a location, character motivations, character backstories or just character names. So how have great writers made exposition move the story forward, rather than stopping it to tell the audience stuff they need to know?\nTo that end, in Part 1 of Excelling At Exposition we break down scenes from PIRATES OF THE CARIBBEAN: CURSE OF THE BLACK PEARL, SHORT TERM 12, INSIDE OUT, THE WORLD\u0026rsquo;S END, THE BIG SHORT, IT FOLLOWS, JURASSIC PARK and JURASSIC WORLD. Audio quotations are included for educational purposes.\nMany thanks to /r/screenwriting for suggesting so many examples.\n","date":"23 November 2016","externalUrl":null,"genres":"","permalink":"/2016/dz-37/","section":"Episodes","summary":"How can you successfully integrate exposition into your story?","title":"DZ-37: Excelling at Exposition (Part 1)","type":"episodes"},{"categories":"","content":"In this \u0026ldquo;special\u0026rdquo;, backmatter-only episode, Stu \u0026amp; Chas take inspiration from Terry Rossio\u0026rsquo;s excellent article on TIME RISK and ice skate over a range of topics. We talk about time investment in projects, Stuart\u0026rsquo;s project Restoration, doing you down work first, managing feedback, thinking positive being a negative, and we open the listener mail bag for critiques, praise and suggestions. We also explore how we could do Draft Zero episodes exploring tone and theme.\nWe welcome any listener feedback as to whether we should do any backmatter-only episodes into the future.\n","date":"30 October 2016","externalUrl":null,"genres":"","permalink":"/2016/dz-36/","section":"Episodes","summary":"How can writers wisely invest their time in projects?","title":"DZ-36: Backmatter - Time Risk and Fixing Movies","type":"episodes"},{"categories":"","content":"Continuing their focus on \u0026ldquo;character\u0026rdquo;, Stuart and Chas take a close look at films that may be considered character-driven\u0026hellip; or rather character studies\u0026hellip; or just plot-lite films? Whatever you call them, these films —CHEF, HAPPY-GO-LUCKY, and AMOUR — let their plots take a back seat to a closer examination of their characters. Stuart and Chas dive in to investigate how, without plot driving the story forward, do these films maintain our interest? We talk Mike Leigh\u0026rsquo;s \u0026lsquo;Running Condition\u0026rsquo;, Character Choice, SceneWork and the myriad other techniques the filmmakers use to keep us interested.\nPS: There is no backmatter this episode.\nPPS: Note that all these films are writer/directors. Hmm.\n","date":"6 October 2016","externalUrl":null,"genres":"","permalink":"/2016/dz-35/","section":"Episodes","summary":"How can films maintain audience interest without stakes or plot questions?","title":"DZ-35: Driving Characters or Character Driven?","type":"episodes"},{"categories":"","content":"After a spectacular end to Season 6 of GAME OF THRONES, Chas and Stu were struck by the very different portrayals of Sansa in Episode 9 - Battle of the Bastards and Cersei in Episode 10 - The Winds of Winter. Despite both characters having an enormous impact on the narrative, the audience\u0026rsquo;s experience of those characters is very different \u0026ndash; largely because Sansa is absent from 98% of Battle of the Bastards.\nAnd thus: Stu and Chas embark on an exploration of how a writer\u0026rsquo;s use of point of view - particularly in relation to how you show characters making decisions - can control how your audience perceives any given character (for good or ill).\nWhether you are a Game of Thrones fan or not, we recommend you watch these two episodes for their contrasting but fascinating control of point of view and character. Both episodes were written by showrunners David Benioff \u0026amp; D. B. Weiss.\nBACK MATTER\n","date":"14 August 2016","externalUrl":null,"genres":"","permalink":"/2016/dz-34/","section":"Episodes","summary":"How does the experience of a character's decision impact our feelings towards that character?","title":"DZ-34: Game of Choices - Decision Making and Character Implications","type":"episodes"},{"categories":"","content":"We are often told that our \u0026lsquo;protagonist\u0026rsquo; needs to be a active. That they need to be compelling. That they need to change. And - old faithful - that they need to be likeable. But after looking at MAD MAX: FURY ROAD, STAR TREK (2009), THE FIGHTER, and SICARIO, Chas and Stu learn that your primary character does not need to do all these things. In fact, they learn that splitting these functions between your primary characters can reinforce theme and create potential for different types of narratives.\nAnd stick around for backmatter if you want to hear Stu go on a rant. For a change.\nBACKMATTER LINKS\n","date":"15 July 2016","externalUrl":null,"genres":"","permalink":"/2016/dz-33/","section":"Episodes","summary":"How does splitting 'character functions' enhance theme?","title":"DZ-33: Protagonist vs Hero - Dawn of Character Function","type":"episodes"},{"categories":"","content":"Chas \u0026amp; Stu take a close look at sequences of high-tension - the ones that make you lean forward in fear, or jump backwards in terror. Without camera angles, lighting, music or sound, how can screenwriters can evoke those emotions in readers using only the page? These sequences can be found in any genre of film, not just thriller or horror. To that end, Stu and Chas dive into high tension scenes from NO COUNTRY FOR OLD MEN, ZODIAC, ROOM, and THE BABADOOK. We cover their use of shifting POV, Dramatic Irony, Status Transactions, White Space, Sound FX, and many more.\nAnd in backmatter we talk SICARIO and high tension, crack open the mail-bag, and look at how the so-called gurus rated the Oscar-nominated scripts.\nBACKMATTER LINKS\n","date":"12 June 2016","externalUrl":null,"genres":"","permalink":"/2016/dz-32/","section":"Episodes","summary":"How can you recreate the feeling of cinematic high-tension on the page?","title":"DZ-32: High-Tension Sequences","type":"episodes"},{"categories":"","content":"Chas \u0026amp; Stu are joined once again by the renowned script developer and producer, Stephen Cleary. In the first part of our series on writing better dialogue (there will be more!), we take a close look at how dialogue serves character: individuating characters, revealing characterisation, shifting status, and much more.\nTogether, they (well, mostly Stephen) break down scenes from ANALYSE THIS, NOTTING HILL, REMAINS OF THE DAY and THE AVENGERS. In a first for Draft Zero, we include audio excerpts to make everything even clearer / stop Chas \u0026amp; Stu (mostly Stu) from butchering lines. That, and not everything is on YouTube.\nAnd, in back matter, we continue the discussion into more academic areas of the difference between theatrical, cinematic and television dialogue.\n","date":"10 April 2016","externalUrl":null,"genres":"","permalink":"/2016/dz-31/","section":"Episodes","summary":"How does dialogue serve to reveal character?","title":"DZ-31: Tools for Better Dialogue","type":"episodes"},{"categories":"","content":"This week, Stu and Chas return to their first ever episode by tackling two Oscar-nominated screenplays. But this time - instead of exploring the rigid structures laid down by gurus - they use it as an opportunity to explore what they\u0026rsquo;ve learned in the last three years and apply them to the phenomenal writing in SPOTLIGHT and CAROL (with slight digression towards THE EXPANSE* and GAME OF THRONES).\nAnd so this slightly meandering episodes revisits the excellent execution of catharsis, world-building, mid-points, dramatic point of view, status transactions and more.\nWhich has possibly replaced Star Wars as the de facto reference point for anything. BACK MATTER\n","date":"28 February 2016","externalUrl":null,"genres":"","permalink":"/2016/dz-30/","section":"Episodes","summary":"What makes a script so compelling that it ends up with an Oscar nod?","title":"DZ-30: Oscars revisited - Spotlight and Carol","type":"episodes"},{"categories":"","content":"In exploring how to write good fight scenes, Stu and Chas compare how writers structure memorable showdowns - both verbal and physical. Fights vs arguments. Swords vs insults. Lightsabres vs passive aggressive subtext. To do this, they analyse the showdowns in EASTERN PROMISES, ROB ROY, THE FORCE AWAKENS (yes, yes, we finally let Stu officially discuss Star Wars), A FEW GOOD MEN, BREAKING BAD and BEFORE SUNSET.\nAs a result, they discover how larger structural elements like mid-points, reversals and act breaks can play out in making individual scenes compelling and dynamic. Also, they learn that great screenwriters don\u0026rsquo;t just write \u0026ldquo;They fight\u0026rdquo; when writing fight scenes.\nIn Backmatter, we learn that Quentin Tarantino is a listener!\nPS: Please complete our listener poll.\n**BACKMATTER **\n","date":"25 January 2016","externalUrl":null,"genres":"","permalink":"/2016/dz-29/","section":"Episodes","summary":"What can fight scenes - whether physical or verbal - teach us about structuring any scene?","title":"DZ-29: Showdowns \u0026 Scene Structure","type":"episodes"},{"categories":"","content":"Contained Thrillers* *seem to be a genre that never goes out of fashion. But being contained is not just limited to thrillers. It\u0026rsquo;s a way of telling stories on a lower budget, regardless of genre. So - while allegedly easier to make / get made - limiting a story to a single location also limits the tools that maintain an audience\u0026rsquo;s interest. Changing audience or character point of view, intercutting between locations or characters are all much harder (if not impossible) in contained films. So how do good contained films hook their audience and keep them?\nIn unravelling this locked room mystery, Stu \u0026amp; Chas look at three scripts form different genres: LOCKE - a drama; THE ONE I LOVE - a romcom or psychological thriller depending if you\u0026rsquo;re Chas or Stu; and EVERLY - an exploitation action movie. They also discuss films including BURIED, PHONE BOOTH, THE DISAPPEARANCE OF ALICE CREED, CUBE \u0026amp; CUBE 2, INFINITE MAN and BOXING DAY.\nBACKMATTER\n","date":"21 December 2015","externalUrl":null,"genres":"","permalink":"/2015/dz-28/","section":"Episodes","summary":"How do you keep contained movies engaging?","title":"DZ-28: Containing Your Script","type":"episodes"},{"categories":"","content":"","date":"15 November 2015","externalUrl":null,"genres":"","permalink":"/guests/blake-ashford/","section":"Guests","summary":"","title":"Blake Ashford","type":"guests"},{"categories":"","content":"","date":"15 November 2015","externalUrl":null,"genres":"","permalink":"/guests/diana-gettinger/","section":"Guests","summary":"","title":"Diana Gettinger","type":"guests"},{"categories":"","content":"After being repeatedly asked by listeners for thoughts on screenplay competitions, Stu and Chas go full back matter for this special episode. They tackle the question - do comps just feeding the hope machine or are they a valid investment? - in their typical detailed (i.e. long) style. With their differing perspectives, Stu (a director looking for material) and Chas (a writer keen for exposure), talk to an impressive roster of guests. We start with Gordy Hoffman, founder and judge of the Bluecat Screenplay Competition; repeat Austin Film Festival attendees - first for the screenplay and now for the finished web series of EX BEST - Diana Gettinger \u0026amp; Monica Hewes; Launchpad 2014 finalist Tony Pitman; and Insite Competition winner Blake Ashford, whose winning script CUT SNAKE hit cinemas in 2015\u0026hellip; ten years after winning the competition.\nThese short descriptions in no way do justice to these eclectic and talented writers so - if you want to find out more - head to the links below.\nOur apologies in advance for the inconsistent sound quality in these interviews. Sadly, that\u0026rsquo;s the nature of pulling together four different interviews across states, countries, times zones and technological barriers.\n","date":"15 November 2015","externalUrl":null,"genres":"","permalink":"/2015/dz-27/","section":"Episodes","summary":"Can screenplay competitions be worth it?","title":"DZ-27: Competing views on Screenplay Competitions","type":"episodes"},{"categories":"","content":"","date":"15 November 2015","externalUrl":null,"genres":"","permalink":"/guests/gordy-hoffman/","section":"Guests","summary":"","title":"Gordy Hoffman","type":"guests"},{"categories":"","content":"","date":"15 November 2015","externalUrl":null,"genres":"","permalink":"/guests/monica-hewes/","section":"Guests","summary":"","title":"Monica Hewes","type":"guests"},{"categories":"","content":"","date":"15 November 2015","externalUrl":null,"genres":"","permalink":"/guests/tony-pitman/","section":"Guests","summary":"","title":"Tony Pitman","type":"guests"},{"categories":"","content":"","date":"31 October 2015","externalUrl":null,"genres":"","permalink":"/guests/aaron-sterns/","section":"Guests","summary":"","title":"Aaron Sterns","type":"guests"},{"categories":"","content":"In this halloween special, Chas (sans Stu) is joined by a very special guest\u0026hellip; Aaron Sterns the co-writer of WOLF CREEK 2 \u0026ndash; the big budget sequel to the infamous WOLF CREEK, also directed by Greg McLean. Chas and Aaron talk horror, anti-horror, collaboration, novels and how a screenwriter works within an existing franchise.\nIn backmatter, Stu \u0026amp; Chas talk about their experiences and methods for collaborating with other writers \u0026amp; directors.\nBACKMATTER LINKS\n","date":"31 October 2015","externalUrl":null,"genres":"","permalink":"/2015/dz-26/","section":"Episodes","summary":"How does a screenwriter collaborate with a director on an existing property?","title":"DZ-26: Horror and Collaboration -  Wolf Creek 2","type":"episodes"},{"categories":"","content":"Remember that time in THE DARK KNIGHT RETURNS when Bruce suddenly - magically - returned to Gotham, and you were like \u0026ldquo;WTF?!\u0026rdquo; Well, it turns out that many of the best films have moments that are just as coincidental or contrived (or a flock of Giant Eagles) and yet get away with it. Does Pixar\u0026rsquo;s \u0026ldquo;rule\u0026rdquo; that it is \u0026lsquo;cheating to use coincidences to get your characters out of trouble\u0026rsquo;, always apply?\nIn exploring how to get the audience to buy into these moments where the writer needs story to intrude over character or even logic, Stu and Chas dive into FINDING NEMO, MICHAEL CLAYTON and PULP FICTION (as well as honourably mentioning THOR II, OUT OF SIGHT, MAD MAX FURY ROAD, EMPIRE STRIKES BACK, INDEPENDENCE DAY and those bloody Giant Eagles in both RETURN OF THE KING and THE HOBBIT).\nIn back matter, we talk about moving forward vs working backwards when developing screenwriting skills.\n**BACK MATTER\nLINKS Read: io9.com: The 22 rules of storytelling according to Pixar - http://io9.com/5916970/the-22-rules-of-storytelling-according-to-pixar?utm_expid=66866090-48.Ej9760cOTJCPS_Bq4mjoww.0\u0026utm_referrer=https%3A%2F%2Fwww.google.com.au%2F Read: Wikipedia: Coincidence - https://en.wikipedia.org/wiki/Coincidence Read: Scriptmag.com - SPECS \u0026amp; THE CITY: Deus Ex Machina and \u0026ldquo;Lord of the Rings\u0026rdquo; by Brad Johnson - http://www.scriptmag.com/features/specs-city-deus-ex-machina-lord-rings YouTube: FINDING NEMO - Fish Are Friends Not Food (flashback to diver at 2:53) - https://www.youtube.com/watch?v=3-Zk1nd_dY8 YouTube: MICHAEL CLAYTON Clip - https://www.youtube.com/watch?v=m8BL6-a_lzM YouTube: PULP FICTION - Butch kills Vincent - https://www.youtube.com/watch?v=sNw_w-9SPoA YouTube: PULP FICTION - Divine Intervention / Oh man I shot Marvin in the face - https://www.youtube.com/watch?v=Rb9rk6M6cpE YouTube: THE HOBBIT - Eagles Rescue - https://www.youtube.com/watch?v=7CLngTxBX9Q YouTube: White Boy Bob\u0026rsquo;s Death - OUT OF SIGHT - https://www.youtube.com/watch?v=ZZptIb82dtk Read: reddit.com: clmazin comments on There are No Martells in the GOT Pilot - https://www.reddit.com/r/Screenwriting/comments/35z36m/there_are_no_martells_in_the_game_of_thrones/cr9miie Read: Open Channel: Stephen Cleary Story Structure Workshop - http://www.openchannel.org.au/stephen-cleary-story-structure-workshop/ Read: Kickstarter: Eat Me film - Draft Zero community project - https://www.kickstarter.com/projects/eatmemovie/eat-me Listen: Draft Zero - Short Documents - http://traffic.libsyn.com/draftzero/Draft-Zero_ShortDocuments.zip\n","date":"15 September 2015","externalUrl":null,"genres":"","permalink":"/2015/dz-25/","section":"Episodes","summary":"How do screenwriters get away with using coincidences in their stories?","title":"DZ-25: Coincidences, Contrivances \u0026 Giant Eagles","type":"episodes"},{"categories":"","content":"Stu and Chas move away from the world of features and dive into the Pilot Episodes of some (New) Golden Age Television: THE SHIELD, THE WIRE, BREAKING BAD, and MAD MEN. And we sneak in some discussion about ANGEL, THE SOPRANOS and GAME OF THRONES.\nOur spiritual guide on this tele-vision quest is Wallflower (aka Grant Nebel), writer at The Solute and formerly of The Dissolve and the AV Club.\nTogether, they examine how the final acts of these pilot episodes - and the Dramatic, Literary and Cinematic rules established therein - will set the scene for the entire life of these seminal shows, right up to their end. Obviously, abound.\nThis was one of our favourite episodes to record and - given that both Chas and Stu are casting seductive glances at writing television - hopefully one of our most useful too.\nBACK MATTER (BACKDRAFT?)\n","date":"4 August 2015","externalUrl":null,"genres":"","permalink":"/2015/dz-24/","section":"Episodes","summary":"Are your story rules in your pilot strong enough to play out over the life of your show?","title":"DZ-24: Forging story rules in TV pilots","type":"episodes"},{"categories":"","content":"","date":"4 August 2015","externalUrl":null,"genres":"","permalink":"/guests/grant-nebel/","section":"Guests","summary":"","title":"Grant Nebel","type":"guests"},{"categories":"","content":"","date":"6 July 2015","externalUrl":null,"genres":"","permalink":"/guests/corrie-chen/","section":"Guests","summary":"","title":"Corrie Chen","type":"guests"},{"categories":"","content":"Draft Zero was invited to moderate a panel as part of the 2015 St Kilda Film Festival. In our very first live episode, we are joined by TV Writer Mithila Gupta (Winners and Losers), Director Corrie Chen (Reg Makes Contact) and Producer/Executive Simon de Bruyn (*Acquisitions Executive, XYZ Films *and Producer) to talk about \u0026lsquo;breaking in\u0026rsquo;, how it has changed, the different approaches, opportunities and challenges. They share their tips on networking effectively, setting up an online presence, persevering through doubt and getting relevant experience.\nIt\u0026rsquo;s pretty out-of-format for us, but it\u0026rsquo;s an informative and fun discussion.\nWe continue the discussion into BACKMATTER where we focus on emerging writers approaching directors to get stuff made.\n","date":"6 July 2015","externalUrl":null,"genres":"","permalink":"/2015/dz-23/","section":"Episodes","summary":"Are you a filmmaker but not sure how to start your career?","title":"DZ-23: LIVE - Starting A Career In Film And Television","type":"episodes"},{"categories":"","content":"","date":"6 July 2015","externalUrl":null,"genres":"","permalink":"/guests/mithila-gupta/","section":"Guests","summary":"","title":"Mithila Gupta","type":"guests"},{"categories":"","content":"","date":"6 July 2015","externalUrl":null,"genres":"","permalink":"/guests/simon-de-bruyn/","section":"Guests","summary":"","title":"Simon De Bruyn","type":"guests"},{"categories":"","content":"","date":"11 June 2015","externalUrl":null,"genres":"","permalink":"/guests/alli-parker/","section":"Guests","summary":"","title":"Alli Parker","type":"guests"},{"categories":"","content":"With Stu busy working on Hollywood blockbusters, Chas is joined by Alli Parker (script department on Aussie TV series and former co-ordinator of European #scriptchat) to unpick successful romcoms to see if they can illuminate a path for writers working in this struggling genre. Cheap to produce and potentially highly lucrative, Chas and Alli look at RomCom\u0026rsquo;s conventions to see what it may take to reinvigorate this genre.\nTo that end, they look at deep breath WHEN HARRY MET SALLY, WHAT IF, THE PROPOSAL, 500 DAYS OF SUMMER, NOTTING HILL, FRIENDS WITH BENEFITS as well as special mentions to GOING THE DISTANCE, SEAN OF THE DEAD and ETERNAL SUNSHINE OF THE SPOTLESS MIND.\nBACKMATTER LINKS\n","date":"11 June 2015","externalUrl":null,"genres":"","permalink":"/2015/dz-22/","section":"Episodes","summary":"How can studying RomCom clichés teach us to subvert them?","title":"DZ-22: Romantic Comedy, Actually","type":"episodes"},{"categories":"","content":" Stu and Chas look at one of the basic building blocks of a script: scene transitions. Transitions don\u0026rsquo;t just move you from one scene to another in a slick way, they can help you compress time, enhance thematic connections, unify different story threads, orient (or disorient) your reader\u0026hellip; and just make your script feel more like a movie.\nTo help us see how scenes connect \u0026amp; collide in interesting ways, we take a close look at scripts of films with great transitions to see how much of the work was done by the writer (as opposed to the director or editor): SCOTT PILGRIM VS THE WORLD, HIGHLANDER, AMERICAN SPLENDOR and BOYHOOD.\nAnd then, in backmatter we take a self-reflective look at TIME MANAGEMENT (and naps).\nOh, we are also holding a LIVE EPISODE of Draft Zero at the 2015 St Kilda Film Festival. May 25, 8pm. More details shortly!\nBACKMATTER LINKS\n","date":"7 May 2015","externalUrl":null,"genres":"","permalink":"/2015/dz-21/","section":"Episodes","summary":"How can scene transitions do more than just move from one location to another?","title":"DZ-21: Scene Transitions and the Hook","type":"episodes"},{"categories":"","content":"Chas \u0026amp; Stu are joined by Bamboo Killer (aka Emily Blake) - one of the co-hosts of the Chicks Who Script podcast. They take a critical look at secondary female characters in mainstream movies through the lens of the oft-cited Bechdel test and the new, less-cited, Trinity Syndrome. The Trinity Syndrome berates movies for creating a \u0026ldquo;Strong Female Character With Nothing To Do\u0026rdquo; (like Trinity in the Matrix sequels) and raises a list of questions for filmmakers to ask themselves about their (female) characters.\nChas, Stu \u0026amp; Emily take these questions and use them to analyse the use of female characters in MISSION IMPOSSIBLE: GHOST PROTOCOL, EDGE OF TOMORROW, DAWN OF THE PLANET OF THE APES and HOW TO TRAIN YOU DRAGON 2. They also cover the awesomeness of the awesomeness that is Rose Tyler (Doctor Who), Katniss Everdeen (Hunger Games), and Kira Nerys (Deep Space Nine).\nFunnily enough, turns out writing better female characters is really about writing better characters\u0026hellip; who happen to be female.\n","date":"2 April 2015","externalUrl":null,"genres":"","permalink":"/2015/dz-20/","section":"Episodes","summary":"How can the Trinity Syndrome help you write better secondary characters?","title":"DZ-20: Writing Strong Secondary Characters  - Trinity, Bechdel and a Bamboo Killer","type":"episodes"},{"categories":"","content":"","date":"2 April 2015","externalUrl":null,"genres":"","permalink":"/guests/emily-blake/","section":"Guests","summary":"","title":"Emily Blake","type":"guests"},{"categories":"","content":"Stu and Chas revisit a topic from a year ago: how do screenwriters make unlikeable characters compelling? This time, we turn our focus to dramas and analyse how AMERICAN HISTORY X, YOUNG ADULT, NIGHTCRAWLER all make their a**hole protagonists compelling to watch. We expand our original list of five writer\u0026rsquo;s tools to include a few more for your tool belt.\nIn response to our audience survey, we also introduce our first episode of backmatter.\nBACKMATTER LINKS\n","date":"1 March 2015","externalUrl":null,"genres":"","permalink":"/2015/dz-19/","section":"Episodes","summary":"How do you make unlikeable characters compelling to watch... in drama?","title":"DZ-19: Car-Crash Characters","type":"episodes"},{"categories":"","content":"Of course there are. How could there not be? After all, Michael Bay is the 3rd highest grossing director at the worldwide box office\u0026hellip; of all time. Behind, y\u0026rsquo;know, Spielberg and stuff. How could a man of such credentials not know story? Or, so argues this week\u0026rsquo;s guest: the author of MICHAEL F-ING BAY: THE UNHERALDED GENIUS IN MICHAEL BAY\u0026rsquo;S FILMS\u0026hellip; [drumroll]\u0026hellip; the Bitter Script Reader!\nFor those unfamiliar with the Bitter Script Reader and his puppet avatar, he is one of the internet\u0026rsquo;s greatest free resources for emerging screenwriters. A man who shares his experiences of being a Hollywood gatekeeper for nothing because he\u0026rsquo;s \u0026ldquo;sick of reading bad scripts\u0026rdquo;.\nTogether, Stu, Chas and Bitter come through with their long-threatened episode to see what - if anything - screenwriters can learn from analysing the work of one of the most successful filmmakers all time, Michael Bay. We look at THE ROCK, THE ISLAND, and PAIN \u0026amp; GAIN, and cover writing great villains, controlling the flow of information to the audience (via car chases, of course) and creating visual decisions on the page.\nSo sit back and relax while Stu, Chas and the Bitter Script Reader learn how you can f@*k the page and not just the frame.\nOh, and if you have 7 seconds to spare, click here to go to our 2-question Draft Zero listener survey!\n","date":"22 January 2015","externalUrl":null,"genres":"","permalink":"/2015/dz-18/","section":"Episodes","summary":"Are there screenwriting lessons to be taken from analysing the work of Michael f-ing Bay?","title":"DZ-18: Michael Bay - F*ing the Frame and P*ing the Page","type":"episodes"},{"categories":"","content":"It\u0026rsquo;s our Holiday Special! In this episode (recorded December 2014), Chas and Stu break all the rules. No homework. No pages. No empirical analysis. They reluctantly but boldly reflect over the first year of Draft Zero and how it has influenced their \u0026lsquo;careers\u0026rsquo; (such as they are). They also engage in a heated debate on whether a short film, a micro-budget feature or web-based content is the best way to go in terms of pushing a filmmaking career forward.\nAs the 2014 \u0026ldquo;season\u0026rdquo; comes to a close, Chas and Stu hold two polls for the listeners:\nShould Chas and Stu spruik a favourite crowd-funding campaign run by listeners each episode?\nShould Chas and Stu stick to the rules or occasionally set format aside to talk about their personal approaches to career and craft?\nClick here to go to our 2-question / 7-second Draft Zero listener survey!\nMay 2015 be great for all our listeners and may Chas and Stu finally open a door to find a gold-plated ensuite.\nLINKS:\n","date":"6 January 2015","externalUrl":null,"genres":"","permalink":"/2015/dz-17/","section":"Episodes","summary":"When you're an emerging filmmaker, what are different ways to tackle a \"career\"?","title":"DZ-17: Where's my gold-plated ensuite?","type":"episodes"},{"categories":"","content":"","date":"16 December 2014","externalUrl":null,"genres":"Thriller · Crime · Comedy","permalink":"/films/pulp-fiction-1994/","section":"Films","summary":"","title":"Pulp Fiction (1994)","type":"films"},{"categories":"","content":"","date":"16 December 2014","externalUrl":null,"genres":"Adventure · Action","permalink":"/films/raiders-of-the-lost-ark-1981/","section":"Films","summary":"","title":"Raiders of the Lost Ark (1981)","type":"films"},{"categories":"","content":"","date":"16 December 2014","externalUrl":null,"genres":"Action · Drama · Mystery · Thriller","permalink":"/films/the-bourne-identity-2002/","section":"Films","summary":"","title":"The Bourne Identity (2002)","type":"films"},{"categories":"","content":"","date":"16 December 2014","externalUrl":null,"genres":"Action · Drama · Mystery · Thriller","permalink":"/films/the-bourne-ultimatum-2007/","section":"Films","summary":"","title":"The Bourne Ultimatum (2007)","type":"films"},{"categories":"","content":"","date":"16 December 2014","externalUrl":null,"genres":"Crime · History · Thriller","permalink":"/films/the-untouchables-1987/","section":"Films","summary":"","title":"The Untouchables (1987)","type":"films"},{"categories":"","content":"","date":"16 December 2014","externalUrl":null,"genres":"Drama · Horror · Thriller","permalink":"/films/the-woman-in-black-2012/","section":"Films","summary":"","title":"The Woman in Black (2012)","type":"films"},{"categories":"","content":"","date":"16 December 2014","externalUrl":null,"genres":"Animation · Comedy · Family · Adventure","permalink":"/films/up-2009/","section":"Films","summary":"","title":"Up (2009)","type":"films"},{"categories":"","content":"","date":"16 December 2014","externalUrl":null,"genres":"Drama · Music · Thriller","permalink":"/films/whiplash-2014/","section":"Films","summary":"","title":"Whiplash (2014)","type":"films"},{"categories":"Words · Genre · Process","content":"Chas and Stu are joined by Khrob Edmonds - an award-winning filmmaker - to discuss manipulation of time\u0026hellip;\n\u0026hellip; on the page!\nCinema is a time-based art, and one of the primary tools in film editing is manipulation of time. A closer look at sequences in the scripts of PULP FICTION, THE BOURNE IDENTITY, THE BOURNE ULTIMATUM, WOMAN IN BLACK, RAIDERS OF THE LOST ARK, UP, WHIPLASH, and THE UNTOUCHABLES reveals how master screenwriters use the same time-controlling techniques on the page. The closer a writer can recreate cinema\u0026rsquo;s use of time on the page, the more of an \u0026ldquo;I\u0026rsquo;m watching a movie\u0026rdquo; feeling you can generate for the reader. Or, as Chas puts it, writing like you\u0026rsquo;d edit. We discuss use of white space, super-present tense, decompression \u0026amp; compression, Soviet Montage Theory, the Kuleshov effect and just a tiny amount of grammar.\nNB: Stu refers to \u0026lsquo;-ing\u0026rsquo; words as \u0026lsquo;present participles\u0026rsquo;, John August (cited below) refers to \u0026lsquo;present progressive\u0026rsquo;. Turns out there\u0026rsquo;s a subtle difference between the two! Grammar esoterica FTW. See: What Is the Difference between Present Participle and Present Progressive -\u0026gt; http://grammar.about.com/od/basicsentencegrammar/f/progpartdiff.htm.\n","date":"16 December 2014","externalUrl":null,"genres":"","permalink":"/2014/dz-16/","section":"Episodes","summary":"Does manipulating time on the page make your script feel more cinematic?","title":"DZ-16: Masters of Time and Whitespace","type":"episodes"},{"categories":"","content":"","date":"16 December 2014","externalUrl":null,"genres":"","permalink":"/guests/khrob-edmonds/","section":"Guests","summary":"","title":"Khrob Edmonds","type":"guests"},{"categories":"","content":"","date":"16 December 2014","externalUrl":null,"genres":"","permalink":"/categories/process/","section":"Categories","summary":"","title":"Process","type":"categories"},{"categories":"","content":" 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 - \u0026ldquo;other\u0026rdquo;. We discuss a variety of techniques for setting up the rules of the world, including cold opens, voiceover, title cards and outsider characters! We\u0026rsquo;ve limited ourselves to the opening 3-5 pages\u0026hellip; mostly\u0026hellip; because (so the theory goes) they\u0026rsquo;re the pages that teach the audience how to read/watch your story/film.\nLike with the character introductions episode, we cover a lot of scripts. In no particular order\u0026hellip; [deep breath]\u0026hellip; THE MATRIX, THE MATRIX RELOADED, MATRIX REVOLUTIONS, INCEPTION, GRAVITY, MINORITY REPORT, MOON, LOOPER, ELYSIUM, JURASSIC PARK, HOW TO TRAIN YOUR DRAGON, HARRY POTTER AND THE SORCERER\u0026rsquo;S STONE, MADAGASCAR, FELLOWSHIP OF THE RING, PAN\u0026rsquo;S LABYRINTH, SNOW WHITE AND THE HUNTSMAN, NIGHT WATCH, VAN HELSING, THE ONE I LOVE, 28 WEEKS LATER, WORLD WAR Z, DAWN OF THE DEAD, 30 DAYS OF NIGHT, ZOMBIELAND, WOMAN IN BLACK, BRICK, ANIMAL KINGDOM, DIE HARD WITH A VENGEANCE, THE UNTOUCHABLES, GOODFELLAS, SHORT TERM 12, SILVER LININGS PLAYBOOK, TINKER TAILOR SOLDIER SPY, MOONRISE KINGDOM, THE ROYAL TENENBAUMS, and FOUR WEDDINGS AND A FUNERAL.\nDamn that was a lot! And we\u0026rsquo;ve probably missed some, too. So have a listen and please let us know!\n","date":"4 November 2014","externalUrl":null,"genres":"","permalink":"/2014/dz-15/","section":"Episodes","summary":"How does setting up rules help you build a world?","title":"DZ-15: World Building Rules, Okay?","type":"episodes"},{"categories":"","content":"In this episode, Chas and Stu are joined by a very special guest, SARAH SNOOK - star of Succession, Predestination, Jessabelle, and Oddball, amongst many others - to discuss ACTING and it\u0026rsquo;s relationship with WRITING.\nWe focus our analysis on two scenes from AUGUST: OSAGE COUNTY, a screenplay that started life as a Pulitzer Prize winning play, and whose writer - Tracy Letts - is a successful actor in his own right. But, as usual, we ice-skate between a whole range of topics, including what attracts actors to a script, writing realistic characters, how actors analyse scenes, character spines \u0026amp; objectives, and the importance of hugs.\n","date":"22 October 2014","externalUrl":null,"genres":"","permalink":"/2014/dz-14/","section":"Episodes","summary":"How can we make our screenwriting more appealing to Actors?","title":"DZ-14: Writing For Actors with Succession's Sarah Snook","type":"episodes"},{"categories":"","content":"","date":"22 October 2014","externalUrl":null,"genres":"","permalink":"/guests/sarah-snook/","section":"Guests","summary":"","title":"Sarah Snook","type":"guests"},{"categories":"","content":"Chapter 1: Of Milk and Men\nTarantino is widely heralded as one of the great writer/directors. Yet new writers are advised to avoid emulating Tarantino because his voice is so strong. Only Tarantino can get away with being Tarantino. Or so the theory goes.\nBut if Tarantino is that good, why shouldn\u0026rsquo;t we look under the hood and analyse his screenwriting? You don\u0026rsquo;t have to want to emulate his voice to want to understand why his craft is so good.\nChapter 2: The Bloodied Purpose\nTo that bloodied end, Chas and Stu look at three scripts from distinct phases of QT\u0026rsquo;s career: TRUE ROMANCE, KILL BILL (Volume 1), and INGLOURIOUS BASTERDS. Stu and Chas break down QT\u0026rsquo;s use of structure, detail and - in particular - dramatic irony in an attempt to understand how Tarantino\u0026rsquo;s films are that good.\n** Chapter 3: Epilogue, or, Links To Things We Talk About**\n","date":"5 October 2014","externalUrl":null,"genres":"","permalink":"/2014/dz-13/","section":"Episodes","summary":"What is it about Tarantino's *writing* that elevates his work?","title":"DZ-13: True That - Tips from Tarantino","type":"episodes"},{"categories":"","content":"Well, half of us is\u0026hellip;\nChas (sans Stu) is joined by a very special guest - Natasha Pincus. As a screenwriter, Tash\u0026rsquo;s feature CLIVE was on the 2012 Black List. As a director, her music video for Goyte\u0026rsquo;s Someone I Used To Know was nominated for an MTV Music Video Award. And at the time of this recording, her debut feature as a screenwriter FELL was weeks away from opening night.\nIn other words, Tash has great experience behind the keyboard, behind the camera, and - as it turns out - in front of the camera. Experience that she is only happy to share with Chas as they discuss career, craft and process.\nStu wasn\u0026rsquo;t around to bring up STAR WARS but he feels that linking to The Star Wars I Used To Know parody video will suffice.\n","date":"16 September 2014","externalUrl":null,"genres":"","permalink":"/2014/dz-12/","section":"Episodes","summary":"It's the The Podcast You Used To Know…. After a short hiatus, DRAFT ZERO is back!","title":"DZ-12: Craft, Career and Coffins","type":"episodes"},{"categories":"","content":"","date":"16 September 2014","externalUrl":null,"genres":"","permalink":"/guests/natasha-pincus/","section":"Guests","summary":"","title":"Natasha Pincus","type":"guests"},{"categories":"","content":"","date":"30 July 2014","externalUrl":null,"genres":"","permalink":"/guests/brad-johnson/","section":"Guests","summary":"","title":"Brad Johnson","type":"guests"},{"categories":"","content":"Stu and Chas are joined by a special guest - Scriptmag contributor Brad Johnson - to discuss how the choice of the MacGuffin can impact on the quality of an action/adventure film. To test this thesis, our heroes compare the auspicious originals of two iconic franchise with their, um, less-than-auspicious 4th instalments (in other words we compare RAIDERS OF THE LOST ARK with KINGDOM OF THE CRYSTAL SKULL and THE CURSE OF THE BLACK PEARL with ON STRANGER TIDES) as well as look at two recent \u0026amp; original entries into the genre, namely NATIONAL TREASURE and PRINCE OF PERSIA.\nOur heroes uncover how key the relationship between the protagonist and the MacGuffin is and how this can impact on writing in any genre, not just action/adventure. Suprisingly, Brad brings up STAR WARS before Stu does\u0026hellip;\n[Remastered 3 July 2020]\n","date":"30 July 2014","externalUrl":null,"genres":"","permalink":"/2014/dz-11/","section":"Episodes","summary":"Is the MacGuffin truly interchangable, and how does it impact on your character writing?","title":"DZ-11: Adventure for the MacGuffin!","type":"episodes"},{"categories":"","content":"Stu and Chas embark on the first of a series of explorations into the dreaded Second Act. Their first stop is midpoint reversals or shifts, a plot point bang in the middle of ACT II that changes the protagonist\u0026rsquo;s goal, raises the stakes and potentially leaves your audience leaning forward and asking \u0026ldquo;How the hell is this going to end?\u0026rdquo;.\nTo get to the bottom of what makes a good midpoint shift (and whether your story needs one or not), Stu and Chas ride through DEATH AT A FUNERAL, PRISONERS, SHORT TERM 12, ALIEN, ALIENS and UP. We also drift across FULL METAL JACKET, PHILOMENA, HOW I LIVE NOW, ELYSIUM, DIE HARD and STAR WARS. Of course. Stu couldn\u0026rsquo;t resist. It\u0026rsquo;s not even funny anymore, is it?\n","date":"8 July 2014","externalUrl":null,"genres":"","permalink":"/2014/dz-10/","section":"Episodes","summary":"How can the middle of your film pivot so much that it pulls the rug out of your audience?","title":"DZ-10: Midpoint Reversals and The Ride","type":"episodes"},{"categories":"","content":"Stu and Chas argue about different techniques for introducing characters and whether character descriptions are even necessary. This is important for writers, as we only have words to compensate for the whole range of cinematic expression. And so Chas and Stu explore techniques like introducing characters through action, having other people discuss the character first, ensuring the introduction represents the character\u0026rsquo;s goal/flaw/theme, and many more.\nThe scripts Stu and Chas tackle are\u0026hellip; [takes a deep breath]\u0026hellip; PIRATES OF THE CARIBBEAN: THE CURSE OF THE BLACK PEARL, BLADE, THE DARK KNIGHT, the BREAKING BAD pilot, GIRL WITH THE DRAGON TATTOO, BLADE RUNNER, CHILDREN OF MEN, THE WRESTLER, THE SIXTH SENSE, MISS CONGENIALITY, LOCK STOCK \u0026amp; TWO SMOKING BARRELS, AMELIE, THE WOLF OF WALL STREET, FIGHT CLUB, ROCKY, JAWS, CABIN IN THE WOODS, and (mutters under breath) STAR WARS.\nIs that it? Probably missed some. Bugger. Oh well. Have a listen and let us know.\n","date":"23 June 2014","externalUrl":null,"genres":"","permalink":"/2014/dz-09/","section":"Episodes","summary":"Can the introduction of a character be so good that the character doesn't need describing?","title":"DZ-09: Characterising Introductions","type":"episodes"},{"categories":"","content":"","date":"10 June 2014","externalUrl":null,"genres":"Drama · History","permalink":"/films/the-kings-speech-2010/","section":"Films","summary":"","title":"The King's Speech (2010)","type":"films"},{"categories":"","content":"","date":"10 June 2014","externalUrl":null,"genres":"Adventure · Family · Fantasy · Comedy · Romance","permalink":"/films/the-princess-bride-1987/","section":"Films","summary":"","title":"The Princess Bride (1987)","type":"films"},{"categories":"","content":"","date":"10 June 2014","externalUrl":null,"genres":"Drama","permalink":"/films/the-social-network-2010/","section":"Films","summary":"","title":"The Social Network (2010)","type":"films"},{"categories":"","content":"","date":"10 June 2014","externalUrl":null,"genres":"Drama · Adventure · Western","permalink":"/films/true-grit-2010/","section":"Films","summary":"","title":"True Grit (2010)","type":"films"},{"categories":"","content":"Stu and Chas explore an idea they both came across studying theatre: status and by extension (or juxtaposition) power. Is a story where a character changes status or experiences loss (or gains) in power more compelling?\nIn order to explore this source of drama, Stu and Chas limit themselves to scenes where the status or power of a character shifts without the writer resorting to violence or revelation or plot.\n","date":"10 June 2014","externalUrl":null,"genres":"","permalink":"/2014/dz-08/","section":"Episodes","summary":"How does a shift in status or power reveal character?","title":"DZ-08: Status Transactions","type":"episodes"},{"categories":"","content":"","date":"25 May 2014","externalUrl":null,"genres":"Drama · Crime","permalink":"/films/american-hustle-2013/","section":"Films","summary":"","title":"American Hustle (2013)","type":"films"},{"categories":"","content":"Stu and Chas look at AMERICAN BULLSHIT (the 2010 Black List spec script by Eric Warren Singer) and the film it became… AMERICAN HUSTLE (co-written and directed by David O\u0026rsquo;Russell), which garnered 10 Oscar nominations in 2014.\nWith both Singer and O\u0026rsquo;Russell credited on HUSTLE, Stu and Chas explore what O\u0026rsquo;Russell changed and what stayed the same from BULLSHIT. By comparing the spec with the eventual on-screen product, Stu and Chas gain valuable insights into the re-writing process: character, theme, voice over, back story and more.\n","date":"25 May 2014","externalUrl":null,"genres":"","permalink":"/2014/dz-07/","section":"Episodes","summary":"What can be gleamed from the substantial rewrite of a famed spec?","title":"DZ-07: On Rewriting - How much Bull is left in the Hustle?","type":"episodes"},{"categories":"","content":"","date":"11 May 2014","externalUrl":null,"genres":"Crime · Drama · Action","permalink":"/films/heat-1995/","section":"Films","summary":"","title":"Heat (1995)","type":"films"},{"categories":"","content":"","date":"11 May 2014","externalUrl":null,"genres":"Thriller · Drama","permalink":"/films/margin-call-2011/","section":"Films","summary":"","title":"Margin Call (2011)","type":"films"},{"categories":"Scenes · Structure · Character","content":"Can one scene be the key to unlocking the whole story?\nStu and Chas are joined once again by the inestimable Stephen Cleary to explore his idea of \u0026lsquo;key scenes\u0026rsquo;. Scenes like the diner scene in HEAT. Or the boardroom showdown in MARGIN CALL. These scenes are not only key to a film, they can also be key to developing a story. Why? Stephen\u0026rsquo;s observation is that if you put your protagonist and antagonist in a scene together for a period of time and they will instinctively play out the beats of your whole story\u0026hellip; if you have the characters figured out.\nAn interesting theory and one we put to the test. In addition to HEAT and MARGIN CALL, we look at scenes and sequences from THE GODFATHER, NOTTING HILL, THE DARK KNIGHT, THE RAID 2: BERANDAL and Stu avoids mentioning STAR WARS by working in EMPIRE STRIKES BACK instead.\n","date":"11 May 2014","externalUrl":null,"genres":"","permalink":"/2014/dz-06/","section":"Episodes","summary":"Can one scene be the key to unlocking the whole story?","title":"DZ-06: Key Scenes and Unlocking the Story","type":"episodes"},{"categories":"","content":"","date":"27 April 2014","externalUrl":null,"genres":"Drama · Thriller","permalink":"/films/argo-2012/","section":"Films","summary":"","title":"Argo (2012)","type":"films"},{"categories":"","content":"","date":"27 April 2014","externalUrl":null,"genres":"Action · Drama · Thriller","permalink":"/films/the-bourne-supremacy-2004/","section":"Films","summary":"","title":"The Bourne Supremacy (2004)","type":"films"},{"categories":"","content":"","date":"27 April 2014","externalUrl":null,"genres":"Thriller · Drama","permalink":"/films/zero-dark-thirty-2012/","section":"Films","summary":"","title":"Zero Dark Thirty (2012)","type":"films"},{"categories":"","content":"Can forcing your audience to ask questions - and then answering them - trigger an emotional response?\nStu and Chas delve into audience point of view - not character point of view! Does your audience know more, less or the same as your characters? And does changing this within a scene trigger or heighten the desired emotional response?\nTo test this theory, we look to the genre that changes the audience\u0026rsquo;s point of view the most: thrillers. So we analyse scenes and sequences from THE BOURNE SUPREMACY, ZERO DARK THIRTY and ARGO. As usual though, we can\u0026rsquo;t help ourselves and also consider scenes from GROUNDHOG DAY, PHILOMENA and - of course - Stu refers to STAR WARS.\n","date":"27 April 2014","externalUrl":null,"genres":"","permalink":"/2014/dz-05/","section":"Episodes","summary":"INT. EPISODE 5 - MIDDAY","title":"DZ-05: Shifting audience point of view and heightened emotions","type":"episodes"},{"categories":"","content":"","date":"14 April 2014","externalUrl":null,"genres":"Drama · Fantasy","permalink":"/films/field-of-dreams-1989/","section":"Films","summary":"","title":"Field of Dreams (1989)","type":"films"},{"categories":"","content":"","date":"14 April 2014","externalUrl":null,"genres":"Crime · Mystery · Thriller","permalink":"/films/se7en-1995/","section":"Films","summary":"","title":"Se7en (1995)","type":"films"},{"categories":"","content":"","date":"14 April 2014","externalUrl":null,"genres":"Animation · Family · Comedy","permalink":"/films/toy-story-3-2010/","section":"Films","summary":"","title":"Toy Story 3 (2010)","type":"films"},{"categories":"","content":"Stu and Chas are joined by their first guest – illustrious script developer and producer Stephen Cleary – to explore how certain films can trigger an outpouring of emotion from the audience. Turns out that Aristotle may have figured it out a few thousand years ago and called it Catharsis.\nTo examine how Catharsis can be triggered by a sequence of fixed beats, Stu, Chas and Stephen zone in on the last few pages of FIELD OF DREAMS, TOY STORY 3 and SE7EN. And Stu brings up FROZEN. Again.\nThanks to Noisepig Productions for location recording and producing this episode.\n","date":"14 April 2014","externalUrl":null,"genres":"","permalink":"/2014/dz-04/","section":"Episodes","summary":"How does the end of certain films make your soul shudder?","title":"DZ-04: Catharsis and the Post-Coital Cigarette","type":"episodes"},{"categories":"","content":"How do you make obnoxious a-holes compelling?\nStu and Chas delve into unlikable protagonists in comedy. How do filmmakers keep us watching characters who should alienate us? To answer this question, Stu and Chas look at the first 20 pages of HOT FUZZ, AS GOOD AS IT GETS and - of course - GROUNDHOG DAY.\nPS: In ANCHORMAN (which we also talk about)\u0026hellip; um\u0026hellip; they renamed the character of Alicia Corningstone to Veronica Corningstone (Christina Applegate) in the shooting script. We keep on referring to her as Alicia as that is what she is referred to in the screenplay. Wups.\n","date":"30 March 2014","externalUrl":null,"genres":"","permalink":"/2014/dz-03/","section":"Episodes","summary":"INT. EPISODE 3 - MIDDAY","title":"DZ-03: Making Unlikeable Protagonists Compelling","type":"episodes"},{"categories":"","content":"After analysing awards-nominated screenplays, Stu and Chas turn to the original screenplays that struck it biggest at the box office in 2013: GRAVITY and FROZEN. Do bigger films stick more closely to the archetypal story structures espoused by Vogler and Snyder?\nWe start discussing GRAVITY at around 7'33\u0026quot; and FROZEN at 54'40\u0026quot;, though discussion does skip back-and-forth at times.\n","date":"17 March 2014","externalUrl":null,"genres":"","permalink":"/2014/dz-02/","section":"Episodes","summary":"Do the biggest original films of 2013 follow more archetypal - or formulaic - structures?","title":"DZ-02: Do the Screenplay Gurus score big at the Box Office?","type":"episodes"},{"categories":"","content":"","date":"17 March 2014","externalUrl":null,"genres":"","permalink":"/series/screenplay-gurus/","section":"Series","summary":"","title":"Screenplay Gurus","type":"series"},{"categories":"","content":"","date":"1 March 2014","externalUrl":null,"genres":"Drama · History","permalink":"/films/dallas-buyers-club-2013/","section":"Films","summary":"","title":"Dallas Buyers Club (2013)","type":"films"},{"categories":"","content":"","date":"1 March 2014","externalUrl":null,"genres":"Drama","permalink":"/films/philomena-2013/","section":"Films","summary":"","title":"Philomena (2013)","type":"films"},{"categories":"Structure · Character · Genre","content":"Stu and Chas analyse two screenplays nominated for Academy Awards in 2014 – PHILOMENA and DALLAS BUYERS CLUB – to see whether they follow the structural theories espoused by Blake Snyder, Michael Hauge and Christopher Vogler.\n","date":"1 March 2014","externalUrl":null,"genres":"","permalink":"/2014/dz-01/","section":"Episodes","summary":"Do Oscar-Nominated screenwriters follow the structural formulas prescribed by the 'gurus' and books?","title":"DZ-01: Do Screenplay Gurus win you Oscars?","type":"episodes"},{"categories":"Process · Character · Theme","content":"Welcome to Draft Zero. A message from 2019 to those starting with our first episodes dating from 2014. We’ve learned a lot in five years. So where do you begin?\nSince launching our podcast, we’ve embarked on an ambitious mission: to enhance our writing skills by dissecting the very elements we grapple with in our own projects. From thematic structure to character development, we study successful films and scripts to glean insights that not only improve our own craft but also enable us to share valuable resources with our listeners.\nBasically we do our homework and share it with you: leaving you with (hopefully!) golden nuggets.\nAttention first-time listeners! We’d like to highlight that our episodes are not necessarily linear, nor do they follow a strict curriculum of lessons. Instead, we jump from topic to topic, tackling micro-elements such as inducing catharsis in scenes or mastering pacing through white space on the page. We understand that this might not suit everyone; thus, we encourage new writers to explore our website and the “Beginner’s Guide to Draft Zero,” where we’ve categorized our episodes into manageable themes like character work, scene development, and thematic exploration.\nRemember, this podcast isn’t about following a structured course; it’s about opening up the conversation around screenwriting. Whether you are an aspiring writer or someone who enjoys dissecting media narratives, we do our best to provide insights. We’re constantly learning ourselves and sharing what we’ve discovered. The ultimate goal is to foster growth, creativity, and community within the field of filmmaking.\nMany thanks to all our patrons but particularly to Chris, Khrob, Sandra, Nick, Rob, Matteo, Daniel and Carrie. They’re good humans.\n","date":"1 February 2014","externalUrl":null,"genres":"","permalink":"/2014/dz-00/","section":"Episodes","summary":"What, exactly, is Draft Zero?","title":"DZ-00: Welcome to Draft Zero","type":"episodes"},{"categories":"","content":"","date":"1 February 2014","externalUrl":null,"genres":"","permalink":"/episode_type/special/","section":"Episode_type","summary":"","title":"Special","type":"episode_type"},{"categories":"","content":" Since 2014 we\u0026rsquo;ve been doing our screenwriting homework and sharing it with you. The Logline # Two \u0026rsquo;emerging\u0026rsquo; screenwriters - Chas Fisher and Stu Willis (t)here\u0026rsquo;s also Mel but she\u0026rsquo;s American so doesn\u0026rsquo;t count\u0026hellip; yet) - try to work out what makes great screenplays work. Discovering what it takes by analysing what successful writers put on-the-page — and then talking/discussing/arguing about it in a podcast.\nMonthly. Let\u0026rsquo;s not get carried away here.\n\"The words on the page and the repetition are mimicking the edit, so we can visualize the humor and the repetition of it.\"\n— Chas Fisher \u0026nbsp;|\u0026nbsp; DZ-116: Writing Physical Comedy The Deep Dive # Our episode are epic deep-dives into the art and the mechanics of storytelling for the screen. With every episode, our goal is to unearth practical techniques and tools for storytellers. If you want to sound fancy, you\u0026rsquo;d call it \u0026ldquo;narrative aesthetics\u0026rdquo;. But we ain\u0026rsquo;t fancy\u0026hellip;\nWe are trying to really, really understand our craft. And we do that by looking \u0026ldquo;under the hood\u0026rdquo; of great movies and TV shows.\nWe\u0026rsquo;ve been doing this since 2014. We pick a particular topic or thesis — for example, how shifting the audience\u0026rsquo;s point of view can heighten their emotions — and then set ourselves homework: reading scripts and watching screen stories. We then record our podcast — arguing, debating, and exploring these topics in depth — and share our discoveries with our listeners.\nOur episodes aren\u0026rsquo;t for the faint of heart: they average 90 minutes each. Our longest is over 3 hours. If you want something like \u0026lsquo;Top Ten Tips For Dialogue\u0026rsquo;, we ain\u0026rsquo;t for you. But if you want an in-depth, passionate and analytical discussion: you\u0026rsquo;ve come to the right place.\nOur listeners run the range from complete beginners to established showrunners \u0026amp; directors, and everyone in-between. Some of our listeners\u0026rsquo; favourite episodes tackle catharsis, exposition, tactics and dialogue. We even got schooled by Tarantino himself after his listened to us breaking down his work. It was humbling\u0026hellip; but it was rewarding, too.\nThe Sales Pitch # We won\u0026rsquo;t paywall our content. We want Draft Zero to be freely available to everyone, everywhere. We have listeners worldwide from Iraq to China to Russia to the US and, of course, Australia. If you can\u0026rsquo;t afford film school or a online master class, you can always listen to Draft Zero.\nWe may do merchandise cause merch is cool, but it\u0026rsquo;s a poor way to raise money that feeds directly into us producing more episodes.\nWe\u0026rsquo;re not script gurus. We\u0026rsquo;re not trying to sell you our \u0026ldquo;script coaching\u0026rdquo; services or workshop tours or our e-book.\nWe\u0026rsquo;re just two screenwriters trying to work out how to get better at our craft. We\u0026rsquo;re not here to monetise Draft Zero.\nWe\u0026rsquo;re here to make better movies and TV\u0026hellip; and maybe narrative games too.\n\"Oh, yeah, you can milk anything with nipples.\"\nDZ-122: Escalating Antagonism Across Genres ","date":"1 January 2014","externalUrl":null,"genres":"","permalink":"/about/","section":"Draft Zero","summary":"","title":"About","type":"page"},{"categories":"","content":"","externalUrl":null,"genres":"Drama · Thriller · Crime","permalink":"/films/a-history-of-violence-2005/","section":"Films","summary":"","title":"A History of Violence (2005)","type":"films"},{"categories":"","content":"","externalUrl":null,"genres":"Horror · Science-Fiction","permalink":"/films/alien-1979/","section":"Films","summary":"","title":"Alien (1979)","type":"films"},{"categories":"","content":"","externalUrl":null,"genres":"Drama · Crime · Thriller","permalink":"/films/collateral-2004/","section":"Films","summary":"","title":"Collateral (2004)","type":"films"},{"categories":"","content":"","externalUrl":null,"genres":"Action · Thriller","permalink":"/films/die-hard-1988/","section":"Films","summary":"","title":"Die Hard (1988)","type":"films"},{"categories":"","content":"","externalUrl":null,"genres":"Action · Adventure · Science-Fiction","permalink":"/films/everything-everywhere-all-at-once-2022/","section":"Films","summary":"","title":"Everything Everywhere All At Once (2022)","type":"films"},{"categories":"","content":"","externalUrl":null,"genres":"Drama · Crime","permalink":"/films/goodfellas-1990/","section":"Films","summary":"","title":"Goodfellas (1990)","type":"films"},{"categories":"","content":"","externalUrl":null,"genres":"Comedy · Family","permalink":"/films/home-alone-1990/","section":"Films","summary":"","title":"Home Alone (1990)","type":"films"},{"categories":"","content":"","externalUrl":null,"genres":"Comedy","permalink":"/films/life-of-brian-1979/","section":"Films","summary":"","title":"Life of Brian (1979)","type":"films"},{"categories":"","content":"","externalUrl":null,"genres":"Romance · Comedy","permalink":"/films/notting-hill-1999/","section":"Films","summary":"","title":"Notting Hill (1999)","type":"films"},{"categories":"","content":"","externalUrl":null,"genres":"Adventure · Action · Science-Fiction","permalink":"/films/return-of-the-jedi-1983/","section":"Films","summary":"","title":"Return of the Jedi (1983)","type":"films"},{"categories":"","content":"","externalUrl":null,"genres":"Action · Thriller · Science-Fiction","permalink":"/films/robocop-1987/","section":"Films","summary":"","title":"RoboCop (1987)","type":"films"},{"categories":"","content":"","externalUrl":null,"genres":"Drama","permalink":"/films/short-term-12-2013/","section":"Films","summary":"","title":"Short Term 12 (2013)","type":"films"},{"categories":"","content":"","externalUrl":null,"genres":"Drama · Comedy","permalink":"/films/shrinking-2023/","section":"Films","summary":"","title":"Shrinking (2023)","type":"films"},{"categories":"","content":"","externalUrl":null,"genres":"Thriller · Crime · Drama","permalink":"/films/side-effects-2013/","section":"Films","summary":"","title":"Side Effects (2013)","type":"films"},{"categories":"","content":"","externalUrl":null,"genres":"Adventure · Action · Thriller · Science-Fiction","permalink":"/films/starship-troopers-1997/","section":"Films","summary":"","title":"Starship Troopers (1997)","type":"films"},{"categories":"","content":"","externalUrl":null,"genres":"Action · Crime · Thriller","permalink":"/films/the-dark-knight-2008/","section":"Films","summary":"","title":"The Dark Knight (2008)","type":"films"},{"categories":"","content":"","externalUrl":null,"genres":"Comedy · Drama","permalink":"/films/the-edge-of-seventeen-2016/","section":"Films","summary":"","title":"The Edge of Seventeen (2016)","type":"films"},{"categories":"","content":"","externalUrl":null,"genres":"Adventure · Action · Science-Fiction","permalink":"/films/the-empire-strikes-back-1980/","section":"Films","summary":"","title":"The Empire Strikes Back (1980)","type":"films"},{"categories":"","content":"","externalUrl":null,"genres":"Drama · Crime","permalink":"/films/the-godfather-1972/","section":"Films","summary":"","title":"The Godfather (1972)","type":"films"},{"categories":"","content":"","externalUrl":null,"genres":"Action · Crime · Thriller","permalink":"/films/the-raid-2-2014/","section":"Films","summary":"","title":"The Raid 2 (2014)","type":"films"},{"categories":"","content":"","externalUrl":null,"genres":"Drama · Crime","permalink":"/films/the-shawshank-redemption-1994/","section":"Films","summary":"","title":"The Shawshank Redemption (1994)","type":"films"},{"categories":"","content":"","externalUrl":null,"genres":"Drama · Crime · Thriller","permalink":"/films/the-usual-suspects-1995/","section":"Films","summary":"","title":"The Usual Suspects (1995)","type":"films"},{"categories":"","content":"","externalUrl":null,"genres":"Mystery · Action · Science-Fiction","permalink":"/films/watchmen-2009/","section":"Films","summary":"","title":"Watchmen (2009)","type":"films"},{"categories":"","content":"","externalUrl":null,"genres":"Horror · Thriller","permalink":"/films/winchester-2018/","section":"Films","summary":"","title":"Winchester (2018)","type":"films"},{"categories":"","content":"","externalUrl":null,"genres":"","permalink":"/authors/","section":"Authors","summary":"","title":"Authors","type":"authors"},{"categories":"","content":"We are a podcast dedicated to working out what makes greats screenplays great.\nSince 2014 we\u0026rsquo;ve been doing our homework and releasing it as the Draft Zero podcast. And we\u0026rsquo;ve done a lot of homework: over 200 hours!\nWe\u0026rsquo;ve always scratched-our-own-itches with our craft, so our episodes zig-zag between topics. This isn\u0026rsquo;t a screenwriting course (sorry) but it is a deep-dive into the craft.\nSo if you don\u0026rsquo;t know where to start, what follows is a selection of our foundational episodes organized roughly by topics. Start anywhere that interests you!\n","externalUrl":null,"genres":"","permalink":"/beginners-guide/","section":"Draft Zero","summary":"","title":"Beginner's Guide","type":"page"},{"categories":"","content":"","externalUrl":null,"genres":"","permalink":"/concepts/","section":"Concepts","summary":"","title":"Concepts","type":"concepts"},{"categories":"","content":"","externalUrl":null,"genres":"","permalink":"/contact/","section":"Draft Zero","summary":"","title":"Contact","type":"page"},{"categories":"","content":"","externalUrl":null,"genres":"","permalink":"/transcripts/dz-00/","section":"Transcripts","summary":"","title":"DZ-00: Welcome to Draft Zero — Transcript","type":"transcripts"},{"categories":"","content":"","externalUrl":null,"genres":"","permalink":"/transcripts/dz-01/","section":"Transcripts","summary":"","title":"DZ-01: Do Screenplay Gurus win you Oscars? — Transcript","type":"transcripts"},{"categories":"","content":"","externalUrl":null,"genres":"","permalink":"/transcripts/dz-108/","section":"Transcripts","summary":"","title":"DZ-108: The Emotional Event with Judith Weston — Transcript","type":"transcripts"},{"categories":"","content":"","externalUrl":null,"genres":"","permalink":"/transcripts/dz-109/","section":"Transcripts","summary":"","title":"DZ-109: Talking DIRECTLY to your audience — Transcript","type":"transcripts"},{"categories":"","content":"","externalUrl":null,"genres":"","permalink":"/transcripts/dz-110/","section":"Transcripts","summary":"","title":"DZ-110: Voiceover — Transcript","type":"transcripts"},{"categories":"","content":"","externalUrl":null,"genres":"","permalink":"/transcripts/dz-111/","section":"Transcripts","summary":"","title":"DZ-111: Unreliable Narrators and FIGHT CLUB — Transcript","type":"transcripts"},{"categories":"","content":"","externalUrl":null,"genres":"","permalink":"/transcripts/dz-112/","section":"Transcripts","summary":"","title":"DZ-112: Breaking the 4th wall — Transcript","type":"transcripts"},{"categories":"","content":"","externalUrl":null,"genres":"","permalink":"/transcripts/dz-113/","section":"Transcripts","summary":"","title":"DZ-113: Tools For Filmmakers To Talk To The Audience — Transcript","type":"transcripts"},{"categories":"","content":"","externalUrl":null,"genres":"","permalink":"/transcripts/dz-114/","section":"Transcripts","summary":"","title":"DZ-114: Climaxes in Challengers — Transcript","type":"transcripts"},{"categories":"","content":"","externalUrl":null,"genres":"","permalink":"/transcripts/dz-115/","section":"Transcripts","summary":"","title":"DZ-115: A Christmas Special – Rewatching \u0026 Rituals — Transcript","type":"transcripts"},{"categories":"","content":"","externalUrl":null,"genres":"","permalink":"/transcripts/dz-116/","section":"Transcripts","summary":"","title":"DZ-116: Writing Physical Comedy — Transcript","type":"transcripts"},{"categories":"","content":"","externalUrl":null,"genres":"","permalink":"/transcripts/dz-117/","section":"Transcripts","summary":"","title":"DZ-117: Pulling Off Tonal Shifts — Transcript","type":"transcripts"},{"categories":"","content":"","externalUrl":null,"genres":"","permalink":"/transcripts/dz-118/","section":"Transcripts","summary":"","title":"DZ-118: ADOLESCENCE and Tension Through Questions — Transcript","type":"transcripts"},{"categories":"","content":"","externalUrl":null,"genres":"","permalink":"/transcripts/dz-119/","section":"Transcripts","summary":"","title":"DZ-119: Final Character Choices \u0026 Great Endings — Transcript","type":"transcripts"},{"categories":"","content":"","externalUrl":null,"genres":"","permalink":"/transcripts/dz-120/","section":"Transcripts","summary":"","title":"DZ-120: Subtext is Overrated! 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We are genuinely grateful for every one of them.\n","externalUrl":null,"genres":"","permalink":"/wall-of-awesome/","section":"Draft Zero","summary":"","title":"Wall of Awesome","type":"page"}]