Draft Zero: a screenwriting podcast
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DZ-131: Negative Character Arcs vs Negative Feelings
1 november 2026 · 2 uur 23 min
Listen to learn how to control your audience’s perception of your character arcs. Lees meer
In our fourth entry into our series on character arcs, we explore both what makes an audience perceive a character arc to be “negative” AND separately what makes the audience feel negative about a character arc. The individual arc, as Chas puts it, is only one lever.
We dive into BACKROOMS, IF I HAD LEGS I’D KICK YOU and ANATOMY OF A FALL, further developing craft tools we’ve looked at earlier in the series - repeated character beats, emotional events, operant conditioning - as well exploring newer ones in more depth, such as relationship questions and symbolism.
And the tool we crystallise the most this episode is the relationship question — a sibling to plot, character, and thematic questions. Ask it and you often find the arc the film wants you to notice isn't the main character's at all. In ANATOMY OF A FALL the ostensible lead is Sandra, on trial for her husband's death — but the arc that is the most developed (and the most negative) most belongs to Daniel, the son, forced onto the trial stand to choose a truth.
We also talk BLUE MOON, GOODFELLAS, SCARFACE, EMILY THE CRIMINAL, WOLF OF WALL STREET, REVENGE OF THE SITH, SAINT OMER, BLADE RUNNER 2049, APOLLO 13, and whether blood-splatter analysis still counts as evidence anywhere.
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
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Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre & Natalie and Lily.
→ Read the transcript for this episode.
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"There's a difference between a character arc being negative and an audience feeling negative about the arc." — Chas Fisher @ 00:02:33
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CHAPTERS
00:00:00 – Cold Open
00:00:27 – Negative Arc vs Negative Audience Feeling
00:03:18 – › Distinguishing character shi…
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Teaser: Negative Character Arcs
27 oktober 2026 · 2 min
Teaser for our next episode: DZ-131. Please watch BACKROOMS, IF I HAD LEGS I'D KICK YOU, and ANATOMY OF A FALL.
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DZ-130: Positive Character Arcs
1 september 2026 · 2 uur 33 min
Listen to understand how to dramatize a character's internal change. Lees meer
Welcome to our third entry in our character arc series; and the first where we talk about characters that actually change. And positively, too.
We deep dive into BARBIE, WIDOWS and ALL OF US STRANGERS to work out what makes an arc feel positive -- even if the film itself is heartbreaking. All three films are "positive arcs" that feel wildly different. We speculate whether that's due to the nature of the relationship questions, the use of additive/subtractive rewards; and whether it's do with the connection of the characters needs and their goals.
We further crystalize two tools we've been kicking around:
The relationship question — take a character question ("will she learn to connect?") and pose it as a relationship problem ("will these two grow closer or further apart?").
Additive vs subtractive rewards — We continue buildling on this idea from our Steadfast episodes. Does the story give the character something or take something away? And is that a good or a bad thing?
And Mel brings up a third:
Repeating a beat from a different angle so we can trace a character's gradual evolution.
We also debate whether Barbie's void scene is a producer's note personified — a director going into the endless nothing to spell the themes out one more time.
All this and more on DZ-130!
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
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→ Read the transcript for this episode.
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"A relationship question is taking what we think is an internal question about a character and defining it in terms of the relationship. Will Moana grow closer to their village coming back or will they'll grow further apart?" — Stu Willis @…
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Teaser: Positive Character Arcs
27 augustus 2026 · 1 min
Teaser for our next episode: DZ-130. Please watch BARBIE, WIDOWS, and ALL OF US STRANGERS so you can learn about positive character arcs.
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DZ-129: Steadfast Character Arcs - Agents of Change
31 juli 2026 · 2 uur 36 min
Listen to learn how to move an audience with a character who never changes. Lees meer
Do characters need to change for you to have a satisfying story? That's a question we've been asking since, like, episode five of this podcast. And we're finally talking about them - whatever you call 'em: steadfast, resilent, or flat arcs.
To that end, we breakdown MOANA, APOLLO 13, and THE DRESSMAKER to work out what carries a story when a character arc doesn't. If your protagonist isn't going to change, the drama has to come from what they do to everyone else.
We develop some tools that we reckon carry a steadfast story:
doubt and wobble (a character with no doubt isn't steadfast, they're a psychopath)
emotional events between characters
additive rewards (something is gained) versus subtractive ones (something is taken away) - a distinction we've borrowed borrowed from operant conditioning;
and how that difference changes the emotional tone of an ending.
The subtractive reward is why a happy ending can still feel like loss... and it's the thing we reckon that'll matter most when we get to negative arcs.
Chas, Mel and Stu also wibble-wobble over WILLOW, TAKEN, FERRIS BUELLER'S DAY OFF, THE MARTIAN, PROJECT HAIL MARY, THE GREY, ALL IS LOST, STAR WARS (as always), GREY GARDENS, PRISCILLA, and how many tampons NASA sent to space.
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
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Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre & Natalie and Lily.
→ Read the transcript for this episode.
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"If your characters are not going to arc, if they are going to remain steadfast, then creating multiple smaller emotional events is really important to keep the story dynamic." — Mel Killingsworth @ 02:32…
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DZ-128: What even is a Character Arc?
28 juni 2026 · 1 uur 30 min
Listen to separate the three layers of an arc -- does the character change? How do they feel about it? And how is the audience positioned to feel about it? Lees meer
Stu, Chas and Mel finally begin their long-awaited journey into CHARACTER ARCS. In this "primer" episode, we try find some learnings and analytical lenses that we can then apply in future breakdowns.
In this episode, we explore differences between a character learning something and a character fundamentally changing, how to dramatise that, and how the show teaches the audience to perceive that transformation (whether positively or negatively).
Throughout the discussion, we skate over A NEW HOPE, BLUE MOON, BREAKING BAD, BETTER CALL SAUL, the French real-time thriller FULL TIME, A KNIGHT OF THE SEVEN KINGDOMS, THE GREEN KNIGHT, ALL OF US STRANGERS, PREDATOR BADLANDS, FIELD OF DREAMS, MEG 2, and Stu's receding hairline.
Ultimately, this discussion synthesises into a series of questions to ask of a story and the main point-of-view character living through that story:
Does the audience enter the story with an expectation that characters will change?
How does the story teach the audience to expect characters to change or not?
Do the characters change? Is it experiential change or internal value change? How is that dramatised?
Is the character aware that they changed? How do they feel about that change? Does that matter?
How does the story want the audience to feel about that change? If different to the character’s perception, how does the story pull that off?
How does the story world punish or reward the change?
What are the values explored by the arc? How does this relate to the theme?
How is contrast vs affinity/unity portrayed through the characters’ journey? Order vs disorder vs inertia
What is the emotional event created between the character and audience as a result of the journey? Does the character end up more intimate or distant from the audience?
In upcoming episodes, we intend to apply these …
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DZ-127: Secrets and Clues 2 - The Cost of Revelation
27 mei 2026 · 1 uur 52 min
Listen to learn the emotional impact of revealing secrets vs discovering them. Lees meer
In this episode Stu, Chas and Mel apply the Landmark–Hidden–Secret framework (from DZ-126) across two very different genres: the thriller SIDE EFFECTS (2013) and the tragicomic pilot of SHRINKING.
SIDE EFFECTS is a film of two genres. The first half plays as a drama about depression and over-medication; the second half is a 90s thriller. We talk about how every time Dr Jonathan Banks uncovers a new piece of information, it puts him in danger — and that danger motivates him to uncover more.
In SHRINKING, we see a different use of the framework. "What are psychologists but detectives of the mind?" Rather than the cost of finding secrets, it's about the cost of sharing them. Chas also comes out of this with a paradigm he's been building toward (but we're keeping what that is secret until you listen!)
And inevitably we go on some tangents: whether SIDE EFFECTS should even have been an erotic thriller!
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
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Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.
→ Read the transcript for this episode.
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"Every time Dr Jonathan Banks uncovers a new piece of information, it puts him in danger -- and that danger motivates him to uncover more." — Chas Fisher @ 00:26:04
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CHAPTERS
00:00:00 – Cold Open
00:00:16 – Intro: Secrets and Clues 2 - the Cost of Revelation
00:01:03 – Previously on Secrets and Clues (Recap of Part 1)
00:04:24 – Flashforward Insights
00:09:29 – SIDE EFFECTS
00:20:18 – › The First Half: Push and Misdirection
00:28:41 – › Genre Shift: Banks Becomes the Detective
00:48:06 – SHRINKING
01:00:02 – › The Inverted Paradigm: When Everyone Knows
01:07:47 – › The Cos…
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DZ-126: Secrets and Clues
5 mei 2026 · 1 uur 29 min
Listen if you want to understand how hidden information drives character motivation and plot structure! Lees meer
“Getting information puts your character in danger. And danger rewards your character with information." — 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.
The other two (related) ideas are:
Landmark information (characters just have it), Secret (they know it'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.
And 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.
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
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Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.
→…
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DZ-125: Oscars One-shot - BLUE MOON
26 februari 2026 · 1 uur 18 min
Listen if you want to understand how narrative POV, screenplay format, and dialogue craft can elevate a contained biopic into an Oscar-nominated film Lees meer
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's script. Join Chas & 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.
While 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.
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
LIKE THIS EPISODE?
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Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.
→ Read the transcript for this episode.
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"When I say rules, I mean the prescriptive rules of when someone posts something on screenwriting and everyone goes *Oh, you broke all the rules*. I'm saying this is good. I'm saying most of those rules are suggestions or most of those rules are given to you when you are learning how to write for a reason." — Mel Killingsworth @ 00:38:42
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CHAPTERS
00:00:00 – Cold Open
00:00:32 – What Makes a Contained Biopic Compelling?
00:02:19 – Flashforward Insights: POV, French scenes, dialogue craft, and structure
00:04:32 – BLUE MOON: Plot Summary and Structural Overview
00:08:00 – › How script format signals emotional breaks in a real-time story
00:13:34 – Controlling narrative POV
00…
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DZ-124: Making the Despicable Compelling
30 januari 2026 · 1 uur 11 min
Listen if you need audiences to root for characters who do terrible things Lees meer
Mel and Chas continue to explore what Noir (the genre) can teach writers of all other genres. In particular:
How 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.
Despite Chas claiming to have edited this episode it was, in fact, Chris Walker who saved the day and got this done. Thanks Chris.
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
LIKE THIS EPISODE?
Watch and comment on YouTube.
Send us feedback.
Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.
→ Read the transcript for this episode.
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"I think these films have got really strong control over the questions and that's how they get us to follow, compelling us to follow characters who are doing terrible things." — Chas Fisher @ 01:06:08
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CHAPTERS
00:00:00 – Using noir as a lens
00:01:56 – DEVIL IN A BLUE DRESS
00:07:06 – › Period setting, race, and noir's embedded worldview
00:10:30 – › Voiceover as access to morally compromised decisions
00:22:02 – › How the film justifies rooting for Easy's transgressions
00:29:09 – › Character worldview versus film worldview in noir
00:31:33 – WOMAN OF THE HOUR
00:37:15 – › Why WOMAN OF THE HOUR qualifies as noir
00:43:25 – › The system as collective villain enabling the killer
00:53:12 – › Depiction without endorsement, empathy without sympathy
01:04:30 – Key Learnings
01:08:50 – Thank you Patreons!
FILMS
DEVIL IN …
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DZ-123: Flawed Characters in Noir
31 december 2025 · 1 uur 23 min
Listen if you want to write morally compromised characters without endorsing their choices. Lees meer
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?
Part 1 (DZ-123) focuses on two (now classic) noirs: DOUBLE INDEMNITY and THE LONG GOODBYE.
While Part 2 (DZ-124) looks at two more contemporary examples DEVIL IN A BLUE DRESS and WOMAN OF THE HOUR.
Despite Chas claiming to have edited this episode it was, in fact, Chris Walker who saved the day and got this done by the end of 2025. Thanks Chris.
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
LIKE THIS EPISODE?
Discuss with our Patrons on Patreon.
Watch and comment on YouTube.
Send us feedback.
Thanks to our Patrons, especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.
→ Read the transcript for this episode.
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"This is the philosophical question, right? When you get drunk, do you change what you do or do you simply allow your inhibitions to fall and do what you would normally want to do?" — Mel Killingsworth @ 00:42:04
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CHAPTERS
00:00:00 – Cold Open
00:00:17 – Flawed Characters and Noir
00:03:06 – › Writing morally compromised characters without endorsing their worldview
00:08:41 – › Defining film noir as genre, style, and worldview
00:14:27 – › Noir's reach across decades of screenwriting
00:16:40 – DOUBLE INDEMNITY
00:21:41 – › Diegetic confession and its structural function
00:27:17 – › Telling the audience the crime upfront removes justification burden
00:32:24 – › How everyman framing sustains complicity in a morally bankrupt protagonist
00:41:43 – › Whether morally compromised characters genuinely change or self-reveal
00:49:17…
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1dZ-01: Arkyvrs - A Mansion Most Vile - Ep1
26 oktober 2025 · 2 uur 8 min
What happens when a group of filmmakers play a ragtag group of filmmakers in a gritty sci-fi horror? Lees meer
"Ignite the fire within and explore unknown territory" - Werner Herzog.
This episode is unusual, even by Draft Zero standards. It's an "Actual Play Podcast" where Chas, Stu, & Mel are joined by Kim Ho and Luke Clark to play MOTHERSHIP, the sci-fi horror game we talked about in episodes DZ-121 and DZ-122. Stu is the GM while everyone else is a ragtag crew of freelance filmmakers. We debrief the experience (so far) at the end of the episode)
Mel plays Zara, the glamorous face of the operation. Chas plays Winston, the cynical and egoistical "photojournalist". Kim is Cal, the scrappy scrounger and sound recordists, while Luke is Tarsos the steadfast producer of the group. The crew are enlisted to record a sensationalist report on a missing corporate president before the mercenary retrieval team arrives.
And yeah, this means we're soft-launching yet another project that's called 1dZ, which looks at how we can use tools from ttrpgs in screenwriting… and vice versa.
To get future episodes go to: http://www.1d-zero.com/
CHAPTERS
00:00:11 - Intro for DZ Listeners
00:01:51 - Meet the Snortin' Betsy
00:06:22 - A Mansion Most Vile (Ep 1)
01:52:32 - Debrief through TOMBS
RELATED EPISODES
DZ-121: Escalating Antagonism 1: Sinners
DZ-122: Escalating Antagonism 2: Rebel Ridge + Meet the Parents
LINKS
Tuesday Knight Games
Joshua Kramer: A Mansion Most Vile
Alewood Games: Arkyvr
Nobody Wake the Bugbear
Campaign Supplies
More Draft Zero is brought to you more often by our awesome Patreons. Especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis, and Khrob.
Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners.
We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.
SUBSCRIBE TO SHOT ZERO…
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DZ-122: Escalating Antagonism Across Genres
1 oktober 2025 · 1 uur 45 min
Listen to learn how thinking of your hero as the horror (for your villains) makes your script dynamic. Lees meer
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.
While 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.
To 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.
We 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.
We discuss how thinking of your hero as the horror for your villains helps everything become more dynamic.
Oh, and we talk about launching an actual play podcast. Which is happening. Stay tuned!
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
LIKE THIS EPISODE?
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Thanks to our Patrons, especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.
→ Read the transcript for this episode.
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"There's a great line from Don Johnson later where he says, the deal was fair. The issue is that you felt that you were allowed to offer it. He tells him that he has transgressed against the rules of the laws or the rules of this system of this world." — Chas Fisher @ 00:12:09
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CHAPTERS
00:00:00 – Cold Open
00:00:12 – Escalating Antagonism Part 2
00:03:29 – REBEL RIDGE
00:09:30 – › Writing loglines from the antagonist's perspective
00:14:36 – › Tombs cycle maps onto hero and…
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DZ-121: Escalating Antagonism in SINNERS
29 augustus 2025 · 1 uur 25 min
Listen to strengthen your story by focusing on the antagonistic forces in your script. Lees meer
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?
In 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.
By 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.
To 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.
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
LIKE THIS EPISODE?
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Thanks to our Patrons, especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.
→ Read the transcript for this episode.
———
"when you use those structures that are out there, they tend to be ar…
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DZ-120: Subtext is Overrated!
1 augustus 2025 · 1 uur 54 min
Listen if you're struggling to write subtext without it feeling forced! Lees meer
Or, how focusing on good drama will result in good subtext. We often hear how subtext is important for good screenwriting. We're here to tell you it isn't. Good subtext is a result of good drama, and your focus should be on creating that good drama. But how?
In this episode, Chas Fisher and Stu Willis are joined by screenwriter and teacher Tom Vaughn (Winchester) to delve into the world of subtext.
We kick off the discussion by talking through Tom's article "Why Subtext is Overrated" and break down his core idea that subtext is a byproduct of character goals, tactics and fears.
We explore this further through close examination of "the other way" scene from MICHAEL CLAYTON, "the strudel" scene from INGLOURIOUS BASTERDS (both known for their subtext) and the "new years" sequence from THE SUBSTANCE.
Inevitably discussion also turns to the relationship of subtext to emotional truth, theme, symbolism, dramatic irony and filmmaker's subtext.
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
LIKE THIS EPISODE?
Discuss with our Patrons on Patreon.
Watch and comment on YouTube.
Send us feedback.
Thanks to our Patrons, especially Lily, Paulo, Alexandre & Natalie, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.
→ Read the transcript for this episode.
———
"You can't market subtext, man." — Tom Vaughn @ 00:36:51
———
CHAPTERS
00:00:20 – Intro: What is Subtext?
00:00:21 – Cold Open
00:18:59 – MICHAEL CLAYTON
00:23:18 – › How character tactics generate subtext organically
00:27:26 – › Scene structure breaks down three beats of deniability
00:35:25 – › Subtext requires narrative groundwork to land
00:42:59 – INGLOURIOUS BASTERDS
00:46:34 – › French scene structure and dramatic setup
00:53:38 – › Filmmaker subtext versus character-driven tension
01:08:35 – › Writing the score: action lines as emotional music
01:13:48 – T…
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DZ-119: Final Character Choices & Great Endings
18 juni 2025 · 1 uur 53 min
Listen if you want to understand how to better dramatise a character's internal journey Lees meer
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.
We 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.
We breakdown examples from DUNGEONS & DRAGONS: HONOR AMONG THIEVES, FINDING NEMO, MICHAEL CLAYTON, PROMISING YOUNG WOMAN and TALK TO ME.
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
LIKE THIS EPISODE?
Discuss with our Patrons on Patreon.
Watch and comment on YouTube.
Send us feedback.
Thanks to our Patrons, especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and and Khrob.
→ Read the transcript for this episode.
———
"A character has to make the most difficult decision of their life, and it becomes the crisis because each alternative poses a loss as well as a gain. And so, therefore, characters have to weigh what really matters most to them." — Stu Willis @ 00:23:48
———
CHAPTERS
00:00:00 – Opening
00:00:18 – Why Final Choices?
00:03:49 – › Narrative point of view and the order of choice, decision, consequence
00:07:03 – › How withholding character decisions shapes audience perception
00:10:45 – DUNGEONS & DRAGONS
00:15:57 – › The hero's choice: want vs. need, self vs. family
00:19:09 – FINDING NEMO
00:23:30 – › Crisis decision, catharsis beats, and the anatomy of a powerful ending
00:28:45 – MICHAEL CLAYTON
00:33:26 – › The Snowpiercer moment: dramatising binary choice visually
00:40:37 – › Hero's choice made off-camera and revealed through Karen's perspective
00:48:36 – › Character arc, theme, and the cost of moral compromise
0…
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DZ-118: ADOLESCENCE -- How Questions Create Dramatic Tension
1 mei 2025 · 2 uur
Listen when you need tension without external stakes--subtext, stillness, and thematic weight do the work. Lees meer
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.
In 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.
We 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.
We 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.
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
LIKE THIS EPISODE?
Discuss with our Patrons on Patreon.
Watch and comment on YouTube.
Send us feedback.
Thanks to our Patrons, especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.
→ Read the transcript for this episode.
———
"The absence of plot does not mean the absence of tension." — Chas Fisher @ 00:00:00
———
CHAPTERS
00:00:00 – Cold Open
00:00:13 – Why ADOLESCENCE? Craft tools behind a cultural phenomenon
00:03:35 – › Melodrama, stillness, and the emotional contract with audiences
00:07:28 – › Unity of time as a narrative constraint and creative tool
00:09:38 – EPISODE ONE: Did Jamie do it, the audience question vs character objectives
00:13:10 – › Every procedure scene tracks impact, not investigation
00:19:29 – › POV strategy withholds Jamie to centre Edd…
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DZ-117: Pulling Off Tonal Shifts
31 maart 2025 · 2 uur 8 min
Listen if you want to write tonal pivots that land on the page without a director's toolkit. Lees meer
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?
With 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.
While there are definite craft tools identified - rhythm of action lines, varying use of unfilmmables and metaphors, establishing language patterns - the two big takeaways are:
(1) pulling off a tonal shift takes a lot of setup; and (2) when the time comes, contrast on the page is key.
Thanks to Chris Walker for editing this episode.
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
LIKE THIS EPISODE?
Discuss with our Patrons on Patreon.
Watch and comment on YouTube.
Send us feedback.
Thanks to our Patrons, especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and and Khrob.
→ Read the transcript for this episode.
———
"Not only does it allow us to accept the mother's death, but it allows them to really go for emotion because they've already taught us that throughout the film, there will be these moments." — Chas Fisher @ 00:00:00
———
CHAPTERS
00:00:00 – Cold Open
00:00:25 – What do we mean by tonal shift?
00:08:35 – Distinguishing between genre shift and tonal shift
00:13:08 – Shaun of the Dead
00:45:41 – Sorry to Bother You
01:28:07 – Swiss Army Man
02:02:10 – Key learnings and wrap up
02:06:35 – Patreon thanks
FILMS
SHAUN OF THE DEAD (2004) — (w) Simon Pegg, Edgar Wright (d) Edgar Wright
SORRY TO BOTHER YOU (2018) — (w) Boots Riley
SWISS ARMY MAN (2016) — (w) Daniel Kwan, Daniel S…
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DZ-116: Writing Physical Comedy
26 februari 2025 · 1 uur 36 min
Listen to learn how formatting--white space, caps, dashes--becomes your comedy toolkit without a director. Lees meer
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.
We 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.
This episode brought to you by (drum roll) ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription!
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
LIKE THIS EPISODE?
Watch and comment on YouTube.
Send us feedback.
Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.
→ Read the transcript for this episode.
———
"The words on the page and the repetition are mimicking the edit, so we can visualize the humor and the repetition of it." — Chas Fisher @ 00:19:03
———
CHAPTERS
00:00:00 – Cold Open
00:00:19 – Writing Physical Comedy: Scope, Constraints, and Homework Selection
00:03:55 – › Defining screwball, farce, and slapstick as distinct forms
00:06:52 – › How three case studies represent different slapstick approaches
00:10:27 – BRINGING UP BABY
00:15:04 – › Slug lines as editing rhythm and geography
00:18:15 – › Repetition in action lines mirrors physical comedy beats
00:22:31 – › Camera direction versus character eyeline to frame visual gags
00:28:20 – › Script-to-screen reordering of physical comedy sequences
00:31:44 – Thank you, Arc Studio Pro!
00:34:34 – HAPPY ENDINGS PILOT
00:38:53 – › How…
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DZ-115: A Christmas Special - Rewatching & Rituals
23 december 2024 · 1 uur 57 min
Listen if you want to understand what makes holiday films enduring parts of our seasonal rituals! Lees meer
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.
We 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.
And 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.
Merry Christmas!
This episode brought to you by (drum roll) ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription!
Thanks to Chris Walker for his excellent editing this episode.
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
LIKE THIS EPISODE?
Send us feedback.
Thanks to our Patrons, especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.
→ Read the transcript for this episode.
———
"What makes it rewatchable is not the Christmas elements. Like that's sort of what makes it rewatchable are all of the structure. The fact that like a lot of good noir mysteries, you forget exactly how things get solved." — Mel Killingsworth @ 00:30:20
———
CHAPTERS
00:00:00 – Cold Open
00:01:00 – What do we mean by Holiday Movies?
00:18:52 – Kiss Kiss Bang Bang
00:41:16 – Riders of Justice
01:03:45 – Sponsorship: Arc Stud…
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DZ-114: Climaxes in CHALLENGERS
29 november 2024 · 1 uur 17 min
Listen to understand how withholding resolution can make your story great! Lees meer
While Stu is on show, Mel and Chas sit down to analyse the meaning behind the ending of 2024'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.
Following 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'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.
This 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.
This episode brought to you by (drum roll) ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription!
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
LIKE THIS EPISODE?
Watch and comment on YouTube.
Send us feedback.
Thanks to our Patrons, especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and and Khrob.
→ Read the transcript for this episode.
———
"It's nice that the climax of the movie is actually at the end of the movie like to me the movie climaxes at the point where it cuts to black which is awesome yeah." — Chas Fisher @ 00:13:10
———
CHAPTERS
00:00:00 – Cold Open
00:00:24 – BREAKING DOWN THE ENDING OF CHALLENGERS
00:03:50 – › Plot summary and structural architecture of the film
00:08:48 – › How backstory layering builds dramatic tension in the final match
00:14:51 – Can one action line change everything?
00:19:36 – › Script vs screen: what the final point actually shows
00:27:35 – › Whose ending i…
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DZ-113: Tools For Filmmakers To Talk To The Audience
22 september 2024 · 2 uur 3 min
Listen if you want to explore how you can make your creative hand visible through meta-storytelling and structural choices!?! Lees meer
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 'hand' more. To that end, Mel, Stu and Chas dive into ADAPTATION, STORIES WE TELL and THE FORTY-YEAR-OLD VERSION.
We 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 "in the story world" the communication from the filmmakers is.
Ultimately, in exploring these three powerful films through this lens, we discover that these tools give filmmakers more control in conveying their theme. Quelle surprise.
This episode brought to you by (drum roll) ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription!
Thanks to Chris Walker for his excellent editing this episode.
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
LIKE THIS EPISODE?
Send us feedback.
Thanks to our Patrons, especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and and Khrob.
→ Read the transcript for this episode.
———
"I would guess that some of the most watched content in the world has people talking directly to the camera and that's stuff that people watch on YouTube." — Stu Willis @ 00:06:13
———
CHAPTERS
00:00:00 – Cold Open
00:00:28 – The Meta of Meta
00:04:20 – › How filmmakers speak without breaking immersion
00:07:48 – › Mapping the craft levers for filmmaker-to-audience communication
00:11:01 – ADAPTATION
00:14:11 – › How filmmakers communicate through diegetic vers…
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DZ-112: Breaking the 4th wall
31 juli 2024 · 1 uur 52 min
Listen to understand how breaking the 4th wall directly involves the audience in a character's emotional present. Lees meer
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 ("Top Five Breakups"), ABBOTT ELEMENTARY ("Attack Ad)") and - of course - FLEABAG.
By 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).
Separately, 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.
This 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.
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
LIKE THIS EPISODE?
Discuss with our Patrons on Patreon.
Watch and comment on YouTube.
Send us feedback.
Thanks to our Patrons, especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.
→ Read the transcript for this episode.
———
"She's trying to work herself out in some ways. Like it's the reason a lot of people write in their diary or self-talk or do have a running monologue or encourage that. Like she's trying to understand and explain herself and in doing so maybe hopefully help herself." — Mel Killingsworth …
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DZ-111: Unreliable Narrators and FIGHT CLUB
2 juli 2024 · 55 min
Listen to learn how unreliable narrators shape storytelling through voiceover, structure, and control. Lees meer
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.
We dissect the film'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.
Thanks to Chris Walker for his excellent editing this episode.
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
LIKE THIS EPISODE?
Discuss with our Patrons on Patreon.
Watch and comment on YouTube.
Send us feedback.
Thanks to our Patrons, especially Lily, Alexandre, Malay, Jennifer, Thomas, Paulo, Randy, Jesse, Sandra, Theis and Khrob.
→ Read the transcript for this episode.
———
"I mean, no wonder the manosphere jumped on this film, because it's all about men who don't take responsibility for their actions. And so they're like, that really resonates with me and how my life is not in my control, even though clearly Jack at this point has control over the entire narrative." — Stu Willis @ 00:34:44
———
CHAPTERS
00:00:01 – Cold Open
00:00:20 – FIGHT CLUB
00:07:23 – › Voiceover temporality and the narrator's point of origin
00:09:22 – › Sequence-by-sequence breakdown of structural antagonists
00:21:08 – › How voiceover stitches loose sequences into unified story
00:24:57 – Unreliable Narrators
00:28:02 – › Fourth wall breaks as audience antagonism
00:33:07 – › Narrator's control over story presentation
00:39:37 – › The projectionist sequence as meta-narrative device
00:44:40 – › Unreliable narration, sympathy, and character agenda
00:49:09 – Key Learnings & Wrap Up
00:54:07 – Many thanks to our Patrons!
FILMS
FIGHT…
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DZ-110: Voiceover
31 mei 2024 · 1 uur 41 min
Listen to explore how voiceover can set tone, reveal character, enhance empathy, and create tension. Lees meer
How can you use Voiceover without it feeling like a cheat?
In this episode, we finally delve into the world of VOICEOVERS (as part of our larger series exploring craft tools that allow characters & 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 & GAIN.
In 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.
Don’t forget to check out the Backmatter (to this episode) answering Patreon Abigail’s question —
"I'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."
Thanks to Chris Walker for his excellent editing this episode.
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
LIKE THIS EPISODE?
Discuss with our Patrons on Patreon.
Watch and comment on YouTube.
Send us feedback.
Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.
→ Read the transcript for this episode.
———
"The tone is huge in a noir show in particular. This is like a noir show set in high school. And the voiceover kicks that off and keeps it consistent all the way throughout." — Mel Killingsworth @ 00:10:33
———
CHAPTERS
00:00:00 – Cold Open
00:00:23 – Voiceover craft levers to pull
00:03:48 – VERONICA MARS (Pilot)
00:07:15 – › How voi…
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DZ-109: Talking DIRECTLY to your audience
1 mei 2024 · 1 uur 20 min
Listen if you've wondered what a character actually wants when they're talking directly to the audience!? Lees meer
What are the different ways a filmmaker can ask something of the audience?
Chas 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.
To this end, we identify 4 levers that can be pulled:
1. Diagetic to non-diagetic (in story world to outside story world) 2. Who is talking? From story-teller to a character 3. Whom are they talking to? Themselves or directly to the audience? 4. From when in time is the communication coming?
They then take these levers and ask a series of questions, including:
What 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
Thanks to Chris Walker for his excellent editing this episode.
As always: SPOILERS ABOUND and all copyright material used under fair use for educat…
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DZ-108: The Emotional Event with Judith Weston
31 maart 2024 · 1 uur 37 min
Listen to understand why a scene's power lives in what shifts between characters, not what happens to them. Lees meer
How and why should every scene have an emotional event?
For 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).
But 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.
Through 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.
For 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.
You can find Judith Weston (and her books!) at her website: https://judithweston.com/web/
Thanks to Chris Walker for his excellent editing this episode.
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
LIKE THIS EPISODE?
Discuss with our Patrons on Patreon.
Watch and comment on YouTube.
Send us feedback.
Thanks to our Patrons, especially Lily, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.
→ Read the transcript for this episode.
———
"I think they're both testing each other. I th…
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DZ-107: Establishing Tone through Character
29 februari 2024 · 1 uur 54 min
Listen if you want to understand how character actions and reactions shape a film's tone Lees meer
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.
We focus on the relationship between character & tone and how the writers of these films use dramatisation to create their unique tones. We talk minimalism vs maximalism, dialogue, character actions & reactions, emotional dynamic range, and rules of the world vs given circumstances.
Stu proposes a new triangle to help us understand the dials we as writers have to affect tone:
The given circumstances of the story,
How that effects character actions & reactions,
How the audience are told about those elements.
Thanks to Chris Walker for his excellent editing this episode.
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
LIKE THIS EPISODE?
Watch and comment on YouTube.
Send us feedback.
Thanks to our Patrons, especially Lily, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.
→ Read the transcript for this episode.
———
"Emily feels a rush of blood to the head. And the blood, to me, kind of connects it to the feral thing, right? Like it's just got a little bit of an animalistic quality to it in terms of the kind of language system they're using it." — Stu Willis @ 00:42:31
———
CHAPTERS
00:00:00 – Cold Open
00:00:23 – Tone & Character
00:03:21 – › The tone triangle: given circumstances, character reaction, audience feeling
00:09:38 – › Diegetic vs non-diegetic levers and the writer's control over tone
00:15:26 – Ladybird
00:18:43 – › How opening scenes encode a film's emotional range
00:22:37 – › Underplaying drama to teach audiences what to laugh at
00:29:42 – › How dialogue mechanics carry tonal ins…
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DZ-106: How do you know if you have enough story?
31 december 2023 · 1 uur 36 min
Listen you're not sure whether your idea has enough fuel for 90 pages. Lees meer
In this episode, Chas, Stu and Mel attempt to answer a listener question: “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're going to?”
Thus 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.
Is this backmatter? Or is it development tools? You decide! Hahaha.
Thanks so much to Chris Walker for his excellent editing on this episode!
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
LIKE THIS EPISODE?
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Send us feedback.
Thanks to our Patrons, especially Lily, Alexandre, Malay, Casimir, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.
→ Read the transcript for this episode.
———
"for me, that's actually in a lot of ways easier to write. You don't need to conclude anything. And you can hopefully if you sell it, then you get a room of people and then it's all of your problems, you know, as opposed to just your problem and you're banging your head up against the wall on page 80 going, Oh my God, what have have I done?" — Mel Killingsworth @ 00:05:41
———
CHAPTERS
00:00:00 – Cold Open
00:00:16 – The Listener Question: Do You Have Enough for a Feature?
00:00:30 – › Why features demand a known ending before you start
00:02:38 – Our Development Processes
00:05:20 – › Deciding format before asking if you have enough story
00:09:20 – › Narrative fuel as a concept and when to test it
00:13:42 – › Why the midpoint is the first structural tent pole to find
00:17:35 – › Cards,…
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DZ-105: Establishing Tone through Big Print
30 november 2023 · 2 uur 6 min
Listen if you want to use an unusual tone in your screenplay. Lees meer
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.
How does your script want your reader to experience violence in your story? Humour? Sex? Prejudice?
To 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.
Together 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.
Future episodes plan to explore establishing lighter or quirkier tones, as well as tools in shifting or changing tone on the page.
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
LIKE THIS EPISODE?
Watch and comment on YouTube.
Send us feedback.
Thanks to our Patrons, especially Lily, Alexandre, Malay, Casimir, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.
→ Read the transcript for this episode.
———
"He is writing our experience as the audience to us as we're reading it." — Chas Fisher @ 00:40:40
———
CHAPTERS
00:00:00 – Cold Open
00:00:32 – What is tone?
00:05:36 – › Tone defined through the rhetorical triangle
00:09:27 – › Teaching the audience the rules of tone
00:16:36 – › Word and narrative choices as tonal tools
00:25:00 – THE NICE GUYS
00:31:48 – › How Shane Black's prose style establishes tone on the page
00:39:39 – › Complicity, strangeness, and tonal shift within the opening scene
00:49:49 – › How repetition and rhythm sell comedy in action lines
00:55:07 – Sponsor: Arc Studio Pro
00:57:23 – THE BANSHEES OF INISHERIN
01:00:17 – › Surrealism, sparseness, an…
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DZ-104: Characters Alone - Dramatizing the Internal
1 november 2023 · 1 uur 30 min
Listen to understand how solitude reveals character interiority and deepens audience connection Lees meer
In this episode, we explore the audience's connection with characters through the lens of characters being alone.
Chas 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.
Thanks to Chris Walker for editing this episode.
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
LIKE THIS EPISODE?
Watch and comment on YouTube.
Send us feedback.
Thanks to our Patrons, especially Lily, Alexandre, Malay, Casimir, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.
→ Read the transcript for this episode.
———
"I've been for a long time trying to improve my ability to what I call dramatize the internal and I think this is a really good opportunity to do this." — Chas Fisher @ 00:01:43
———
CHAPTERS
00:00:02 – Cold Open
00:00:24 – Intro: Character's Alone
00:13:04 – AFTERSUN
00:16:28 – › Reading the rave interstitial scene aloud on the page
00:22:06 – › Balcony dancing scene: solitude framed through glass and white space
00:31:55 – Sponsor: Arc Studio Pro
00:34:16 – SENSE AND SENSIBILITY
00:40:13 – › Writing character interiority without unfilmables
00:48:51 – › Solitude as structural device: the teacup scene
00:53:02 – › Externalising emotion through environment and action
00:59:59 – THE EQUALIZER
01:03:30 – › Solitude as a window into character interiority
01:09:57 – › Close reading: how the opening alone scenes paint McCall's character
01:15:05 – › Decision-making moments and the cost of returning to violence
01:20:53 – › Button scenes and the aftermath of action on character
01…
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DZ-103: Game of the Scene 2 - Triangle of Sadness, The Favourite
1 oktober 2023 · 1 uur 43 min
Listen to understand how games force characters to interact and reveal themselves (through competency, decisions, and rule-breaking) Lees meer
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.
We 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.
Thanks to Chris Walker for editing this episode.
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
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Thanks to our Patrons, especially Lily, Alexandre, Casimir, Jennifer, Thomas, Garrett, Randy, Jesse, Sandra, Theis and Khrob.
→ Read the transcript for this episode.
———
"games are about a series of choices and relatedness is the way that they build interaction so you can see how that is actually really useful for characters because what you actually want to do is put your characters in a situation where they're competent enough to be challenged but you don't want them to be destroyed." — Stu Willis @ 00:09:50
———
CHAPTERS
00:00:00 – Cold Open
00:00:19 – Sponsor: ScriptUp
00:01:45 – Why Games Force Every Character to Play: Competence, Tactics, and Interrelatedness
00:05:09 – › Listener examples: rule-switching in THE PRINCESS BRIDE
00:07:18 – › Games as a character engagement tool: competence, autonomy, and relatedness
00:10:50 – TRIANGLE OF SADNESS (Parts 1 and 2)
00:14:21 – › The captain and Dimitri: ideology as a drinking game
00:20:12 – › How the game escalates entitlement into catastrophe
00:24:11 – › Carl and Yaya: win conditions …
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DZ-102: Game of the Scene - Bluey, John Wick 4
31 augustus 2023 · 1 uur 24 min
Listen to make your scene writing more dynamic (by looking at the underlying game) Lees meer
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.
This 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.
Thanks to Chris Walker for editing this episode.
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
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Send us feedback.
Thanks to our Patrons, especially Lily, Alexandre, Casimir, Jennifer, Thomas, Garrett, Randy, Jesse, Sandra, Theis and Khrob.
→ Read the transcript for this episode.
———
"So I think there's the referees, there's the arena, the victory conditions important and it leads into this other idea, speaking of board games, of like the path to victory." — Stu Willis @ 00:09:44
———
CHAPTERS
00:00:00 – Cold Open
00:00:18 – Sponsor: ScriptUp
00:01:52 – Intro: What do we mean by Game of the Scene?
00:15:06 – THE LIFE OF BRIAN: "WHAT HAVE THE ROMANS EVER DONE FOR US?"
00:20:03 – BLUEY
00:23:22 – › How the quiet game's rules create scene power dynamics
00:29:33 – › PHONES: learning the rules to change the game
00:35:08 – Sponsor: Arc Studio Pro
00:37:56 – JOHN WICK 4
00:43:16 – › Rules as the engine of satisfying action scenes
00:47:14 – › Scene breakdown: the Osaka Continental negotiation
00:56:14 – › Scene breakdown: poker table reveals who can break the rules
01:00:07 – › The staircase duel and adhering to rules as victory strategy
01:04:04 – › Scene breakdown: the church as a game of seeking peace
01:14:34 – Wrap Up & Key Learnings
01:17:41 – › Win conditions, character decisions, and the GOAT framework
01:22:17 – …
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DZ-101: Oners - Creating Immediacy & Anchoring Action on the Page
3 juli 2023 · 1 uur 23 min
Listen to understand how screenwriters direct the camera without calling shots. Lees meer
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.
We 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.
And we do this breakdown by closely reading the actual words on the page!
So thanks to Meegan May (of Starship Q Star) for performing the big print / action lines. Script Pages available on our Patreon -> https://www.patreon.com/posts/dz-99-scene-82312058
Thanks to Chris Walker for editing this episode.
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
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Send us feedback.
Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.
→ Read the transcript for this episode.
———
"You're meant to be swept along with this action. In Children of Men, the script's... just bang, bang, bang. You can almost tell that it's happening simultaneously because of the mini slugs, you know, in the road, in the car, outside, inside. It's all felt as one." — Mel Killingsworth @ 00:06:55
———
CHAPTERS
00:00:13 – Cold Open
00:00:23 – Sponsor: ScriptUp
00:01:58 – Directing from the Page: Writing the Feel of Camerawork
00:07:26 – › Writing camera direction versus writing the feeling of a shot
00:09:50 – BOURNE IDENTITY & HEREDITARY
00:13:15 – › Narrative purpose as the test for any oner
00:16:30 – GOODFELLAS
00:16:57 – › Excerpt: the Copacabana follow shot
00:18:22 – ›…
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DZ-100: Scenes through Swords
29 mei 2023 · 1 uur 1 min
Listen if you want to know why the distance between two characters matters more than what they say. Lees meer
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.
They 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.
You can find Damon Young here: https://www.damonyoung.com.au/
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
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Thanks to our Patrons, especially Alexandre, Casimir, Eduardo, Jennifer, Thomas, Garrett, Randy, Jesse, Sandra, Theis, Alex and Khrob.
→ Read the transcript for this episode.
———
"I'm really interested in crafts, in the way we move from little bits of knowledge that we have to work through painstakingly one step at a time to a more fluid knowledge that we can deploy on the fly, as it were." — Damon-Young @ 00:04:25
———
CHAPTERS
00:00:00 – Intro
00:02:45 – Interview with Damon Young
00:06:25 – › Distance and vulnerability between combatants and characters
00:19:19 – › Timing, kairos, and the perfectly placed strike in DEVIL WEARS PRADA
00:27:11 – › Adaptation versus fixation, the CLONE WARS duel as character revelation
00:40:51 – › Try-fail cycles, spent blades, and exhausted dramatic action
00:52:06 – › Asymmetry of vulnerability and unequal terms of engagement
00:59:19 – Thanks patreons!
FILMS
THE SIL…
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DZ-99: Scene Questions
1 mei 2023 · 1 uur 35 min
Listen if learn how to structure individual scenes through the questions you pose to your audience! Lees meer
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.
We 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 & DRAGONS: HONOUR AMONG THIEVES, and ANDOR.
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
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Thanks to our Patrons, especially Alexandre & Natalie, Casimir, Eduardo, Jennifer, Thomas, Garrett, Randy, Jesse, Sandra, Theis, Alex and Khrob..
→ Read the transcript for this episode.
———
CHAPTERS
00:00:00 – Cold Open
00:00:17 – ScriptUp Sponsorship
00:01:56 – What are Scene Questions?
00:16:30 – LOKI
00:23:24 – THE LAST CRUSADE
00:29:51 – › How filmmakers control audience attention by suppressing plot questions
00:33:03 – THE BOURNE SUPREMACY
00:38:40 – › Removing plot questions to surface character questions
00:43:21 – › Where character scenes appear in plot-driven structures
00:45:50 – QUEEN AND SLIM
00:49:19 – › How plot intervenes to escalate a character scene
00:56:31 – › Character revelation under pressure and the midpoint gun-draw turn
01:03:03 – DO THE RIGHT THING
01:06:15 – › Classifying scene questions: character, plot, or thematic
01:09:15 – › How directing and cinematography shape audience questions
01:12:09 – › Scene modulation: shifting from thematic to plot-driven tension
01:15:03 – Key Learnings & Wrap Up
01:20:23 – › Applying scene questions to pacing in a rewrite
01:28:23 – › Point of view shapes which questions a scene raises
01:29:09 – › When narra…
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DZ-98: Ensembles 3 - Character Function & Theme
31 maart 2023 · 2 uur 2 min
Listen if you're writing an ensemble storiy and want to understand how different characters serve different narrative and thematic functions! Lees meer
In Part 3 (the final part? Ha!) of our exploration into ensemble stories, Stu, Chas & Mel examine films whose genres do not conventionally require a ton of characters 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.
We 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.
Thanks to Chris Walker for editing this episode.
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
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Send us feedback.
Thanks to our Patrons, especially Alexandre, Casimir, Eduardo, Thomas, Jennifer, Garrett, Randy, Jesse, Sandra, Theis, Alex, Khrob, Thomas and Alexandre.
———
CHAPTERS
00:00:00 – Cold Open
00:01:35 – Intro: Character Function
00:08:43 – The Woman King
00:50:00 – Riders of Justice
01:20:36 – Nope
01:47:00 – Key Learnings & Wrap Up
01:59:06 – Many thanks to our Patreons
FILMS
THE WOMAN KING (2022) — (w) Maria Bello, Dana Stevens, Dana Stevens (d) Gina Prince Bythewood
RIDERS OF JUSTICE (2020) — (w) Anders Thomas Jensen
NOPE (2022) — (w) Jordan Peele
SCRIPTS
Study the script: THE WOMAN KING (2022) — Maria Bello, Dana Stevens, Dana Stevens
Study the script: NOPE (2022) — Jordan Peele
LINKS
Read: Mel on The Möbius Strip Storytelling of NOPE
Read: Mel on Riders of Justice: Tidings of Trauma and Joy
EPISODES IN THE ENSEMBLES SERIES
DZ-96: Ensembles 1 - What do we mean by an en…
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DZ-97: Ensembles 2 - Servicing Characters
28 februari 2023 · 2 uur 22 min
Listen if you're writing ensemble stories and want to discover tools for giving all your characters adimension Lees meer
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).
By 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.
Thanks to Chris Walker for editing this episode.
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
LIKE THIS EPISODE?
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Send us feedback.
Thanks to our Patrons, especially Casimir, Eduardo, Jennifer, Garrett, Randy, Jesse, Sandra, Theis, Alex and Khrob.
———
CHAPTERS
00:00:00 – Cold Open
00:01:46 – Intro: Servicing Characters
00:14:40 – Pitch Perfect
00:37:54 – Glass Onion
01:09:20 – Scream 5
01:32:17 – The Family Stone
02:13:22 – Key Learnings & Wrap Up
FILMS
PITCH PERFECT (2012) — (w) Kay Cannon, Mickey Rapkin (d) Jason Moore
GLASS ONION: A KNIVES OUT MYSTERY (2022) — (w) Rian Johnson
SCREAM (2022) — (w) James Vanderbilt, Guy Busick (d) Tyler Gillett, Matt Bettinelli Olpin
THE FAMILY STONE (2005) — (w) Thomas Bezucha
SCRIPTS
Study the script: PITCH PERFECT (2012) — Kay Cannon, Mickey Rapkin
Study the script: GLASS ONION: A KNIVES OUT MYSTERY (2022) — Rian Johnson
Study the script: SCREAM (2022) — James Vanderbilt, Guy Busick
EPISODES IN THE ENSEMBLES SERIES
DZ-96: Ensembles 1 - What do we mean by an ensemble?
DZ-97: Ensembles 2 - Servicing Characters
DZ-98: Ensembles 3 - Character Function & Theme
RELATED EPISODES
DZ-09: Characterising Introductions
DZ-43: Driving Sequences - Character and Plot Intensity
DZ-96: En…
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DZ-96: Ensembles 1 - What do we mean by an ensemble?
31 januari 2023 · 1 uur 16 min
Listen if you're working on a story with multiple protagonists and want to understand what makes an ensemble different from a single-protagonist narrative Lees meer
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?
As 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?
We 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. <3 Chris!
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
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Send us feedback.
Thanks to our Patrons, especially Casimir, Eduardo, Jennifer, Garrett, Bjorn, Randy, Jesse, Sandra, Theis and Alex and Khrob.
→ Read the transcript for this episode.
———
CHAPTERS
00:00:00 – Cold Open
00:00:09 – ScriptUp Sponsorship
00:00:48 – Intro to Ensembles: Series Scope and Episode Roadmap
00:04:17 – What Makes a Story an Ensemble?
00:07:40 – › Character interaction, not just character count, defines ensemble
00:11:39 – › Character questions and agendas as markers of individuation
00:17:09 – › How genre conventions shape ensemble versus single-protagonist focus
00:22:44 – › Structural rhythms of splitting and reassembling the group
00:26:51 – A Taxonomy of Ensemble Genres
00:29:57 – › Why heist films structu…
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DZ-95: Backmatter - Building and Maintenance
31 december 2022 · 1 uur 17 min
Listen listen to hear why first acts keep shrinking--and whether yours should too Lees meer
Time for our annual backmatter episode, where we drop any ruse of any objectivity, and fully embrace our subjective opinions!
In 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.
FYI 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!
Thanks to Chris Walker for editing this episode. <3 Chris!
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
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Thanks to our Patrons, especially Casimir, Eduardo, Jennifer, Garrett, Bjorn, Randy, Jesse, Sandra, Theis, Alex and Khrob.
→ Read the transcript for this episode.
———
CHAPTERS
00:00:09 – Cold Open
00:00:39 – What's Coming in 2023
00:05:56 – › Ensemble films and efficient character tools
00:10:28 – › Fictional podcasts and audio drama as minimum viable product
00:14:50 – › Monologues, rhetoric, and characters speaking to the audience
00:25:42 – Are First Acts Getting Shorter?
00:27:03 – › Streaming, audience patience, and the pressure on early pages
00:32:10 – › Cold opens, inciting incidents, and buying time for character
00:40:09 – Balancing New Projects Against Current Work
00:43:55 – › Cognitive load, burnout, and finding the space to write
00:48:05 – › Sunk cost, paid work, and protecting time for new material
00:49:48 – Maintaining Hope in a Fickle Industry
00:51:22 – › Action over optimism: hope as a process not a feeling
00:54:21 – Lessons from 2022
00:56:41 – ANDOR vs. OBI-WAN KENOBI
00:56:56 – › What Kenobi got right despite its problems
01:00:17 – › Plot a…
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DZ-94: Talismans (Part 2)
30 november 2022 · 2 uur 8 min
Listen to write objects that accumulate powerful meanings across your story and create unspoken emotional payoffs. Lees meer
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.
While 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.
Thanks to Chris Walker for editing this episode.
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
LIKE THIS EPISODE?
Send us feedback.
Thanks to our Patrons, especially Casimir, Eduardo, Jennifer, Garrett, Bjorn, Randy, Jesse, Sandra, Theis, Alex and Khrob.
———
CHAPTERS
00:00:00 – Intro
00:01:15 – Talismans (Part 1) Followup
00:08:37 – Forging a Talisman (The Beats)
00:23:22 – Thor: Love and Thunder
00:59:52 – Portrait of a Lady on Fire
01:32:39 – In the Mood for Love
01:59:39 – Key Learnings & Wrap Up
02:06:10 – Thanks to our Patreons
FILMS
THOR: LOVE AND THUNDER (2022) — (w) Taika Waititi, Jennifer Kaytin Robinson (d) Taika Waititi
PORTRAIT OF A LADY ON FIRE (2019) — (w) Celine Sciamma
IN THE MOOD FOR LOVE (2000) — (w) Wong Kar Wai, Liu Yichang (d) Wong Kar Wai
SHOT ZERO DEEP DIVES
PORTRAIT OF A LADY ON FIRE is a ghost story
PORTRAIT OF A LADY ON FIRE is a ghost story
LINKS
Read: Go Into The Story - Talismans
Read: Go Into The Story - Story Talismans
EPISODES IN THE TALISMANS SERIES
DZ-93: Talismans (Part 1)
DZ-94: Talismans (Part 2)
RELATED EPISODES
DZ-92: …
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DZ-93: Talismans (Part 1)
31 oktober 2022 · 1 uur 38 min
Listen to so you can write talismans that are powerful tools for accessing character! Lees meer
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.
In 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.
Examples 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.
Thanks to Chas Fisher & Chris Walker for editing this episode.
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
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Send us feedback.
Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.
———
CHAPTERS
00:00:00 – Intro
00:03:15 – Talismans in our own lives
00:08:41 – Scott Myer's definition of Talismans
00:18:58 – What are not Talismans?
00:21:48 – Wardrobe
00:28:26 – Talismans vs Characters
00:43:18 – Talismans vs MacGuffins
00:49:33 – Photos
00:53:53 – Jewellery
01:02:22 – Weapons & Tools
01:10:02 – Vehicles
01:12:03 – Letters & Journals
01:14:19 – Andor (Spoilers)
01:16:20 – Talismans and Rituals
01:24:14 – Wrap Up & Key Learnings
FILMS
THOR: LOVE AND THUNDER (2022) — (w) Taika Waititi, Jennifer Kaytin Robinson (d) Taika Waititi
IN THE MOOD FOR LOVE (2000) — (w) Wong Kar Wai, Liu Yichang (d) Won…
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DZ-92: Insightful Recognition in Powerful Endings
29 september 2022 · 1 uur 26 min
Listen if you want to write endings that make audiences pause and ponder (in a good way, obvs) Lees meer
Stu & 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).
But 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.
Thanks to Chris Walker for editing this episode.
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
LIKE THIS EPISODE?
Send us feedback.
Thanks to our Patrons, especially Malay, Casimir, Eduardo, Jennifer, Garrett, Bjorn, Randy, Jesse, Sandra, Theis, Alex and Khrob.
———
CHAPTERS
00:00:00 – Intro
00:00:48 – Insightful recognition in endings
00:03:39 – What the hell is "anagnorisis"?
00:12:04 – LA LA LAND
00:30:45 – INCEPTION
00:35:14 – NO COUNTRY FOR OLD MEN
01:00:04 – TURNING RED
01:18:18 – Wrap up & Key Learnings
01:24:26 – Thanks patreons!
FILMS
LA LA LAND (2016) — (w) Damien Chazelle
INCEPTION (2010) — (w) Christopher Nolan
NO COUNTRY FOR OLD MEN (2007) — (w) Cormac Mccarthy, Ethan Coen, Joel Coen (d) Joel Coen, Ethan Coen
TURNING RED (2022) — (w) Domee Shi, Domee Shi, Julia Cho, Julia Cho, Sarah Streicher (d) Domee Shi
SCRIPTS
Study the script: LA LA LAND (2016) — Damien Chazelle
Study the script: INCEPTION (2010) — Christopher Nolan
Study the script: NO COUNTRY FOR OLD MEN (2007) — Cormac Mccarthy, Ethan Coen, Joel Coen
LINKS
… -
DZ-91: Raising (different kinds of) Stakes
31 augustus 2022 · 2 uur 20 min
Listen listen if you're writing a biopic or any story where the audience already knows how it ends. Lees meer
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?
To 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.
Thanks to Chris Walker for editing this episode.
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
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Send us feedback.
Thanks to our Patrons, especially Malay, Casimir, Eduardo, Jennifer, Leigh, Garrett, Bjorn, Randy, Jesse, Sandra, Theis, Alex and Khrob.
———
CHAPTERS
00:00:00 – Intro
00:04:41 – What even are stakes?
00:24:26 – Hidden Figures
01:00:46 – Downfall
01:33:38 – Bright Star
02:10:33 – Key Learnings
02:18:57 – Thanks Patreons!
FILMS
HIDDEN FIGURES (2016) — (w) Allison Schroeder, Theodore Melfi (d) Theodore Melfi
DOWNFALL (2004) — (w) Bernd Eichinger (d) Oliver Hirschbiegel
BRIGHT STAR (2009) — (w) Jane Campion, Andrew Motion (d) Jane Campion
SCRIPTS
Study the script: HIDDEN FIGURES (2016) — Allison Schroeder, Theodore Melfi
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More Draft Zero is brought to you by our awesome Patreons.
If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.
We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.
Full show notes at: https://draft-zero.com/2022/dz-91/
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DZ-90: Setups & Payoffs in EVERYTHING EVERYWHERE ALL AT ONCE
27 juli 2022 · 1 uur 31 min
Listen to understand how setups, payoffs, and reversals create narrative cohesion even when your story is fkn bonkers. Lees meer
In this one-shot, Chas and Stu jump into the utter chaos of EVERYTHING EVERYWHERE ALL AT ONCE. Y'know, nultiverses, butt-plug action sequences, hot-dog fingers, a raccoon chef, a nihilist bagel. All the good stuff. And yet it lands emotionally in a way that feels inevitable.
So of-course we break it down in a masterclass in setups and payoffs — specifically, how payoffs do two jobs at once: they reward the audience for paying attention, and they stitch what would otherwise be an episodic swirl into something that feels like a single, coherent whole.
The framework we land on has three parts (with debt to William Dunn):
Pointers — setups the audience is meant to notice. They point forward and create tension or expectation.
Plants — setups you only understand in hindsight. The joyful surprise of oh, that's where that came from.
Stitches (or underpinnings) — a third category: connective tissue that was never meant to be noticed at all. It just makes the fabric hold.
From there, we deep dive down how EEAAO earns all three. Raccacoonie starts as a throwaway joke, then appears as a half-visible visual seed, then tracks Evelyn's relationship arc across three separate beats. The opening 13 minutes crams in more setups than you register on first watch — and then we talk about why that invisibility is the craft. And the ending turns out to be a payoff for something planted in the very first scene of the film.
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.
We also tackle the film's macro structure: the midpoint reversal where the mission shifts from defeating to saving Joy, the competing philosophical stakes (nihilism versus kindness, but more precisely, contro…
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DZ-89: Opening Sequences
31 mei 2022 · 1 uur 48 min
Listen if you want to understand how great opening sequences establish character, genre, and theme while defying genre conventions Lees meer
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?
In 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.
Thanks to Chris Walker for editing this episode.
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
LIKE THIS EPISODE?
Send us feedback.
Thanks to our Patrons, especially Casimir, Lloyd, Eduardo, Jennifer, Leigh, Thomas, Garrett, Bjorn, Randy, Jesse, Sandra, Alex and Khrob.
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CHAPTERS
00:00:56 – Intro
00:12:04 – Ocean's Eleven
00:30:26 – Long Shot
01:01:32 – Arrival
01:22:22 – A Serious Man
01:41:17 – Wrap Up
01:46:47 – Patreon thanks
FILMS
OCEAN'S ELEVEN (2001) — (w) Ted Griffin (d) Steven Soderbergh
LONG SHOT (2019) — (w) Dan Sterling, Liz Hannah, Dan Sterling (d) Jonathan Levine
ARRIVAL (2016) — (w) Eric Heisserer (d) Denis Villeneuve
A SERIOUS MAN (2009) — (w) Joel Coen, Ethan Coen
SCRIPTS
Study the script: OCEAN'S ELEVEN (2001) — Ted Griffin
Study the script: ARRIVAL (2016) — Eric Heisserer
Study the script: A SERIOUS MAN (2009) — Joel Coen, Ethan Coen
LINKS
Read: What Lies West
EPISODES IN THE SEQUENCES SERIES
DZ-43: Driving Sequences - Character and Plot Intensity
DZ-54: Thematic Sequences
DZ-89: Opening Sequences
RELATED EPISODES
DZ-15: World Building Rules, Okay?
DZ-43: Driving Sequences - Character and Plot Intensity
DZ-44: …
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DZ-88: Drama in Genre clothing
1 mei 2022 · 2 uur 7 min
Listen if you're writing a genre film but sense your story wants to become something else entirely. Lees meer
Stu and Chas reunite with TV writer & 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 "Genre in the streets, Drama in the sheets".
Together, 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.
Thanks to Chris Walker for editing this episode.
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
LIKE THIS EPISODE?
Send us feedback.
Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.
———
CHAPTERS
00:00:01 – Intro
00:00:56 – Drama in Genre Clothing
00:02:21 – Sam Elliot on Power of the Dog
00:03:19 – Lessons from Keeping Genre Fresh
00:08:14 – Hustlers
00:43:58 – Pig
01:16:24 – The Power of the Dog
01:55:02 – Key Learnings and Wrap Up
FILMS
HUSTLERS (2019) — (w) Lorene Scafaria
PIG (2021) — (w) Michael Sarnoski, Michael Sarnoski, Vanessa Block (d) Michael Sarnoski
THE POWER OF THE DOG (2021) — (w) Jane Campion, Thomas Savage (d) Jane Campion
SCRIPTS
Study the script: HUSTLERS (2019) — Lorene Scafaria
Study the script: THE POWER OF THE DOG (2021) — Jane Campion, Thomas Savage
LINKS
Website: Kodie Bedford: Breaking down characters and worlds
EPISODES IN THE TWISTING GENRE SERIES
DZ-87: Keeping Genre Fresh
DZ-88: Drama in Genre clothing
RELATED EPISODES
DZ-87: Keeping Genre Fresh
———
More Draft Zero is brought to you by our awesome Patreons.
If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.
We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @dr…
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DZ-87: Keeping Genre Fresh
28 maart 2022 · 2 uur 13 min
Listen when you're writing within a genre but terrified you'll deliver something your audience has already seen. Lees meer
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.
The 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.
Thanks to Chris for editing this episode.
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
LIKE THIS EPISODE?
Send us feedback.
Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.
———
CHAPTERS
00:00:57 – Intro: Keeping Genre Fresh
00:03:10 – What is Genre?
00:16:30 – Get Out
00:45:10 – Promising Young Woman
01:25:08 – The Invisible Man
01:59:18 – Wrap Up
02:11:44 – Thanks to our Patreons!
FILMS
GET OUT (2017) — (w) Jordan Peele
PROMISING YOUNG WOMAN (2020) — (w) Emerald Fennell
THE INVISIBLE MAN (2020) — (w) Leigh Whannell, H G Wells, Leigh Whannell (d) Leigh Whannell
SCRIPTS
Study the script: GET OUT (2017) — Jordan Peele
Study the script: PROMISING YOUNG WOMAN (2020) — Emerald Fennell
SHOT ZERO DEEP DIVES
Perp & Victim 2: Opening Kills in Horror (2000s+)
LINKS
Website: Kodie Bedford: Breaking down characters and worlds
EPISODES IN THE TWISTING GENRE SERIES
DZ-87: Keeping Genre Fresh
DZ-88: Drama in Genre clothing
RELATED EPISODES
DZ-54: Thematic Sequences
DZ-68: Using POV to structure KNIVES OUT
DZ-69: PARASITE & Audience Questions
———
More Draft Zero is brought to you by our awesome Patreons.
If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.
We…
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DZ-86: Backmatter - Minimum Viable Product
1 februari 2022 · 1 uur 30 min
Listen for screenwriting lessons from 2021, strategies for pitching projects, and insights on running a writers workshop Lees meer
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.
In this Backmatter entry, they go deep on: future episode topics; their screenwriting lessons from 2021 (especially on control); pitching projects; the minimum viable product & minimum loveable thing; and share their exper iences with running a writers workshop/group.
There 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.
Thanks to Chris Walker for editing this episode.
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
LIKE THIS EPISODE?
Send us feedback.
Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.
———
CHAPTERS
00:00:00 – Intro: Backmatter
00:03:02 – Looking Forward - Episode Ideas
00:19:40 – Looking Back - Screenwriting Lessons
00:49:46 – Looking Now - Processes
01:28:26 – Outro
FILMS
DIE HARD (1988) — (w) Roderick Thorp, Jeb Stuart, Steven E De Souza (d) John Mctiernan
SCRIPTS
Study the script: DIE HARD (1988) — Roderick Thorp, Jeb Stuart, Steven E De Souza
SHOT ZERO DEEP DIVES
DIE HARD: integrating inserts in the action
Character Introductions 002: Hans Gruber
EPISODES IN THE BACKMATTER SERIES
DZ-17: Where's my gold-plated ensuite?
DZ-36: Backmatter - Time Risk and Fixing Movies
DZ-47: Backmatter - A Lost Jedi, White Knighting, and Writers-On-Set
DZ-57: Backmatter - Aesthetics and Forgiveness in Writing
DZ-64: Backmatter - Controlling your Work, Treatments, and Writing Styles
DZ-77: Backmatter - Prioritising and choosing projects
DZ-86: Backmatter - Minimum Viable Product
DZ-95: Backmatter - Building and Mainten…
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DZ-85: Choices & Decisions 2 - The Farewell & Wrath of Man
17 november 2021 · 1 uur 49 min
Listen when you want to show a character refusing to change despite every opportunity to do so. Lees meer
In our second part of our “series” on Choices & Decisions, we take a deep dive into THE FAREWELL and WRATH OF MAN, with a sidebar on NOMADLAND.
In THE FAREWELL, we consider how the choice/decision to lie underpins every sene of the film (to great effect).
In NOMADLAND, we consider how using choice and decision is a great way to show how a character doesn’t change.
And 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.
The terminology we settled on in Part 1 was:
CHOICE: 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.
As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.
LIKE THIS EPISODE?
Send us feedback.
Thanks to our Patrons, especially Thomas, Garrett, Bjorn, Randy, Jesse, Theis, Sandra and Khrob.
———
CHAPTERS
00:00:00 – Intro
00:01:38 – Decisions & Choices Recap
00:03:41 – The Farewell
00:28:58 – Nomadland
00:37:39 – Wrath of Man
01:36:54 – Wrap Up & Key Learnings
01:45:06 – Backmatter
FILMS
THE FAREWELL (2019) — (w) Lulu Wang
WRATH OF MAN (2021) — (w) Ivan Atkinson, Marn Davies, Guy Ritchie (d) Guy Ritchie
NOMADLAND (2021) — (w) Chloe Zhao
SCRIPTS
Study the script: THE FAREWELL (2019) — Lulu Wang
Study the script: NOMADLAND (2021) — Chloe Zhao
SHOT ZERO DEEP DIVES
Editing as Imperfect Memory in THE FAREWELL
LINKS
Read: Damon Young
Read:
EPISODES IN THE CHOICES AND DECISIONS SERIES
DZ-84: Choices & Decisions 1 - Booksmart
DZ-85: Choices & Decisions 2 - The Farewell & Wrath of Man
RELATED EPISODES
DZ-34: Game of Choices - Decision Making and Character I…