Draft Zero: a screenwriting podcast

How can you apply horror ideas to action and comedy? 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. CHAPTERS 00:00:12 - Escalating Antagonism Part 2 00:03:29 - Rebel Ridge 00:45:30 - Meet the Parents 01:30:29 - Key Learnings & Wrap Up 01:41:38 - Thanks to our Patreons RELATED EPISODES DZ-121: Escalating Antagonism DZ-49: Antagonists! (Part 1) - vs Humans LINKS Kim Ho on IMBD Mothership The Philosophy of Final Destination by the Morbid Zoo The Philosophy of Horror by Noel Carroll GinnyDI: “This Game used 5 steps to scare the crap out of me” - https://youtube.com/watch?v=AUXc8hjaBQw 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 via Substack  

How do the antagonistic forces in your story escalate distinctly from the protagonists’ journey? 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 our next episode 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. CHAPTERS 00:00:18 – What is TOMBS? 00:31:04 – SINNERS 01:17:51 – Key learnings & wrap up 01:23:51 – Patreon thanks RELATED EPISODES DZ-49: Antagonists! (Part 1) - vs Humans LINKS Kim Ho on IMBD Mothership The Philosophy of Final Destination by the Morbid Zoo The Philosophy of Horror by Noel Carroll 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 via Substack

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+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 INGLORIOUS BASTARDS (both known for their subtext) and the “new years” sequence from THE SUBSTANCE. Inevitably discussion also terms to the relationship of subtext to emotional truth, theme, symbolism, dramatic irony and filmmakers subtext (?!). As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes. CHAPTERS 00:00:20 - Intro: What is Subtext? 00:00:21 - Cold Open 00:18:59 - Michael Clayton 00:42:59 - Inglorious Basterds 01:13:48 - The Substance 01:46:13 - Wrap up & Key Learnings RELATED EPISODES DZ-40: Tactics and Scenes DZ-108: The Emotional Event with Judith Weston DZ-119: Final character choices & great endings LINKS The New Literalism Plaguing Today’s Biggest Movies: https://www.newyorker.com/culture/critics-notebook/the-new-literalism-plaguing-todays-biggest-movies Emotional Truth Over Subtext: Unlocking Compelling Scenes in Your Screenwriting: https://blog.storyandplot.com/why-subtext-is-overrated-8502a501aff8 Story and Plot - https://storyandplot.com/ Raising the Stakes - “What is subtext?”: https://www.youtube.com/watch?v=F-jILeLdfEw 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. BUY DRAFT ZERO MERCH via TeePublic SUBSCRIBE TO SHOT ZERO via Substack

How does your protagonist’s final choice resolve the plot, character arc and theme? 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, 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.  CHAPTERS 00:00:00 - Opening 00:00:18 - Why Final Choices? 00:10:45 - DUNGEONS & DRAGONS: HONOR AMONG THIEVES 00:19:09 - FINDING NEMO 00:28:45 - MICHAEL CLAYTON 00:53:11 - PROMISING YOUNG WOMAN 01:16:38 - TALK TO ME 01:41:45 - Key Learnings 01:50:13 - Thanks awesome patreons! RELATED EPISODES DZ-04: Catharsis and the Poist-coital Cigarette DZ-84: Choices & Decisions DZ-87: Keeping Genre Fresh DZ-33: Protagonist vs Hero DZ-58: Game of Thrones - Character Exposition DZ-34: Game of Choices LINKS MICHAEL CLAYTON by Tony Gilroy PROMISING YOUNG WOMAN by Emerald Fennell TALK TO ME by Danny Philippou & Bills Hinzman based on a concept by Daley Pearson Michael Arndt: What makes an insanely good ending Every Frame a Painting: Snowpiercer - Look Left or Right   RELATED EPISODES DZ-04: Catharsis and the Poist-coital Cigarette DZ-84: Choices & Decisions DZ-87: Keeping Genre Fresh DZ-33: Protagonist vs Hero DZ-58: Game of Thrones - Character Exposition DZ-34: Game of Choices 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. BUY DRAFT ZERO MERCH via TeePublic SUBSCRIBE TO SHOT ZERO via Substack

How do dramatic questions create tension?  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. CHAPTERS 00:00:00 - Cold Open 00:00:10 - Why Adolescence? 00:09:32 - Episode One 00:32:03 - Episode Two 00:46:59 - Episode Three 00:57:47 - Episode Four 01:19:19 - Melodrama 01:23:32 - Scene-level tools 01:52:57 - Key Learnings & Wrap Up 01:58:33 - Thanks to our Patreons RELATED EPISODES DZ-67: Writing “Passive” Protagonists & Melodrama DZ-108: The Emotional Event with Judith Weston DZ-101: Oners - Creating Immediacy & Anchoring Action on the Page DZ-70: Joker & Melodrama LINKS Watch: Crafting Adolescence's Tense One-Take Episodes with Stephen Graham | BAFTA Watch: The Making Of Adolescence - The One-Shot Explained | Netflix 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. BUY DRAFT ZERO MERCH via TeePublic SUBSCRIBE TO SHOT ZERO via Substack

How can we teach our audience new storytelling rules in the middle of our story? 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. 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 RELATED EPISODES: DZ-105: Establishing tone through big print DZ-107: Establishing tone through character LINKS: Every frame a painting – Edgar Wright – How to do visual comedy SHAUN OF THE DEAD - Edgar Wright & Simon Pegg SORRY TO BOTHER YOU -  Boots Riley SWISS ARMY MAN - Daniels 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.   BUY DRAFT ZERO MERCH via TeePublic SUBSCRIBE TO SHOT ZERO via Substack   

How do you make extended technical scenes funny on the page? 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. As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes. CHAPTERS 00:00:00 – Cold Open 00:00:19 – What physical comedy scenes are we looking at? 00:10:27 - BRINGING UP BABY 00:31:44 - Thank you Arc Studio Pro! 00:34:34 - HAPPY ENDINGS pilot 00:58:15 - BRIDESMAIDS 01:27:31 - Key learnings and wrap up 01:33:56 - Patreon thanks RELATED EPISODES: DZ-16: Masters of Time and Whitespace Shot Zero - Why is Ryan Gosling so funny? Shot Zero - How is oner from GAME NIGHT so seamless? LINKS: Every frame a painting - Edgar Wright - How to do visual comedy GAME NIGHT by Mark Perez BRINGING UP BABY by Hagar Wilde and Dudley Nichols HAPPY ENDINGS Pilot by David Caspe BRIDESMAIDS by Annie Mumulo and Kristen Wiig This episode brought to you by (drum roll) ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription! And how can we forget 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. BUY DRAFT ZERO MERCH via TeePublic SUBSCRIBE TO SHOT ZERO via Substack

What magic do Christmas movies use to make them so rewatchable? 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! As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes. Thanks to Chris Walker for his excellent editing this episode. 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 Studio Pro 01:06:30 – It’s A Wonderful Life 01:48:37 – Key Learnings & Wrap Up 01:51:03 – On Nostalgia 01:54:28 – Many thanks to our Patreons This episode brought to you by (drum roll) ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription! And how can we forget 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. BUY DRAFT ZERO MERCH via TeePublic SUBSCRIBE TO SHOT ZERO via Substack

How does ending your story on the climax affect audience experience? 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 exploration into choices and decisions (and hopefully serving as a prelude to our episode on Hero’s Choice), 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. As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes. CHAPTERS 00:00:00 - Cold Open 00:00:24 - The ending of CHALLENGERS 00:14:51 - Can one action line change the entire meaning of a film? 00:39:41 - Arc Studio Pro 00:42:29 - The effect of giving characters decisions 00:52:10 - Meta subtext 00:53:53 - Choices, feelings and theme 01:06:03 - Ending on the climax 01:09:27 - Key Learnings 01:15:59 - Patreon thanks RELATED EPISODES DZ-113: Tools for filmmakers to talk to the audience DZ-84: Choices & Decisions DZ-111: Unreliable Narrators and Fight Club LINKS CHALLENGERS screenplay How that crazy final tennis ball POV tumbling scene in CHALLENGERS was made Challengers ending explained: Screenwriter Justin Kuritzkes on that epic final scene This episode brought to you by (drum roll) ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription! And how can we forget 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. BUY DRAFT ZERO MERCH via TeePublic SUBSCRIBE TO SHOT ZERO via Substack

What tools help ensure that you as the filmmaker are not misunderstood? 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 how “in the story world” the communication from the filmmakers is. Ultimately, in exploring these three power films through this lens, we discover that these tools give filmmakers more control in conveying their theme. Quelle surprise. As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes. Thanks to Chris Walker for his excellent editing this episode. CHAPTERS 00:00:00 - Cold Open 00:00:28 - The Meta of Meta 00:11:01 - Adaptation 00:36:43 - Sponsor: Arc Studio Pro 00:39:40 - Adaption (Part 2) 00:42:23 - Stories We Tell 01:12:13 - The Forty Year Old Version 01:48:14 - Wrap Up & Key Learnings 02:01:24 - Many thanks to our Patreons <3 RELATED EPISODES DZ-53: Antagonists! 5 - vs Audience DZ-109: Talking DIRECTLY to your audience DZ-110: Voiceover DZ-111: Unreliable Narrators and Fight Club  DZ-112: Breaking the Fourth Wall This episode brought to you by (drum roll) ArcStudio: go to https://www.arcstudiopro.com/draftzero for $30 off a pro subscription! And how can we forget 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. BUY DRAFT ZERO MERCH via TeePublic SUBSCRIBE TO SHOT ZERO via Substack