Draft Zero: a screenwriting podcast

What changes in your story if your antagonistic forces can’t be bargained with? In this Part Three of our Five Part Epic Exploration™ into antagonistic forces (and sources of conflict), Chas & Stu explore “nature” antagonists, including some supernatural ones. What became clear in doing the homework (and recording this episode twice) was that the antagonistic forces - whether natural or supernatural - presented different narrative challenges to the protagonists if (a) they did not seem to make choices and (b) could not be bargained with or defeated. And so we embarked upon ALL IS LOST, THE GREY and CONTAGION — with special mentions of THE VVITCH, WORLD WAR Z, ZOMBIELAND, ANNIHILATION, ALIEN, ALIENS and probably some others we’ve forgotten.    Stu elaborates on his distinction between obstacles and pressure; Chas riffs on how nature antagonists can mirror the protagonist and reinforce theme; and they both explore the effect on protagonists who are pushed to their limits by antagonists that cannot be reasoned with. As always: SPOILERS ABOUND! Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. Watch it on on YouTube. Transcripts on GitHub and Special thanks to our Patreon supporters. If you would like more Draft Zero episodes more often, click here!   EPISODES LINKS DRAFT ZERO RELATED EPISODES DZ-49: Antagonists! (Part 1) – vs Humans DZ-50: Antagonists! (Part 2) – vs Self INTRODUCTION: vs Nature Watch: The Terminator Will Not Stop Read (on Education and Thwarting): A Letter from David Mamet to the Writers of The Unit ALL IS LOST w & d: J C CHANDOUR [@ 13m 54s] Watch: Our Man Thrown Overboard JustWatch: https://www.justwatch.com/us/movie/all-is-lost THE GREY w: Joe Carnahan and Ian Mackenzie Jeffers [@ 34m 13s] Watch: Wolf Stand Off Watch: Ottway vs Diaz JustWatch: https://www.justwatch.com/us/movie/the-grey CONTAGION w: Scott Z Burns [@ 1 hr 1m 05s] Watch: Mitch & Joy at the Supermarket JustWatch: https://www.justwatch.com/us/movie/contagion VS SUPERNATURAL [@ 1 hr 37m 14s] THE VVITCH w&d: Robert Eggers [@1 hr 40m 28s] Watch: The Witch Ending JustWatch: https://www.justwatch.com/us/movie/the-witch-2016 WRAP UP AND LEARNINGS [@ 1 hr 46 m 36s] Watch: Terminator - Interrogation Scene Please send feedback to ask at draft-zero.com, via our web form or twitter @draft_zero! We are @chasffisher  and @stuwillis on twitter. Please considering rating or subscribing to us on Apple Podcast! or sharing us on the Social Medias! We like finding new listeners. Many thanks to Sandra, Paul, Rob, Christopher, Joakim and Khrob for being top-level patrons. They’re good humans.

How can characters be their own antagonist? In Part Two of our Five Part Epic Exploration™ into antagonists, Chas & Stu take a look at "vs self" stories. Stories where the protagonist (or main character) serves as their own antagonist as well as the antagonist for those around them. It took us a long time to settle on our homework, but we ended up exploring LITTLE MISS SUNSHINE, SHAME, and MONSTER. Our discussion continues in backmatter with MINDHUNTER and STEVE JOBS. As a result of our exploration, we manage to get a better understanding of our 'thesu' on: internal vs external change; obstacles and pressure; stories without singular antagonists; and how it really is the antagonistic forces that carve out the protagonist’s journey. As always: SPOILERS ABOUND! Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. Watch it on on YouTube. Special thanks to our Patreon supporters. If you would like more Draft Zero episodes more often, click here! EPISODES LINKS DRAFT ZERO RELATED EPISODES DZ-49: Antagonists! (Part 1) – vs Humans DZ-44: Marvel, First Acts and Establishing Characters DZ-43: Driving Sequences – Character and Plot Intensity LITTLE MISS SUNSHINE w: Michael Arndt [@ 5m 15s] JustWatch: https://www.justwatch.com/us/movie/miss-sunshine SHAME w: Steve McQueen and Abi Morgan [@ 25m 10s] JustWatch: https://www.justwatch.com/us/movie/shame MONSTER w&d: Patty Jenkins [@ 53m 53s] JustWatch: https://www.justwatch.com/us/movie/monster WRAP UP [@ 1 hr 20m 10s] MINDHUNTER created by Joe Penhall [@ 1hr 33m 40s] JustWatch: https://www.justwatch.com/us/tv-show/mindhunter STEVE JOBS screenplay: Aaron Sorkin [@ 1hr 42 min 20s] JustWatch: https://www.justwatch.com/us/movie/steve-jobs Please send feedback to ask at draft-zero.com, via our web form or twitter @draft_zero! We are @chasffisher  and @stuwillis  on twitter. Please considering rating or subscribing to us on Apple Podcast! or sharing us on the Social Medias! We like finding new listeners. Many thanks to Sandra, Paul, Rob, Christopher, Joakim and Khrob for being top-level patrons. They're good humans. Read the (hilarious) computer transcript here: http://draft-zero.com/transcripts/dz-50/ — or edit on GitHub: https://github.com/Draft-Zero-Podcast/dz-transcripts/blob/master/DZ-50.vtt

What makes a strong human antagonist? Prompted by a listener (and patron of the podcast) question, Stu and Chas dive into antagonistic forces. And because Draft Zero does not do anything by halves, this is Part One of a Five Part Epic Exploration™ into antagonists; namely: vs humans, vs self, vs nature/supernatural, vs systems and “other”. aka the classic narrative conflicts. For this “vs humans” part, we chose to look at DIE HARD, MISERY and THREE BILLBOARDS OUTSIDE OF EBBING, MISSOURI (with special mentions to THE DARK KNIGHT, LA LA LAND and - of course - STAR WARS). In particular, we look at some classical villains, internal vs external antagonists, and how antagonists and protagonists can swap roles over a scene or a sequence. As always: SPOILERS ABOUND Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. Special thanks to our Patreon supporters. If you would like more Draft Zero episodes more often, click here! EPISODES LINKS DRAFT ZERO RELATED EPISODES DZ-43: Driving Sequences – Character and Plot Intensity DZ-35: Driving Characters or Character Driven? ANTAGONISTS OVERVIEW READ: https://en.wikipedia.org/wiki/Boss_(video_gaming) READ: Different kinds of antagonistic forces? (for draft zero episode) READ: How can I create meaningful conflict for my characters without a physical antagonist? READ: There was a post the other day about making villains 'deep', I got distracted/carried away with my comment but thought it might be fun to still discuss it. WATCH: Movie Villains Done Right DIE HARD screenplay: Jeb Stuart and Steven E. de Souza [@ 12m 27s] JustWatch: https://www.justwatch.com/us/movie/die-hard-1 MISERY screenplay: William Goldman [@ 24m 25s] JustWatch: https://www.justwatch.com/us/movie/misery-stephen-king THE DARK KNIGHT story: Christopher Nolan & David S. Goyer screenplay: Jonathan Nolan & Christopher Nolan [@ 40m 12s] WATCH: The Dark Knight — Creating the Ultimate Antagonist JustWatch: https://www.justwatch.com/us/movie/batman-the-dark-knight THREE BILLBOARDS OUTSIDE OF EBBING, MISSOURI w&d: Martin McDonagh [@ 45m 32s] JustWatch: https://www.justwatch.com/us/movie/three-billboards-outside-ebbing-missouri LA LA LAND w&d: Damien Chazelle [@ 1hr 11m 30s] JustWatch: https://www.justwatch.com/us/movie/la-la-land WRAP UP [@ 1hr 14m 33s] Please send feedback to ask at draft-zero.com, via our web form or twitter @draft_zero! We are @chasffisher  @stuwillis and @csmcmullen on twitter. Please considering rating or subscribing to us on Apple Podcast! or sharing us on the Social Medias! We like finding new listeners. Many thanks to Sandra, Paul, Rob, Christopher,  Joakim and Khrob for being top-level patrons. They're good human antagonists.

Can your characters be given choices and yet still be deprived of agency? To kick off 2018, Chas and Stu take a deep dive into one of their favourite movies of 2017: Blade Runner 2049. However, they abstained from “Fox News-ing this shit” by being joined by the most accomplished screenwriter they know, C.S. McMullen (Blood List 2017, Black List 2017, also a lover of Blade Runner 2049). For a film that is thematically about choice, Stu and Chas thought this would be an excellent opportunity to explore how characters can be dramatised through binary choices.  And yet, CS opened their eyes to the idea that characters can still be given choices without having agency. Without having choice in their choices. Not having choices that lead to different outcomes. It is perhaps the lack of agency (rather than the lack of choice) that lead to some of the troubling depiction of women and minorities in Blade Runner 2049, which our intrepid hosts explore in detail. As always: SPOILERS ABOUND Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. Special thanks to our Patreon supporters. If you would like more Draft Zero episodes more often, click here! EPISODES LINKS DRAFT ZERO RELATED EPISODES DZ-20: Writing Strong Secondary Characters – Trinity, Bechdel and a Bamboo Killer DZ-41: Theme and Worldview DZ-42: One-Shot - Split, Character Worldview & Macro POV BLADE RUNNER 2049 s: Hampton Fancher w: Hampton Fancher and Michael Green [@ 2m 29s] Find: C.S. McMullen JustWatch: Blade Runner 2049 Watch: Blade Runner 2049 - Alternate Trailer Blu-Ray (Fan-made) Read: Blade Runner 2049 Script Watch: Black Out 2022 Watch: 2048 - Nowhere to Run Watch: 2036: Nexus Dawn Short WALLACE AND LUV [@ 10m 33s] Watch: Replicant "Birth" Full Scene Watch: K. fights Sapper Morton - "You've never seen a miracle" Watch: Officer K meets Luv K AND HIS MISSION [@ 26m 18s] Watch: "The world is built on a wall" Watch: Baseline Tests K AND JOI [@ 30m 19s] Watch: Joi Virtual Girlfriend Scene Watch: Joi Rain Scene Watch: Joi "You Look Lonely" K'S CHOICES AND HIS ARC [@ 36m 00s] Watch: DNA Searching Scene Watch: Officer K shares his memory with Joshi Watch: Officer K and Joi and Marietta DECKARD AND THE LAS VEGAS SEQUENCE [@ 47m 34s] Watch: Ruins of Las Vegas Watch: Deckard & K share a drink LUV AND JOSHI [ @ 58m 26s] Watch:  "WHERE IS HE" Scene (Luv confronts Joshi) K'S HERO CHOICE [@ 1h 01m 52s] K AND LUV [@ 1h 04m 45s] Watch: K vs Luv Scene TEARS IN THE SNOW [@ 1h 10m 57s] Watch: Ending Scene DEPICTION OF WOMEN AND MINORITIES [@ 1h 19m 24s] Read: The Conversation -  Blade Runner’s problem with women remains unsolved in its sequel Read: The Guardian - Is Blade Runner 2049 sexist – or a fair depiction of a dystopian future? Read: Digital Spy - Can we talk about Blade Runner 2049's problem with women? Read: NY Post - You’ll love the new ‘Blade Runner’ — unless you’re a woman Read: Mashable - The hidden feminist message buried inside 'Blade Runner 2049' Read: New Statesman - Blade Runner 2049 is an uneasy feminist parable about controlling the means of reproduction Read: Mary Sue - Director Denis Villeneuve Tries to Defend His Portrayal of Women in Blade Runner 2049 Read: The Mary Sue - Blade Runner 2049: Bad Representation Is Not Representation WRAP UP AND KEY LEARNINGS [@ 1h 35m 36s] Read: EXTREMES OF LIGHT AND TEMPERATURE: NOTES FROM THE SET OF 'BLADE RUNNER 2049' BACKMATTER: Blade Runner 2019 Watch: Blade Runner (Complete Deleted Scenes/Lost Footage) Watch: Which "Blade Runner" Cut Should I Watch? A Visual Explainer. Watch: I want more life Watch: Blade Runner 2049 - Rachael Scene Please send feedback to ask at draft-zero.com, via our web form or twitter @draft_zero! We are @chasffisher  @stuwillis and @csmcmullen on twitter. Please considering rating or subscribing to us on Apple Podcast! or sharing us on the Social Medias! We like finding new listeners. Many thanks to Sandra, Paul, Rob, Christopher,  Joakim and Khrob for being top-level patrons. They're good replicants.

Will Director Stu allow Writer Chas on his set? Following our annual wrap up in 2017, we’ve decided to once again explore what craft issues/lessons we can garner from the latest Stars, namely Episode VIII: The Last Jedi, focusing on how consequences of character actions can do a lot of heavy lifting as to how the audience perceives that character (as well as looking at worldview and overall story structure). We also discuss how the sexual assault allegations in our industry can impact on what work we choose to analyse as well as dive into a bunch of listener questions. We end on whether - if our space pirates project gets off the ground - Chas should come on set, whether Stu will have him and whether it would do anyone any good. As always: SPOILERS ABOUND Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. Special thanks to our Patreon supporters. If you would like more Draft Zero episodes more often, click here! BACKMATTER LINKS THE LAST JEDI w & d Rian Johnson [@ 1m 28s] The Verge: The Last Jedi: our spoiler-free review  IndieWire: Rian Johnson Explains Why Shattering Fan Theories About Rey’s Parents Was Essential Variety: Four Reasons Why Last Jedi Isn’t One For The Ages GamesRadar: George Lucas nearly wrote a perfect prequel trilogy. He just didn't notice SEXUAL ASSAULT ALLEGATIONS & DRAFT ZERO HOMEWORK POLICIES [@ 29m 07s] YouTube: Rose McGowan speaks publicly in Detroit, first time since Weinstein allegations The New Yorker coverage of the Weinstein allegations: Ronan Farrow: From Aggressive Overtures to Sexual Assault: Harvey Weinstein’s Accusers Tell Their Stories Ronan Farrow: Harvey Weinstein’s Army of Spies Commentary from collaborators with Harvey Weinstein Rolling Stone/Joyce Che: Kevin Smith is Donating his Residuals to Women in Film The Guardian: Tarantino on Weinstein Our Lady J: ‘Transparent’ Writer Says Jeffrey Tambor Accusers Told “Their Truth” & Series Should Not “Be Taken Down” By Actor LISTENER QUESTIONS [@ 52m 28s] Fiona: When do you reveal a secret in a story? Khrob: Can Blockbusters escape the ROTJ 3rd Act "problem"? Khrob: Best Writing Moment of 2017? Dexter: Would you be open to a draft zero commentary with a movie? Thomas: Could you please do an episode on Linklater? Susie: How do I move from the 2nd into the 3rd Act without it being so sudden? César: What are the best scripts you've ever read? César: Do you write scenes in the order they're in the script? César: What are the biggest differences in writing movies & tv shows? Mendoza: Let me tell you why you're wrong about SPLIT. In four parts. Sunday: What's the best piece of advice you've ever been given about writing? Sunday: How did you transition from short form to long form writing? Sunday: How do you, as a Director, work with a writing partner? Evrim: Do you find short online form (web series) restrictive or liberating? WRAP UP [@ 1hr 48m 21s] What have Stu & Chas Been Working On? Should Chas Come To Set? (Post Credits) Thomas schools us on our pronunciation. Please send feedback to ask at draft-zero.com, via our web form or twitter @draft_zero! We are @chasffisher and @stuwillis on twitter. Please considering rating or subscribing to us on Apple Podcast! or sharing us on the Social Medias! We like finding new listeners. Thanks to Khrob, Joakim and Christopher for being patrons. They're good people. Sorry Christopher that you didn't get a shout-out in the episode but hopefully this note immortalised in the very bottom of the show notes demonstrates how much we appreciate ja!

What questions do you want your audience asking at any given time? Waaaaaaaaaay back in DZ-05, Stu and Chas examined how shifting narrative point of view (i.e. what the audience knows in relation to the characters on screen) heightens emotions in any given scene. We've now taken that micro idea and applied it to the macro: how can deciding what the audience knows and when in relation to the characters organise your story? Are whole sequences or even acts driven by the audience following a character, feeling concerned about a character, empathising with a character or being absorbed in the irony of knowing more than all the characters interacting on screen. To tackle this topic, Stu and Chas dive in to films that make very conscious structural choices in relation to narrative POV, namely: GET OUT, DUNKIRK and the underrated German film THE LIVES OF OTHERS (with honourable mentions to LA CONFIDENTIAL and MANCHESTER BY THE SEA). Wait till the end to hear poor Stu's mind absolutely blown in relation to the Kuleshov effect. As always: SPOILERS ABOUND Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. Special thanks to our Patreon supporters. If you would like more Draft Zero episodes more often, click here! EPISODE LINKS DRAFT ZERO Related Episodes DZ-05: Shifting audience point of view and heightened emotions DZ-10: Midpoint Reversals and The Ride DZ-21: Scene Transitions and the Hook INTRODUCTION LA Confidential [@ 6m 21s] Manchester by the Sea [@ 10m 57s] GET OUT written & directed by Jordan Peele [@ 19m 57s] Vimeo: Get Out - Alternate Ending Jordan Peele on the Nerdist Podcast and on The Movie Crypt podcast Jason Blum on the Nerdist Podcast Find it on Just Watch DUNKIRK written & directed by by Christopher Nolan [@ 50m 15s] Vox: The sound illusion that makes Dunkirk so intense Find it on Just Watch THE LIVES OF OTHERS written & directed by Florian Henckel von Donnersmark [@ 1hr 31m 00s] Find it on Just Watch WRAP UP [@ 2hr 11m 32s] The Kuleshov effect Please send feedback to ask at draft-zero.com, via our web form or twitter @draft_zero! We are @chasffisher and @stuwillis on twitter. Please considering rating or subscribing to us on Apple Podcast! or sharing us on the Social Medias! We like finding new listeners. Thanks to Khrob and Joakim for being patrons. They're good people.

How can you dramatise your theme on a scene level? As part of their ongoing exploration of scene-work, Stu and Chas apply their earlier thinking on theme and character worldview to individual scenes. Can examining a scene from a thematic perspective impact the drama, conflict or stakes of the scene? How does your character’s conscious and subconscious world views dramatise the overall theme of the work? How can an individual scene reflect the larger themes of the overall story? Do any of these questions or approaches lead to writing better scenes? To this end, Stu and Chas examine particular scenes from works that have particularly apparent, strong and consistent themes; namely: FINDING NEMO, EX MACHINA, MANCHESTER BY THE SEA and the Netflix TV series GLOW. ... SPOILERS ABOUND!! Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. Special thanks to our Patreon supporters. If you would like more Draft Zero episodes more often, click here! EPISODE LINKS DRAFT ZERO Related Episodes DZ-41: Theme and Worldview DZ-31: Tools for Better Dialogue DZ-29: Showdowns & Scene Structure DZ-06: Key Scenes and Unlocking the Story INTRODUCTION Nerdwriter: The Epidemic of Passable Movies Every Frame a Painting: Snowpiercer - Left or Right Film Crit Hulk: Ex Machina and the Art of Character Identification Neuromancer: Dixie Flatline FINDING NEMO s: Andrew Stanton, Bob Peterson, David Reynolds  [@ 10m 36s] YouTube: Finding Nemo Full Whale Scene Find it on Just Watch EX MACHINA [@ 17m 28s ] Script: Ex Machina by Alex Garland YouTube: Ex Machina - Ave Session 5 Avas Test Letterboxd: Stu's Review Find it on Just Watch MANCHESTER BY THE SEA [@ 59m 55s ] Script: Manchester by the Sea by Kenneth Lonergan YouTube: "Can we ever have lunch"? scene Find it on Just Watch GLOW Episode 1 [@ 1h 28m 26s ] Script: GLOW by Liv Flahive and Carly Mensch Podcast: The Contrarians — Bonus! Netflix's Glow Watch it on Netflix WRAP UP [@ 2h 04m 13s ] Stan Bush - Dare (from Transformers the Movie) "Dare" (Live) - The Cybertronic Spree Please send feedback to ask at draft-zero.com, via our web form or twitter @draft_zero! We are @chasffisher and @stuwillis on twitter. Please considering rating or subscribing to us on Apple Podcast! or sharing us on the Social Medias! We like finding new listeners. Thanks to Khrob and Nick for being patrons. They're good people.  

How can your first act effectively establish your character journey? First Acts are hard. They have to set so much in motion, especially setting up characters. To help them understand how to write effective first acts better, Stu and Chas turn their analytical gaze to a franchise that has been refining and reiterating its first act "schema" for over a decade... THE MARVEL CINEMATIC UNIVERSE. The MCU has made (to date) six separate origin films, each tasked with establishing their titular characters. So you'd think they'd have found some patterns that works for them. In this episode, we take a look at three of these: IRON MAN, GUARDIANS OF THE GALAXY, and DOCTOR STRANGE. Stu also makes numerous comparisons to THOR, and we enthuse about GUARDIANS OF THE GALAXY Vol 2. As we breakdown where these first acts succeed (and, er, not-succeed), our discussion moves through sequence structure, macguffins, supporting characters, exposition... and -- most importantly -- Character Wounds and Character Flaws. Even if you don't care for MCU films, there is plenty to learn from how they approach their first acts. SPOILERS ABOUND!! ... and stick around after the end credits, for an important announcement re: our launching of a Patreon. Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. EPISODE LINKS DRAFT ZERO - Related Episodes DZ-09: Characterising Introductions DZ-11: Clash of the MacGuffins! DZ-15: World Building Rules, Okay? IRON MAN w: Mark Fergus & Hawk Ostby and Art Marcum & Matt Holloway [@ 7m 42s] YouTube: Full Intro Scene - AC/DC YouTube: Tony wins an award Find it on JustWatch GUARDIANS OF THE GALAXY w: James Gunn and Nicole Perlman [@ 39m 08s] YouTube: A Bunch of "A" Holes YouTube: Bunch of Jackass's Standing In a Circle Find it on JustWatch DOCTOR STRANGE w: Jon Spaihts and Scott Derrickson & C. Robert Cargill [@ 1hr 18m 13s] YouTube: Ultimate Operation Scene YouTube: Heal the Body Find it on JustWatch WRAP UP [@ 1hr 47m 28s] DZ-43: Driving Sequences – Character and Plot Intensity WHAA? PATREON? [@1hr 57m 08s] /r/screenwriting  Support us on Patreon Please send feedback to ask at draft-zero.com, via our web form or twitter @draft_zero  We are @chasffisher and @stuwillis on twitter. Please considering rating or subscribing to us on Apple Podcast! or sharing us on the Social Medias! We like finding new listeners. Thanks to Khrob and Nick for being patrons. They're good people.

Guest Stephen Cleary delves deep into the impact of plot vs. character questions in sequences, exploring how they shape pacing, structure, and audience engagement. The discussion spans films like THE BOURNE IDENTITY, NAKED, and THERE WILL BE BLOOD, unraveling the dynamics of protagonists and the narrative impact of abandoning the plot. Spoilers ahead in this 3-hour long exploration!

What screenwriting lessons can be we learn from SPLIT? In our first (and perhaps last) one-shot, we take a close look at the M. Night Shyamalan's SPLIT. Rather than having one topic with many examples, we use the one example to look at many topics. Well, okay, a few topics. Firstly, we take the opportunity to revisit theme. SPLIT offers a very clear example of the worldview of the characters and the rules of the world working together to create a coherent theme. Then we look at the SPLIT's use of macro point of view. Given the film's contained nature, it makes some interesting choices in the story structure in order to control what the audience knows vis-a-vis the characters. This assists in generating tension (in both conventional and unconventional ways) while also creating a dramatic journey for the protagonist and reinforcing the theme. We also cover (in lesser detail) flashbacks, tactics, contained spaces, character individuation, and... being a M. Night Shamalyan film... TWISTS. And if its not obvious... this episode is FULL OF SPOILERS. Love it, hate it or indiffererent, please let us know what you think of this new format. We're not going to do it every episode, but it gives us the opportunity to look at some great films in more detail. EPISODE LINKS SPLIT by M. Night  IMDB: http://www.imdb.com/title/tt4972582/ Find it on JustWatch The Guardian: From Split to Psycho: why cinema fails dissociative identity disorder WORLDVIEW [ @ 6m 36s] DZ-41: Theme and Worldview MACRO POV AND NARRATIVE [ @ 35m 35s ] DZ-05: Shifting audience point of view and heightened emotions FLASHBACKS [ @ 1hr 03m 26s ] DZ-21: Scene Transitions and the Hook TACTICS [ @ 1hr 12m 34s] DZ-40: Tactics and Scenes CONTAINED SPACES [ @ 1hr 15m 35s ] DZ-28: Containing Your Script CHARACTER INDIVIDUATION [ @ 1hr 19m 32s ] DZ-31: Tools for Better Dialogue DZ-14: Writing For Actors & Old Underwear The Fashionpedia: https://fashionary.org/products/fashionpedia TWIST ENDINGS [ @ 1hr 33m 00s] DZ-25: Coincidences, Contrivances & Giant Eagles EPISODE WRAP [ @ 1hr 50m 41s ] DZ-38: Excelling at Exposition (Part 2) Please send feedback to ask at draft-zero.com, via our web form or twitter @draft_zero  We are @chasffisher and @stuwillis on twitter. Please considering rating or subscribing to us on iTunes! or sharing us on the Social Medias! We like finding new listeners.