Draft Zero: a screenwriting podcast

How can your characters' worldview dramatise your theme? In this episode, Stu and Chas tackle one of the more esoteric topics in screenwriting (and writing in general): theme! To help us tackle this topic, we decided to look at television pilots, because we felt that television requires the theme to be more explicit. Our zig-zagging (and long) discussion covers thematic engines, music themes, thematic loglines, punishment vs reward, and - perhaps most of all - the worldview of  characters. So we take a look at the opening and closing scenes (and middle scenes, too) of some of our favourite shows: HOUSE OF CARDS, CRAZY EX-GIRLFRIEND, TRUE DETECTIVE, FARGO and TRANSPARENT. We also make passing reference to SPEC OPS: THE LINE, GAME OF THRONES (its Stu's new Star Wars), and BOJACK HORSEMAN. In backmatter, we talk about the difference between the written scripts of these pilots and their released versions. Audio quotations used for educational purposes only. Timestamps indicated below. Chapter markers included in the mp3. It should go without saying but - SPOILERS AHEAD. DRAFT ZERO - Related Episodes DZ-24: Forging story rules in TV pilots DZ-15: World Building Rules, Okay? DZ-34: Game of Choices – Decision Making and Character Implications BACKGROUND MATERIAL /r/screenwriting: [QUESTION] How do I find my theme/moral/the point I want to make with my story?  Game Maker's Toolkit: Morality in the Mechanics Game Maker's Toolkit: Telling Stories with Systems YouTube: SpecOps the Line - White Phosphorus Scenes PopMatters: Morality and Karma Systems HOUSE OF CARDS [@ 24m 33s] Script: HOUSE OF CARDS by Beau Williamson YouTube: Francis Underwood's first monologue YouTube: Tyrion and Varys Discuss Power Find it on JustWatch CRAZY EX GIRLFRIEND [@ 42m 23s] Script: CRAZY EX GIRLFRIEND "West Covina" Written by Rachel Bloom and Aline Brosh McKenna YouTube: "West Covina" YouTube: Bojack Horseman Find it on JustWatch TRUE DETECTIVE [@ 01hr 07m 27s] Script: TRUE DETECTIVE "The Long Bright Dark" by Nic Pizzolatto YouTube: Rust & Martin Car Conversation YouTube: Six Feet Under - Elephant Art vs Termite Art Find it on JustWatch FARGO [@ 1h1 35m 40s] Script: FARGO script by Noah Hawley YouTube: Lester Nygaard talks to Lorne Malvo about Sam Hess Find it on JustWatch TRANSPARENT [@ 1hr 52m 46s] Script: TRANSPARENT by Jill Soloway  YouTube: A Big Change Find it on JustWatch WRAP UP MATERIAL [@ 2hr 01m 05s] Slate.com: Against Subtlety: The Case for Heavy-Handedness in Art. BACKMATTER [@ 2hr 21m 29s] 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.

How do tactics make your characters and scenes more dynamic? In this episode, Stu and Chas turn their gaze to the "tactics" that characters use in scenes to get what they want. Tactics are how the characters try to achieve their goals and (we reckon) can be revealing of the essence of their character. The shifting and thwarting of tactics can make scenes more dynamic; while over the course of a story, the changing of tactics can reflect the growth of characters... even if their goal stays the same. We take a close look at great single scenes from ZODIAC and TRAINING DAY. And then we look at a number of scenes over the course of HELL OR HIGH WATER, SILENCE OF THE LAMBS and WINTER'S BONE.  And we also skate over WILE E COYOTE, GAME OF THRONES, MACBETH, HAMLET, and EDGE OF SEVENTEEN. Audio quotations used for educational purposes only. Timestamps indicated below! It should go without saying but - SPOILERS AHOY. EPISODE LINKS DRAFT ZERO - Related Episodes DZ-34: Game of Choices – Decision Making and Character Implications DZ-32: High-Tension Sequences DZ-31: Tools for Better Dialogue DZ-29: Showdowns & Scene Structure DZ-14: Writing For Actors & Old Underwear DZ-08: Status Transactions and the Power of Washing Machines The Game of the Scene Improv’s Babel: Defining the Game of the Scene http://kevinmullaney.com/tag/game-of-the-scene/ ROADRUNNER [@ 8m 08s] YouTube: Wile E Coyote and Road Runner E01 Twitter: Coyote Rules for Road Runner Every Frame A Painting: Chuck Jones - Evolution of an Artist Scenes Compiled PDF of all scene excerpts ZODIAC [@ 16m 15s] Script: ZODIAC screenplay by James Vanderbilt YouTube: Zodiac - Arthur Leigh Allen interrogation Find it on JustWatch TRAINING DAY [@ 36m 53s] Script: TRAINING DAY by David Ayer YouTube: Training Day - Initial Scene Find it on JustWatch HELL OR HIGH WATER [@ 46m 22s] Script: HELL OR HIGH WATER written by Taylor Sheridan Find it on JustWatch SILENCE OF THE LAMBS [@ 1hr 21m 34s] Script: SILENCE OF THE LAMBS by Ted Tally Every Frame a Painting: Who Wins the Scene? Find it on JustWatch WINTER'S BONE [@ 1hr 43m 23s] WINTER'S BONE written by Debra Granik & Anne Rosellini Find it on JustWatch 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.

How can writers make use of their time when hitting LA? In another backmatter-only episode, Stu & Chas zig-zag through a range of topics. We talk about Chas' experience(s) hitting both Los Angeles and the Austin Film Festival, effective networking, career capital, the art of receiving feedback, and Stu's harsh Three Strikes Rule. We look back at the most important lessons we've learned about storytelling in 2016 and that leads us to talk about character choices in a little-known and little-talked about film called ROGUE ONE. And, of course, we open the listener mail box for critiques, praise, suggestions and follow-up to earlier episodes -- especially our Exposition two-parter. Thanks to everyone for their support in 2016! We look forward to erratically bringing you new episodes this year. BACKMATTER LINKS Urban Dictionary: Career Capital Forbes: 7 Steps To Developing Career Capital -- And Achieving Success Music Bed: Creative Critique - The Art of Receiving Feedback Twitter: @theemilyblake on Failure and Hope Emily Blake: Choosing to Fail - Journey From Writer to Scripty /r/screenwriting: Fishmanmanfish on Given Circumstances vs Exposition ROGUE ONE links because, well, Stu KCRW The Business: Hollywood News Banter Yahoo UK: Rogue One's editors reveal the scenes added in the Star Wars standalone reshoots (exclusive) Mamo 459: Rogue Two Podcast Super Ticket 8: Rowgue Three Vashi Visuals: ROGUE ONE – 46 SHOTS NOT IN THE FINAL FILM Destroy All Monsters: The Meme-ification of ROGUE ONE Oscars.org: SHORT TERM 12 by Destin Cretton (Nicholls Draft) DZ-37: Excelling at Exposition (Part 1) DZ-38: Excelling at Exposition (Part 2) DZ-34: Game of Choices – Decision Making and Character Implications DZ-20: Writing Strong Secondary Characters – Trinity, Bechdel and a Bamboo Killer 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

How can exposition twist your story in new directions? In the second part of Draft Zero's two-part episode on "Exposition", Stu & Chas take an even deeper look at this notoriously challenging part of screenwriting. For many stories there are pre-existing facts (or given circumstances) that need to be communicated to an audience, and often we rely on dialogue to do it. But exposition can do more than just communicate, it can serve as dramatic revelation that twists a story into a new direction or provides an emotional payoff - or both!. So how do great writers make exposition work for the story, rather than just tell audience stuff they need to know? And how can writers go wrong? To that end, we look at GONE GIRL, SHUTTER ISLAND, GHOSTBUSTERS: ANSWER THE CALL, THE MATRIX, THE MATRIX RELOADED, and CAPTAIN AMERICA: THE WINTER SOLDIER. Audio quotations are included for educational purposes. It should go without saying but in case you missed it SPOILERS AHEAD. EPISODE LINKS Draft Zero: DZ-37: Excelling at Exposition (Part 1) Compiled PDF of all screenplay excerpts for Part 2 GONE GIRL by Gillian Flynn Find it on JustWatch SHUTTER ISLAND screenplay by Laeta Kalogridis Find it on JustWatch GHOSTBUSTERS (2016) by Katie Dippold & Paul Feig Find it on JustWatch THE MATRIX by Larry & Andy Wachowski Find it on JustWatch THE MATRIX RELOADED by Larry & Andy Wachowski Find it on JustWatch CAPTAIN AMERICA: THE WINTER SOLDIER screenplay by Christopher Markus & Stephen McFeely Find it on JustWatch 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.

How can you successfully integrate exposition into your story? In Draft Zero's first two part episode, Stu & Chas take an in-depth look at one of screenwriting's most common challenges: EXPOSITION. For many stories there are pre-existing facts that need to be communicated to the audience — whether those facts be about the rules of the world, the nature of a location, character motivations, character backstories or just character names. So how have great writers made exposition move the story forward, rather than stopping it to tell the audience stuff they need to know? To that end, in Part 1 of Excelling At Exposition we break down scenes from PIRATES OF THE CARIBBEAN: CURSE OF THE BLACK PEARL, SHORT TERM 12, INSIDE OUT, THE WORLD'S END, THE BIG SHORT, IT FOLLOWS, JURASSIC PARK and JURASSIC WORLD. Audio quotations are included for educational purposes. Many thanks to /r/screenwriting for suggesting so many examples. EPISODE LINKS On the Page: Ep 457. Terry Rossio Compiled PDF of all Screenplays Excerpts PIRATES OF THE CARIBBEAN: CURSE OF THE BLACK PEARL by Ted Elliot & Terry Rossio Find it on JustWatch SHORT TERM 12 by Destin Daniel Cretton Find it on JustWatch INSIDE OUT story by Pete Docter & Ronnie Del Carmen; Screenplay by Pete Docter & Meg LeFauve & Josh Cooley Find it on JustWatch THE WORLD'S END by Simon Pegg & Edgar Wright Find it on JustWatch THE BIG SHORT screenplay by Charles Randolph and Adam McKay Fandor: Who Deserves the 2016 for Best Picture by Kevin B. Lee Video Essayists - Nerd Writer & Every Frame A Painting IT FOLLOWS by David Robert Mitchell Find it on JustWatch JURASSIC PARK screenplay by David Koepp, based on the novel by Michael Crichton and on an adaptation by Michael Crichton and Malia Scotch Marmo Find it on JustWatch JURASSIC WORLD by Rick Jaffa & Amanda Silver and Colin Trevorrow & Derek Connolly, story by Rick Jaffa & Amanda Silver Find it on JustWatch Draft Zero: DZ-15: World Building Rules, Okay? 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.

How can writers wisely invest their time in projects? In this "special", backmatter-only episode, Stu & Chas take inspiration from Terry Rossio's excellent article on TIME RISK and ice skate over a range of topics. We talk about time investment in projects, Stuart's project Restoration, doing you down work first, managing feedback, thinking positive being a negative, and we open the listener mail bag for critiques, praise and suggestions. We also explore how we could do Draft Zero episodes exploring tone and theme. We welcome any listener feedback as to whether we should do any backmatter-only episodes into the future. EPISODE LINKS RESTORATION written by Matthew Clayfield & Stuart Willis Watch it on STAN (Australia) The Solute: Could the Mirror Be Really You? RESTORATION (2016) Screen Director Podcast: Ben Mizzi talks to Stu Willis about directing Restoration YouTube: #Stranger2015 - Metallica's St Anger (2003) Album Re-Recorded Wordplayer: "Time Risk" by Terry Rossio Aeon: Thinking positive is a surprisingly risky manoeuvre Medium: Why You Should Do Your Work First, Others' Work Second /r/screenwriting: Mortified at first professional feedback David Foster Wallace "This Is Water" YouTube: David Foster Wallace Commencement Speech (Audio Only) Metastatic.org: http://metastatic.org/text/This%20is%20Water.pdf Kenyon.edu: http://bulletin.kenyon.edu/x4280.html Ira Glass on Creativity, Taste and Our Work Writer Underground: Ira Glass On Creativity (or, The Gap Between Our Taste And Our Work…) Vimeo: Ira Glass on Storytelling Vimeo: THE GAP by Ira Glass MikeJones.tv 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.

How can films maintain audience interest without stakes or plot questions? Continuing their focus on "character", Stuart and Chas take a close look at films that may be considered character-driven... or rather character studies... or just plot-lite films? Whatever you call them, these films —CHEF, HAPPY-GO-LUCKY, and AMOUR — let their plots take a back seat to a closer examination of their characters. Stuart and Chas dive in to investigate how, without plot driving the story forward, do these films maintain our interest? We talk Mike Leigh's 'Running Condition', Character Choice, SceneWork and the myriad other techniques the filmmakers use to keep us interested. PS: There is no backmatter this episode. PPS: Note that all these films are writer/directors. Hmm. EPISODE LINKS CHEF by Jon Favreau Watch it on iTunes or find it on JustWatch HAPPY-GO-LUCKY by Mike Leigh Watch it on iTunes or find it on JustWatch AMOUR by Michael Henke Watch it on on iTunes or find it on JustWatch ScreenOnline: On Mike Leigh http://www.screenonline.org.uk/people/id/461294/ 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.

How does the audience experience of a character's decision impact our feelings towards that character? After a spectacular end to Season 6 of GAME OF THRONES, Chas and Stu were struck by the very different portrayals of Sansa in Episode 9 - Battle of the Bastards and Cersei in Episode 10 - The Winds of Winter. Despite both characters having an enormous impact on the narrative, the audience's experience of those characters is very different -- largely because Sansa is absent from 98% of Battle of the Bastards. And thus: Stu and Chas embark on an exploration of how a writer's use of point of view - particularly in relation to how you show characters making decisions - can control how your audience perceives any given character (for good or ill). Whether you are a Game of Thrones fan or not, we recommend you watch these two episodes for their contrasting but fascinating control of point of view and character. Both episodes were written by showrunners David Benioff & D. B. Weiss. EPISODE LINKS HBO: The Official Website of Game of Thrones The AV Club: Thrones stages an epic battle, but to what end? Youtube: Jon and Sansa - "We need to trust each other" Youtube: Cersei [spoiler] DZ-05: Shifting audience point of view and heightened emotions DZ-20: Writing Strong Secondary Characters – Trinity, Bechdel and a Bamboo Killer DZ-33: Protagonist vs Hero – Dawn of Character Function BACK MATTER /r/Screenwriting: Protagonist vs Hero - Dawn of Character Function The Guardian: Words are losing their power. Not even Jason Bourne can save them now 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.  

How does splitting 'character functions' enhance theme? We are often told that our 'protagonist' needs to be a active. That they need to be compelling. That they need to change. And - old faithful - that they need to be likeable. But after looking at MAD MAX: FURY ROAD, STAR TREK (2009), THE FIGHTER, and SICARIO, Chas and Stu learn that your primary character does not need to do all these things. In fact, they learn that splitting these functions between your primary characters can reinforce theme and create potential for different types of narratives. And stick around for backmatter if you want to hear Stu go on a rant. For a change. EPISODE LINKS John August: What’s the difference between Hero, Main Character and Protagonist? Screen Anarchy: Destroy All Monsters: All We Have Are Our Bodies On FURY ROAD MAD MAX: FURY ROAD by George Miller, Brendan McCarthy & Nico Lathouris Watch it on iTunes and Stan (AU) STAR TREK (2009) by Roberto Orchi & Alex Kurtzman Watch it on iTunes and Netflix Bitter Script Reader: How STAR TREK INTO DARKNESS gave us the Kirk we deserve THE FIGHTER screenplay by Scott Silver and Paul Tamasy & Eric Johnson; story by Paul Tamasay & Eric Johnson & Keith Dorringon  Watch it on iTunes and Netflix SICARIO by Taylor Sheridan Watch it on iTunes and Stan (AU) DZ-03: Making Unlikeable Protagonists Compelling DZ-19: Car-Crash Characters DZ-20: Writing Strong Secondary Characters DZ-24: Forging Story Rules in TV Pilots BACKMATTER LINKS Done Deal Pro Forums: Podcast Recommendations 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.

How can you recreate the feeling of cinematic high-tension on the page? Chas & Stu take a close look at sequences of high-tension - the ones that make you lean forward in fear, or jump backwards in terror. Without camera angles, lighting, music or sound, how can screenwriters can evoke those emotions in readers using only the page? These sequences can be found in any genre of film, not just thriller or horror. To that end, Stu and Chas dive into high tension scenes from NO COUNTRY FOR OLD MEN, ZODIAC, ROOM, and THE BABADOOK. We cover their use of shifting POV, Dramatic Irony, Status Transactions, White Space, Sound FX, and many more. And in backmatter we talk SICARIO and high tension, crack open the mail-bag, and look at how the so-called gurus rated the Oscar-nominated scripts. EPISODE LINKS Aeon: Neurothriller - Horror Films are scarier than they were in the past Film Crit Hulk - HULK EXPLAINS ACTION SCENES - Part 1, Part 2, Part 3 NO COUNTRY FOR OLD MEN by Joel Coen & Ethan Coen - sequence starts page 60 YouTube: Hotel Showdown (excerpt) ZODIAC by Jamie Vanderbilt - sequence runs pages 125-129 YouTube: Zodiac Basement Scene (partial scene excerpt) YouTube: Zodiac Analysis - Inside the Basement ROOM by Emma Donoghue - sequence starts pdf page 56 (scene 35) YouTube: Jack's Escape (excerpt) THE BABADOOK by Jennifer Kent - excerpt for educational purposes only The Babadook Production Notes YouTube: The Possession Scene "You Can Bring Me The Boy" Watch THE BABADOOK on GooglePlay Watch THE BABADOOK on iTunes DZ-05: Shifting audience point of view and heightened emotions DZ-13: True That – Tips from Tarantino DZ-08: Status Transactions and the Power of Washing Machines DZ-16: Masters of Time and Whitespace DZ-29: Showdowns & Scene Structure Jane Espenson: The Grim Brothers BACKMATTER LINKS Youtube: SICARIO - border crossing DZ-30: Oscars revisited – Spotlight and Carol Truby Rates the Oscar Hopefuls Robert McKee's Work/Doesn't Work - ROOM Scriptshadow on Spotlight (via Twitter) and his screenplay review 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 listeners.