Story Nerd Episodes
It’s AMA time! When is the best time to query an agent? When is the best time to go out on submission? How on earth does a writer choose comp titles? Literary agent, Kathleen Foxx, answers these questions and more on today’s Hook Your Reader episode. If you want our feedback on your query letter
I’m convinced that the screenplay for this film was generated by AI. Of course, I have no proof for that, but 80 for Brady is so completely bizarre that if AI wasn’t involved, I’d like to know what the filmmakers were smoking. It misses the mark at every turn and has so neglected (ignored? forgotten?)
In the season roundup, we share all our best advice about the speech in praise of the villain (what it is, how to craft it, and why it’s important), and constant characters (they’re waaaaaay more common than you think!). -V. (The following summary was generated by A.I.) In this enlightening episode, Melanie Hill and Valerie
This is the first episode of our brand new HOOK YOUR READER series! In these episodes, literary editor Kathleen Foxx and I review query letters and first ten pages writing samples from you, our listeners! While we’re getting this off the ground, and to give you time to prepare your work, we’ve devoted this week’s
What if you could get professional advice on your query letter and first ten pages writing sample BEFORE you started to send it off to agents? Well my friends, you’re going to love this! Starting tomorrow, literary agent Kathleen Foxx and I are going to do just that (and it’s free). For all the details
In a twist that no one saw coming, not even us, the villains in this movie are Val and Mel! Despite this, I thought Thunderbolts would be better. 🙁 However, the constant characters in this movie support a protagonist with a change arc, and fill archetypal roles in the movie. In another surprising twist –
Wowzers! This is a terrific movie. If you’re writing a thriller (any sub-genre), or a story with nuanced and complex characters, this episode is for you. In fact, CONCLAVE is one of the movies we recommend you put on your short list of films to study because, seriously, you can learn about almost any aspect
What does a literary agent look for in the sample writing pages of a query? In this special bonus episode, I speak with agent Kathleen Foxx (The Rights Factory) about the 4 criteria she uses to evaluate a submission, her 21-point checklist (which you can get for free), and the importance (or not) of a
Valerie asked me, “How are you going to explain this?” Trippy. It’s David Lynch and it’s trippy. It’s also an antiplot story with characters who have two identities. Where is the speech in praise of the villain and what arc does the story and protagonist have? Well…it’s a mix of pessimistic, dreamy, constant, whoa, what
Calling historical fiction writers, memoirists, and anyone writing a “David and Goliath” style story! In this episode, I do a deep dive into the Speech in Praise of the Villain and I show how the filmmakers expertly (and seamlessly) used exposition to let the viewing audience know just how formidable the antagonist is. (The level
HEADS-UP! Amour is beautiful but heavy (have the tissue ready!). Do you want to write gritty stories that leave readers grief struck long after they read THE END and close the book? Amour is a fantastic template for a complex moral problem that will never be resolved. This is another example of how a story
Stories need both characters and a plot. That sounds obvious, I know…but you’d be surprised. In this week’s episode, Melanie and I examine a film that, sadly, forgot to include a plot. No, really! INVITATION TO A MURDER has unfortunately fallen prey to a very common storytelling trap but the fix is super easy! To
This season I’m blowing the idea that ‘characters need arcs’ out of the water. Erin Brockovich is a constant character and she’s an underdog. With the odds against her, she does not change instead, she bends the world to suit herself. This is no mean feat, because the villain is powerful and wealthy. In underdog
On the list of films that haven’t aged too well, THE MAN WHO KNEW TOO MUCH is near the top. Because it’s Hitchcock I’ll get flack for saying that, but watch it first and then decide. In terms of study topics this season, I’m looking at The Speech in Praise of the Villain and Melanie
Using a framing story in your novel? Maybe you’re writing multiple plot lines. Or perhaps you want to know what truly masterful storytelling looks like. This week, we take a deep dive into THE PRINCESS BRIDE. Melanie and I were spoiled for choice in this What Went Right episode because, when you’re dealing with a
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