We’re trying something new this week! Writers are constantly asking me and Melanie to explain why a story seems weird to them. So to help you understand why some stories flop, at the end of each season we’ll pick a film that doesn’t work and we’ll try to figure out why. In this inaugural episode, Melanie chose IN THE COLD LIGHT OF DAY because it got a whopping 4% on Rotten Tomatoes. It’s an eye-opener, that’s for sure! I’d love to hear if you agree, or disagree, with our assessment.

It’s that time again! We’ve reached the end of the season and that means Melanie and I are wrapping up all our a-ha moments and lessons learned about writing exposition and creating character arcs. Plus we’ve got a special surprise coming for you and we talk about it in this episode to be sure to listen all the way to the end! – V. (The following summary was generated by AI.) Crafting captivating stories is an art that starts with understanding storytelling fundamentals. In the latest Story Nerd Podcast episode,

Up In The Air, boring or not, is this week’s question. Why do I find this movie interesting, and why does Valerie find it boring? Could the answer lie in Ryan Bingam’s character arc (and does he have one)? Could it lie in the small amount of exposition? Or could it be that George Clooney movies are boring? One thing is certain: this episode is the opposite of boring. -M (The following summary was generated by AI.) In our latest podcast episode, we explore the storytelling nuances of the 2009

This movie is almost entirely exposition, and while this isn’t an approach I’d recommend for novelists, I can’t imagine telling this particular story any other way. You might say that ALL THE PRESIDENT’S MEN is the exception that proves the rule. Master storyteller, William Goldman, pulls it off and that means there’s a whole lot we can learn about how and when to use exposition when writing a story. When it comes to character arcs (Melanie’s topic this season), neither of the protagonists change in this story but they change

Most stories are about change. However, there is also a place for stories when the protagonist doesn’t change. The outcomes can still be positive – just watch James Bond and Erin Brockovich! There are also stories where the protagonist doesn’t change, and the outcome is ambiguous. This movie combines an ethical dilemma with a constant character to create a haunting outcome. The movie also has buckets of exposition. Is this a case of too much is way too much? Never fear, Valerie groups and summarises all the exposition into four

As Melanie and I prepared for this episode one question kept coming up … Who is the protagonist? Melanie argues that the entire family is the protagonist, but I think that Olive (who is the Little Miss Sunshine contestant) is the protagonist. It’s an interesting question and our discussion about it is even more interesting. If you’re writing a multi-POV story, be sure to check out this episode! -V. (The following summary was generated by AI.) In our latest podcast episode, we explore the delightful and complex world of the

This season, I am focused on stories with negative or neutral character arcs. Sometimes, finding out what a character doesn’t want is the first step to discovery. On the surface, Cathy Whitaker has a perfect life. However, it’s a shallow life. Cathy’s choices are symbolically represented by her husband, Frank, and her gardener, Raymond. The two male characters are interesting external representations of Cathy’s internal choices. There’s a small amount of exposition in Far From Heaven, but when it features, it’s done straightforwardly and with simplicity. -M (The following summary

Wowzers! I, TONYA is absolutely chock-full of exposition. It’s a documentary-style film so at first blush it doesn’t seem to offer up many story lessons for novelists. However, DAISY JONES & THE SIX is a documentary-style novel so this is an episode you might want to pay attention to — not just for their handling of exposition, but also for their portrayal of the character of Tonya Harding. -V. (The following summary was generated by AI.) Unlock the Secrets of Storytelling with I, Tonya Hey there, fellow storytellers! Ready to

The Rolling Stone’s song ‘You Can’t Always Get What You Want,’ is my earworm this season. This week, I started to pick apart how wants, needs and arcs are connected. Dorian Gray is a classic cautionary tale about selling your soul. Dorian arrives in London as a beautiful but naive young man and dies with a rotten and decrepit soul – he is unredeemable. Dorian gets what he wants, but he doesn’t get what he needs because there are no consequences for his actions. Understanding how wants, needs and character

It’s a brand new season and this time Melanie is studying character arcs through 5 key questions: Where do the characters start, where do they finish, what do they want, what decisions do they make along the way that get them to the end, and do they get what they want or need? Meanwhile, I do a deep dive into exposition. You’ve heard about “show, don’t tell” right? Well, that’s not always true. Sometimes telling your reader information through exposition is exactly the thing you need to do. -V. (The