For the past two seasons Valerie has been talking about character dimension and cast design. The key to understanding both concepts is to recognize that a person isn’t a uniform, constant creature. A person’s behaviour changes depending on the situation she finds herself in and the people she finds herself interacting with. In this brief bonus episode, Valerie’s daughter Avery (a theatre student at the York University Acting Conservatory) illustrates how this character shift plays out in real time. It’s actually an acting assignment as part of her course work, but it sums up everything Valerie has been talking about over the course of the last twenty episodes. Enjoy!

This week Valerie and Melanie round up their a-ha moments and the lessons they’ve learned over the past ten episodes. What are their key takeaways wrt creating conflict in a story? How can you design a cast that supports both the main character’s development and the plot? Tune in to find out!

The one thing Valerie and Melanie agree on this week is that the execution of this film isn’t as good as it could, or should, have been. They disagreed on just about everything else and they each have a strong case for why they’ve come to the conclusions they’ve come to. The main points of disagreement? The protagonist’s object of desire (want) and whether the protagonist was empathetic or not. What do you think? Do you agree with Melanie or Valerie?

If you’re writing a character-driven story with a female protagonist, or a female POV character, this episode is a must for you. With only one viewing it’s easy to miss the storytelling goodness of Lady Bird because it doesn’t offer up the kind of story Hollywood has trained us to expect (i.e., external action, male protagonist, hero’s journey-style stories). What it does give is a nuanced, complex female protagonist whose internal conflict drives the story. Yay, Greta!

If you’re writing a character-driven story, or if your protagonist has an arc, this episode is for you. This week, Melanie and Valerie continue their studies of conflict and cast design, and the connection between these topics and character development is a real eye-opener.

Never has there been a better example of why world building is so important. Fans of Sex and the City love to live vicariously through Carrie Bradshaw so it’s no surprise that audiences gave this film a 77% Rotten Tomatoes score. However, film critics gave it a 50%, and Valerie and Melanie tend to agree. What is they see that fans don’t? Tune in to this week’s episode so that you can emulate the good and avoid repeating the bad.

Sometimes the best way to understand a concept is to have a simple, but clear, example. In this episode, Melanie explains why The Gentlemen is such a great example of conflict, especially external conflict. This film isn’t such a great example of cast design though, so this week Valerie takes a detour and focuses instead on Narrative Device (which is not the same as Narrative Drive!).

There’s no question that Little Women is a classic that is beloved by generations, but why? What is it about this story that resonates with so many readers and viewers? This week, Valerie and Melanie ponder just that and their study takes them to past episodes about world building and story shapes, they discuss the appeal of Jo March and they discover an interesting link to Pride and Prejudice.

In this week’s episode, Melanie introduces the concept of conflict triangles and honestly, if you use them in your work, your story will improve immediately. In terms of cast design, while usually the plot supports the development of the characters in this case, the characters support the development of the plot. If you don’t know which option best serves your story, you’d better tune in.

Valerie and Melanie both approached this week’s episode with some trepidation. The Full Monty is a favourite film and sometimes those can be the most challenging to study because it’s hard to be objective. But thankfully, there was no need to worry; the structure of The Full Monty is solid and a deep study revealed some fascinating lessons on how to write comedic characters.

Creating multiple storylines is a popular approach for novelists and for writers who know what they’re doing, the end result is nothing short of masterful. However, multiple storylines is an advanced writing technique and it can quickly and easily go off the rails. Unfortunately, that’s what happened with The Woman King. Now, there’s lots to admire about this film too, but there’s also lots to learn about creating multiple plot lines and what can happen to a story when they’re poorly executed. (Valerie’s puppy Luca has opinions on it too, as you’ll hear … apologies for that!)

It’s time for a brand new season and this time around, Valerie is studying cast design (a concept which revolutionized her writing) and Melanie is studying conflict. August: Osage County is a brilliant example of both – in fact, it’s a brilliant example of a whole lot of storytelling principles, so this is one movie you’ll want to add to your repertoire.