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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 the world around them and what that reveals about how stories work is nothing short of fascinating. -V.

"It's almost exclusively exposition. If you have ever wondered whether exposition was a thing or whether it was important, seriously watch this movie." - Valerie Francis

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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 key types. -M.

"Patrick's constant character with an ambivalent arc means that his internal state doesn't change." - Melanie Hill

For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.

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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.

"Exposition is all about the facts that we need to convey to the reader so that they can follow a story without getting confused." Valerie Francis

Related Story Nerd Episodes

Season 7 

Season 8

Nashville (Season 5, Episode 505)

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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 interesting events in Cathy’s arc happen side by side in the movie. She shows an interest in Raymond at the same time, she discovers Frank with another man. While Cathy is trying to maintain one life, she’s also growing in another part of her life.” - Melanie Hill

Related Story Nerd Episodes

The Accidental Tourist (Season 5, Episode 3)

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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.

"Introducing characters can only be done via exposition." -Valerie Francis

Related Story Nerd Episodes:

The Social Network (Season 12, Episode 1)

Dorian Gray (Season 12, Episode 2)

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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 arcs is an essential story tool. Good exposition is invisible. Valerie highlights how exposition is masterfully delivered and where it fails. Exposition is all about information management - the what and the how. -M

“Understanding wants and needs is important for story arcs because they determine the protagonist’s motivations and actions.” Melanie Hill

Related Story Nerd Episodes

The Woman King (Season 8 Episode 2)

The Social Network (Season 12 Episode 1)

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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.

"When exposition is done properly, you as the audience member or the reader, you don't even notice it." -Valerie Francis

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Whoa. This season has been a heavy season. Narrative Drive and Conflict Triangles are two major concepts that can - and will - transform your writing. In this episode, Melanie and I summarize everything we learned this season. -V

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Eye in the Sky reminds me of the ‘greater good’ questions I discussed in class during high school - there’s no right or wrong answer but there are always consequences. This movie is an excellent example of how tension and escalating stakes combine with conflict triangles and narrative drive to create a compelling story. This isn’t an action movie but I couldn’t take my eyes off the screen for fear of missing something. Join us this week to discover how to craft stories that linger after the cover is closed. -M

“Eye in the Sky creates a fascinating amount of tension. It does this by setting up a situation at the beginning that has multiple courses of action and outcomes, and then it delays the decision until the last possible moment.” Melanie Hill

Related Story Nerd Episodes

The Woman King (Season 8 Episode 2)

Our Best Advice (Season 8 Episode 11)

The Help (Season 11 Episode 5)

For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.

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Your reader doesn't have to like the protagonist but she does have to empathize with him because if empathy is absent, your story is in trouble. In this episode Melanie and I study conflict triangles and narrative drive, but we also have an interesting side conversation about empathy and likeability. If you're writing an unlikeable character, or if you're writing a quiet, character-driven story, this episode is for you. -V

"The protagonist does not have to be likable, but you've got to be careful that you don't place the reader's empathy on another character." - Valerie Francis

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Holy moly, this is a good movie! It's an especially good movie to study for anyone writing a quiet, character-driven story. THE WIFE originally aired as Episode 4 of Season 6 when Melanie was studying stakes and I was studying empathy. But honestly, this is one of those rare films that novelists (and memoirists!) can study to learn just about any storytelling principle. -V.

*Programming Note: In next week's episode we review the movie NYAD, not GONE BABY GONE as indicated in the intro.

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This movie is a masterclass on characters, character development, cast design and the relationships between characters. It honestly doesn't get any better than this. So no matter what kind of story you're writing, grab your notepad and dive in! -V.

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Melanie chose Lego Batman from the vault because, in addition to being a really well-written story, it made her laugh. And that, imo, is the mark of superior writing. This episode originally aired in Season 5 when Melanie was studying resonance. If you're curious about what that is, and how it can truly enhance your storytelling, be sure to give this episode a listen. - V.

For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.

To learn to read like a writer, visit Melanie's website.

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Melanie and I are taking a short mid-winter/mid-summer break, so while we recharge our batteries we're reposting some of our favourite episodes starting this week with THE GODFATHER. Wow, there just aren't too many movies with this level of storytelling craft in them. I had a whole lot to say about this classic film and I know that no matter which genre you're writing in, there's something in this episode to help you. Enjoy! - V.

For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.

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We visit the joys of multiplot stories this week. Valerie discovers (again) the issues with multiplot stories in movies, and I investigate how the different timelines impact the narrative drive. We both learnt what happens to a story when conflict triangles and curiosity and concern are absent - a cautionary tale for writers. -M

“A character can’t un-know something or completely ignore something that is right in front of them.” Melanie Hill. 

RELATED STORY NERD EPISODES

Nashville Season 5, Episode 5

As Good as it Gets Season 6, Episode 5 (Empathy)

For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.

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If you're writing a story with multiple protagonists/POVs, or if you're tackling a big social issue in your story, then you'll want to study The Help. As it happens, it's also a cracking example of Conflict Triangles and Narrative Drive - and that's what Melanie and I talk about in this week's episode. - V.

"The bigger the scope of the issue, the smaller the scope of your story." Valerie Francis

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This week one of mystery writing’s deadly sins makes a guest appearance. Valerie and I discuss if the appearance is welcome or not. A Simple Favour has good examples of how Narrative Drive works - great for my topic. However, it wasn’t so good for Valerie’s study of Conflict Triangles, so we see how superficial a story can be when the conflict isn’t complex. -M.

"After studying this movie, I understand that multiple narrative drive devices can be used simultaneously." Melanie Hill

Related Story Nerd Episodes

Knives Out (Season 1, Episode 107)

The Gentlemen (Season 8, Episode 806)

The Good Liar (Season 9, Episode 906)

For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.

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In BELFAST, Kenneth Branagh does something that most, if not all, new writers do. In a movie, it's kind of hard to spot because filmmakers have access to tools (like costume design, cinematography, and a musical score) that obscure it. In a novel, it's obvious —stark even — because all we have is black text on a white page. It's laid bare for all readers to see, and readers don't like it. Here it is ... in BELFAST the protagonist is passive. He's observing the action but not part of the action (and he's not a narrator either). So what can we do about it? Tune in to this week's episode to find out. - V.

"I felt like I should have liked it. I felt like that there was like, if I didn't like it, then there was something wrong with me." - Melanie Hill

For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.

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Sometimes we learn more from our mistakes than our successes - that’s my story and I’m sticking to it this week! Narrative drive is an important storytelling principle to learn and this week’s movie is an example of poor story structure resulting in terrible narrative drive. A mystery writer should have control of the information. Valerie’s study of conflict triangles was more fruitful than my area of study this week. The conflict triangle is present and clear to see. -M

"Narrative drive is all about information and the emotions it creates in the readers. It’s also about understanding your role as the writer to control that information." - Melanie Hill

Related Story Nerd Episodes

Late Night (Season 1, Episode 101)

Doubt (Season 11, Episode 1101)

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It's a brand new season and that means Melanie and I are studying two new topics: narrative drive and conflict triangles. Conflict and page-turners are usually associated with action stories, thrillers and the like. But DOUBT is a quiet, character-driven film that is so expertly crafted it grabs the viewer's attention immediately and holds it right to the bitter end. Seriously, there's so much for novelists in here. -V.

"The main conflict in a story is between the protagonist and the antagonist, right? Fine. We all understand that. But if that's all we got, then our story is like a tug of war." Valerie Francis

For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.

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We've reached the end of another season and so we're wrapping up our best advice and a-ha moments just for you. Tune in to hear what we have to say about writing female characters and using female archetypes. We also share why it's crucial for you to use the first half of your story to set up everything that happens in the second half. (Hint: it all about brain science!) - V.

"One of our most hardwired expectations is that anything that reads like the beginning of a new pattern, that is a setup, will, in fact, be a setup with a corresponding payoff." - Lisa Cron

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I have been looking forward to this episode since the start of the season. I specifically selected Hanna so we could study fight scenes and weapons handling with female characters - Hanna doesn’t disappoint. I consider aspects of female fight scenes and firing pistols. Valerie wasn’t so lucky this week. Hanna is light on story because the action scenes take up a lot of space. However she did find a strong example of another story telling principle…join us to find out what it was. - M.

"Not surprisingly, women fight differently from men. There are significant things to understand about the sociological, psychological, biological and bio-chemical differences between male and female characters." Melanie Hill

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Quite often, stories that don't work have more to teach us than the stories that do. Maybe Maria Semple's novel (upon which this film is based), is simply one that's challenging to adapt to the screen. Whatever the case, this move has missed the mark on some basic storytelling principles (it has too many backstory info dumps, a Deus Ex Machina, and weak narrative drive). If you want to understand the impact these things have on a story, and on the reader/viewer, this episode is for you! - V.

"If exposition is not used properly, it will ruin your story." Valerie Francis

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Novellas are the ace up your writerly sleeve! They enable you to practice all of the principles of storytelling in a shorter, more manageable form. That's going to make you a much better novelist because your story will be focused and you won't get lost in your manuscript. And oh, the best part? Novellas are on the rise. - V.

*Script note: In the episode, I mention that Jenna Bush recommended two novellas in her March 2024 bookclub. That is incorrect. She recommended one — THE HOUSE ON MANGO STREET (Sandra Cisneros)

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Crazy Rich Asians pitches two female leads against each other - sounds excellent right? Not so fast… This should set up an epic battle of wills as one fights against traditions she doesn’t understand while the other fights to retain order and tradition. This week, I find out what happens when the protagonist doesn’t plausibly match, then surpass, the antagonist.  Valerie discusses how superficial innovation doesn’t hide questionable male characters or Asian stereotypes. 

"When I watched Rachel and Eleanor this week, I found Eleanor more fascinating and as a result, Rachel’s victory using game theory was hard to believe." - Melanie Hill

RELATED STORY NERD EPISODES

August Osage County (Season 8, Episode 1)

Everything, Everywhere, All at Once (Season 7, Episode 6)

For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.

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This movie was way ahead of its time. It's a brilliant example of the heroine's journey and Melanie walks us through all 10 phases as outlined in Maureen Murdock's THE HEROINE'S JOURNEY: A WOMAN'S QUEST FOR WHOLENESS. Thanks to its excellent use of setups and payoffs, it also has an ending that is both surprising and inevitable.

"One of our most hardwired expectations is that anything that reads like the beginning of a new pattern, that is a setup, will, in fact, be a setup with a corresponding payoff." - Lisa Cron

For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.

To learn to read like a writer, visit Melanie's website.

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The marketing for this film highlights Judi Dench, but she's barely in it at all. As fans of hers, Melanie and I were disappointed. The movie is ok but it wasn't what we expected and that soured our experience of the story. Melanie still did a study of female archetypes and I still studied setups and payoffs, but the real lesson this week is what happens when a story doesn't meet audience (or reader) expectations. -V.

"Female characters don't have to be based on female archetypes, and vice versa for male archetypes and male characters." - Melanie Hill

For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.

To learn to read like a writer, visit Melanie's website.

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Does the nickname "baby" bother us? Why yes, yes it does. But we've got to admit, Dirty Dancing is an excellent example of the heroine's journey, as well as female archetypes and how women are presented in stories. It also happens to be, structurally, an excellent film. It's not a complex story, but it's well-told. -V.

"In the first half of your story, you're planting seeds that will bear fruit in the second half of your story." - Valerie Francis

Related Story Nerd Episodes

Beginnings and Endings (Season 3)

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War stories are often the domain of ‘dick lit’ male protagonists, but is this a true representation of history and does the experience of women in war differ? In this episode, I reference historical female warriors and examines how the experiences of Maya, the protagonist in Zero Dark Thirty, compares with her wartime service. Valerie explores what happens when the scope of a story is too wide, and the impact scope has on setups and payoffs. -M

"What is interesting to me, is how women are portrayed in war movies, are they portrayed as masculine or weak, are they given due credit for their skill and experience, and how does this compare to my own experience?" - Melanie Hill

Related Story Nerd Episodes

Rogue One (Season 1, Episode 8)

Skyfall (Season 4, Episode 6)

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We're kicking off a brand new season with two new story concepts. Melanie will be studying female characters and how women are presented in modern stories (her work in this episode is reeeeally interesting!), and I'll be investigating something I learned from Steven Pressfield, which is that we shouldn't introduce anything new after Act 2.

"Setups and payoffs are questions asked and answered." Valerie Francis

Related Story Nerd Episodes:

Lady Bird (Season 8, Episode 9)

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This bonus episode was prompted by a chat I saw on Threads. It started with the question, what excites you most about having an agent? Offline, Melanie and I began to literary agents and what they do. We decided to hit record and share what we know with you. Enjoy! - V.

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Left-brained stories (mysteries, crime thrillers, spy stories) are among the highest selling books on the market today. Readers can't get enough of them, and that means the bar for authors is really high because we have to create a puzzle that our readers haven't seen before. Add to this the fact that the fundamentals of storytelling work in a slightly different way than they do with other stories. In this episode, Melanie and I summarize all the lessons we've learned over the past 10 episodes and we share our greatest a-ha moments.

Our study of left-brained stories didn't stop with the podcast though. Offline we've been diving deeply into this genre that we both love. We've gathered up everything the writer of a left-brained story needs to know and we've put it in a webinar coming up on May 2, 2024. Don't miss it! To register, click here. - V.

"In a left brain story, the hook is an intellectual one, it's not an emotional one." - Valerie Francis

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Are you planning to use a twist at the end of your story? Have you ever wondered how M. Night Shyamalan pulled off this famous gotcha ending? If so, this episode is for you! Melanie does a deep dive into story twists and surprises so that you can craft an ending that delights your reader. I focused on the Central Dramatic Question which is a key part of creating Narrative Drive (and you must have brilliant Narrative Drive if your reader is going to get all the way to the end of your novel).

-V.

"Creating a good twist requires a deep understanding of human nature." - Melanie Hill

RELATED STORY NERD EPISODES

THE DRY (Season 9, Episode 2)

Story Form (Season 5)

The Hero's Gift Expressed (Season 2)

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To be a career author, you must have a breakout book. And, a breakout book is one that contains a story that works. In this episode, I tell you the story of an author who didn't know the difference between a breakout book and words on a page. What happened to him will make your jaw drop.

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I just attended a training session with a literary agent who said that failure to write a breakout book is one of the most common mistakes writers make. Well sure, that's fine to say, but (1) what is a breakout book and (2) how do you write one? Well, believe it or not, that's exactly what I'm covering in the How Stories Work webinar on April 9. Maybe I should have called the webinar How to Write a Breakout Book! The important point here is that there's a tried-and-true way to do it, and those who understand how stories work, and who apply the principles, are well on their way to having vibrant writing careers. The How Stories Work webinar is on April 9. Click the link below to register.

For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.

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Now this is the epitome of a left-brained story. THE LAST OF SHEILA has puzzles within puzzles, an intricate plot that has been expertly set up, and a cast of characters who aren't who they seem to me. There are so many amazing things about it, I hardly know which of them to highlight for you here so I'll give you a bit of trivia: this movie was Rian Johnson's inspiration for THE GLASS ONION. Oh, and if you solved the mystery before the murderer was revealed, tag me on IG/Threads and let me know. I didn't get anywhere close to solving it.

-V

"If you can work a secret that is juicy and high stakes into your story, you're well on your way to creating really great narrative drive." - Valerie Francis

RELATED STORY NERD EPISODES

Gosford Park (Season 9, Episode 8)

See How They Run (Season 9, Episode 5)

Knives Out (Season 1, Episode 7)

For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.

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If you're writing a novel or memoir, you're writing a story. Sounds obvious, right? That may be, but most authors don't know how to tell a story that works. If you don't believe me check out the stats: 97% of the books sent to literary agents are rejected, of the books that get published 0.08% hit a bestseller list. Those who choose to self-publish can expect to pour thousands of dollars into advertising and sales dry up the second they stop promoting. But what if you knew how to write a story that works? Ah well, then readers will tell their friends about your book, and you're off to the races. -V

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This film offers two hugely valuable lessons to writers of all genres. The first is about the inciting incident and when it needs to happen. The second is about unlikeable characters and how to handle them. In Gosford Park, it's the victim who is unlikeable and that adds an interesting dimension to the murder mystery storyline.

-V.

"Notice where your sympathy and empathy lie. And ask yourselves, how does the writer create this? And most importantly, does it work in the context of what they're trying to achieve?" - Melanie Hill

Related Story Nerd Episodes

No Way Out (Season 8, Episode 4)

Death on the Nile (Season 2, Episode 7)

Crooked House (Season 9, Episode 1)

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In our last episode about our most embarrassing literary moments, Melanie and I said that line writing (or prose writing) means learning to write a narrative. We also said that there are specific techniques involved in writing a narrative, but we didn't say what any of them are. So that's the purpose of this little mini episode. We reveal a line writing secret about one of the most valuable narrative techniques available to us as authors and storytellers.

-V

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No one is born knowing how to write great prose. Like any other kind of specialized writing (ex., newspapers, academia, web, etc.), writing prose is a particular skill that can, and must, be learned. While Melanie and I were meeting to discuss our upcoming webinar about line writing, we started to share (horror) stories from the early days of our own literary careers and boy, are they doozies! Hoping that our mistakes might help you avoid the same pitfalls (or maybe just give you a good laugh) we hit the record button. I even share a sample from my own early work and, oh my! I blush at the thought of you hearing it...

-V

"I received some crushing feedback from one of my tutors about my writing." - Melanie Hill

"There is zero tolerance in this business for poor prose skills." - Valerie Francis

For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.

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Readers are on a need to know basis. That means that, as storytellers, we only tell them what they need to know, and only when they need to know it. In this adaptation of John le Carre's novel, the filmmakers could have told us everything we needed to know about Issa in the first few minutes. Instead, they sprinkled the details a little bit at a time, and as a result, the audience's curiosity goes into overdrive.

Melanie and I still think the book is better (shocker, right?), but this is a great episode to discover how to control the flow of information in a story. -V

"It's really tempting to say that, 'Well, I have to start my novel or my memoir with three chapters of backstory'." - Valerie Francis

Related Story Nerd Episodes

See How They Run  (Season 9, Episode 5)

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There are two ways to write great stories. The first involves at least 20 years of reading, writing and being rejected. The second, which is much faster, involves learning story theory. (Big shocker that I'm saying that, right?) If option number two sounds good to you, then check out the Story Nerd Spring Webinar Series, which kicks off on March 28. Melanie and I will teach you the concepts you need to know, in a way that you can use, so you can craft better stories right away.

For more information, and to register, visit www.valeriefrancis.ca/spring2024

-V.

For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.

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The movie had both me and Valerie on the edge of our seats. When we come across a masterful movie we pull out as much as we can for you. This episode is chock-a-block full of info about point of view, narrative drive, clues, and liars. We also examine how the twist in The Good Liar is set up and pulled off. I continue to track the clues and motives this week...or should we say I track the lies. Valerie discusses how point of view and narrative drive work together to create this exciting thriller.

If you're building up to your twisty ending, this episode will have you speedwriting to get to the big reveal. -M

"When the whole meaning of a movie or a story changes, because of a vital piece of information REVEALED AT THE END then this is a device called a twist." - Melanie Hill

Related Story Nerd Episodes

Tinker Tailor Soldier Spy (Season 9, Episode 4)

The Bourne Identity (Season 3, Episode 2)

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A comedic take on a murder mystery had so much potential, but unfortunately, the creators of SEE HOW THEY RUN wasted it with what can only be described as lazy writing and lazy editing. This is what happens when the writers of murder mysteries aren't also superfans of the genre, or when they try to cut corners. This week, Valerie discusses the unfortunate skinny wrist reveal, and Melanie walks us through all the clues and red herrings. Do you agree with their analysis?

"If you're serious about getting published, be honest with yourself about the gaps in your knowledge. We all have them. It's okay." Valerie Francis

Related Story Nerd Episodes

Crooked House (Season 9, Episode 901)

Death on the Nile (Season 2, Episode 207)

Knives Out (Season 1, Episode 107)

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It's a long episode this week because there's a whole lot to talk about in this excellent adaptation of John le Carre's bestselling novel. Melanie gives her top tips for writing mysteries and Valerie discusses the type of protagonist we usually find in left-brained stories. One question lingered for them both: When did George Smiley discover who the mole was?

"Your opinion of George Smiley will change if you read THE SPY WHO CAME IN FROM THE COLD, because there his morality is laid bare. His duality, or his willingness to sacrifice innocence, is more laid bare." - Melanie Hill

RELATED STORY NERD EPISODES

The Dry (Season 9, Episode 2)

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By the time we get to the end of our manuscript, we can feel drained creatively. The temptation to phone it in looms large. But be careful. No matter how good the rest of your story is, if the ending is weak, the novel/film will fail to impress. This is just one of the lessons that Valerie and Melanie learned this week.

"What I mean by a left-brained story is basically a story that appeals to our heads more than our hearts. It has to hook the reader intellectually." - Valerie Francis

RELATED STORY NERD EPISODES:

Death on the Nile (Season 2, Episode 207)

Empathy (Season 6)

For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.

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This week Valerie and Melanie continue their study of left-brained stories. They step into the outback to discover how Australian crime writers create an atmosphere of isolation by combining plot and setting. Melanie is tracking clues, motives, and murderers' actions to discover the techniques used to raise questions and divert attention in the story – and there are many! Valerie investigates the Central Dramatic Question and Character Archetypes.

For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.

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It's time for a brand new season of the show and this time around, Valerie and Melanie are studying the same topic: left-brained stories. Never heard of it before? Don't worry. Valerie made up the term to describe any story that has a puzzle of some kind and invites the reader/audience to try to solve the puzzle before the author reveals the solution. Left-brained stories tend to be mysteries/crime stories, thrillers, and spy stories but they can show up in any genre.

In left-brained stories, storytelling principles are applied a little differently—and that's exactly what Valerie and Melanie will explore all season long.

For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle: www.valeriefrancis.ca/innercircle

For information about Valerie's upcoming webinars, visit: www.valeriefrancis.ca/webinars

To learn to read like a writer, visit Melanie's website: www.melaniehill.com.au

Follow Valerie on X, Instagram and Threads @valerie_francis

Follow Melanie on X, Instagram and Facebook @MelanieHillAuthor

For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.

To learn to read like a writer, visit Melanie's website.

Follow Valerie on X, Instagram and Threads @valerie_francis

Follow Melanie on X, Instagram and Facebook @MelanieHillAuthor

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!

For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle: www.valeriefrancis.ca/innercircle

For information about Valerie's upcoming webinars, visit: www.valeriefrancis.ca/webinars

To learn to read like a writer, visit Melanie's website: www.melaniehill.com.au

Follow Valerie on X, Instagram and Threads @valerie_francis

Follow Melanie on X, Instagram and Facebook @MelanieHillAuthor

For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.

To learn to read like a writer, visit Melanie's website.

Follow Valerie on X, Instagram and Threads @valerie_francis

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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!

For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle: www.valeriefrancis.ca/innercircle

For information about Valerie's upcoming webinars, visit: www.valeriefrancis.ca/webinars

To learn to read like a writer, visit Melanie's website: www.melaniehill.com.au

Follow Valerie on X, Instagram and Threads @valerie_francis

Follow Melanie on X Instagram and Facebook @MelanieHillAuthor

For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.

To learn to read like a writer, visit Melanie's website.

Follow Valerie on X, Instagram and Threads @valerie_francis

Follow Melanie on X, Instagram and Facebook @MelanieHillAuthor