Chas and Stu are joined for the fourth time by the inestimable Stephen Cleary – this time to take a deep dive into sequences. A real deep dive. A 3+ hour deep dive.
Stephen postulates that sequences can compel the audience in different ways via the type of dramatic questions being posed. Are they plot questions (“Will she defuse the bomb?”) or character questions (“Will she understand what compels her to defuse bombs?”) or a combination of both? What is the impact on the pacing, structure of your story or audience experience of your characters by changing the type of question being asked? What happens to your story when your protagonist decides to literally abandon the plot?
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.
Can screenplay competitions be worth it? After being repeatedly asked by listeners for thoughts on screenplay competitions, Stu and Chas go full back matter for this special episode. They tackle the question – do comps just feeding the hope machine or are they a valid investment? – in their typical detailed (i.e. long) style. With their differing […]