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DRAFT ZERO

Draft Zero — Screenwriting Podcast & Deep Screenplay Analysis

Latest Episode

DZ-131: Negative Character Arcs vs Negative Feelings

How do you make an audience feel negative when the character's arc isn't?
DZ-131: Negative Character Arcs vs Negative Feelings
Listen to learn how to control your audience’s perception of your character arcs.
1 Nov 2026
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In our fourth entry into our series on character arcs, we explore both what makes an audience perceive a character arc to be “negative” AND separately what makes the audience feel negative about a character arc. The individual arc, as Chas puts it, is only one lever

We dive into BACKROOMS, IF I HAD LEGS I’D KICK YOU and ANATOMY OF A FALL, further developing craft tools we’ve looked at earlier in the series - repeated character beats, emotional events, operant conditioning - as well exploring newer ones in more depth, such as relationship questions and symbolism… →



"One of the things that I think you can take from these films is: the kind of structural decoupling of when the characters change, and when the audience’s relationship to elements, character or world or the film itself kind of change."

— Stu Willis  |  DZ-131: Negative Character Arcs vs Negative Feelings


Recent Episodes

DZ-129: Steadfast Character Arcs - Agents of Change

How do you write a satisfying story when your character never changes
DZ-129: Steadfast Character Arcs - Agents of Change
Listen to learn how to move an audience with a character who never changes.
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Do characters need to change for you to have a satisfying story? That’s a question we’ve been asking since, like, episode five of this podcast. And we’re finally talking about them - whatever you call ’em: steadfast, resilent, or flat arcs… →



Foundational Episodes

Beginner's Guide →

DZ-46: Structure & Point of View

What questions do you want your audience asking at any given time?
Waaaaaaaaaay back in DZ-5, Stu and Chas examined how shifting narrative point of view (i.e. what the audience knows in relation to the characters on screen) heightens emotions in any given scene. We’ve now taken that micro idea and applied it to the macro: how can deciding what the audience knows and when in relation to the characters organise your story? Are whole sequences or even acts driven by the audience following a character, feeling concerned about a character, empathising with a character or being absorbed in the irony of knowing more than all the characters interacting on screen… →
⏱ 2h 25m
19 DEC 2017
Listen if you want to understand how narrative point of view can organise your entire story structure
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DZ-8: Status Transactions

How does a shift in status or power reveal character?
Stu and Chas explore an idea they both came across studying theatre: status and by extension (or juxtaposition) power. Is a story where a character changes status or experiences loss (or gains) in power more compelling… →
⏱ 1h 32m
10 JUN 2014
Listen to make your character relatinships more dynamic.
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DZ-29: Showdowns & Scene Structure

What can fight scenes - whether physical or verbal - teach us about structuring any scene?
In exploring how to write good fight scenes, Stu and Chas compare how writers structure memorable showdowns - both verbal and physical. Fights vs arguments. Swords vs insults. Lightsabres vs passive aggressive subtext. To do this, they analyse the showdowns in EASTERN PROMISES, ROB ROY, THE FORCE AWAKENS (yes, yes, we finally let Stu officially discuss Star Wars), A FEW GOOD MEN, BREAKING BAD and BEFORE SUNSET… →
⏱ 1h 41m
25 JAN 2016
Listen to discover how fight scenes can be great inspiration for writing any kind of showdown (verbal or otherwise)
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DZ-4: Catharsis and the Post-Coital Cigarette

How does the end of certain films make your soul shudder?
Stu and Chas are joined by their first guest – illustrious script developer and producer Stephen Cleary – to explore how certain films can trigger an outpouring of emotion from the audience. Turns out that Aristotle may have figured it out a few thousand years ago and called it Catharsis… →
⏱ 1h 25m
14 APR 2014
Listen if you want to make you endings great!
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DZ-67: Writing Passive Protagonists & Melodrama

How do I tell a powerful story where the protagonist cannot drive the plot?
Stu and Chas are joined by Stephen Cleary following his exploration into Melodrama, and together they try to reclaim the word from its pejorative meaning… →
⏱ 2h 58m
30 APR 2020
Listen if you want to write powerful stories centred on characters without much agency.
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DZ-21: Scene Transitions and the Hook

How can scene transitions do more than just move from one location to another?

Stu and Chas look at one of the basic building blocks of a script: scene transitions. Transitions don’t just move you from one scene to another in a slick way, they can help you compress time, enhance thematic connections, unify different story threads, orient (or disorient) your reader... and just make your script feel more like a movie… →

⏱ 1h 40m
7 MAY 2015
Listen to understand how transitions compress time, enhance thematic connections, unify story threads, and orient your reader
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