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DRAFT ZERO

Draft Zero — Screenwriting Podcast & Deep Screenplay Analysis

Latest Episode

DZ-128: What even is a Character Arc?

What effect does character changing have on the audience?
DZ-128: What even is a Character Arc?
Listen to separate the three layers of an arc -- does the character change? How do they feel about it? And how is the audience positioned to feel about it?
⏱ 1h 30m
28 Jun 2026
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Stu, Chas and Mel finally begin their journey into CHARACTER ARCS, starting with this “primer” episode to try and discern some learnings and analytical lenses through which to study future stories

In this episode, we explore differences between a character learning something and a character fundamentally changing, how to dramatise that, and how the show teaches the audience to perceive that transformation (whether positively or negatively)…




"Is the character closer to the world? Or is are they away from the world? And are they close to the audience? And they’re away from the audience? I talked about the camera pulling away and making us go, oh, maybe the character’s evil. But that is literally visually distancing us from the character. So I’m going to come into this thinking about the concept of character arcs as an emotional event."

Stu Willis  |  DZ-128: What even is a Character Arc?


Recent Episodes

DZ-126: Secrets and Clues

How can Secrets and Clues motivate characters?
DZ-126: Secrets and Clues
Listen if you want to understand how hidden information drives character motivation and plot structure!
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“Getting information puts your character in danger. And danger rewards your character with information." — One of three ideas we steal from game design in this episode. In this two part series, we talk about how secrets, clues and hidden information motivate characters and may (or may not) help you plot from a character perspective. Part One (this episode) looks at WAKE UP DEAD MAN; while Part Two looks at SIDE EFFECTS, and the pilot episode of SHRINKING…


DZ-125: Oscars One-shot - BLUE MOON

What craft tools make a low-budget, contained, period drama riveting?
DZ-125: Oscars One-shot - BLUE MOON
Listen if you want to understand how narrative POV, screenplay format, and dialogue craft can elevate a contained biopic into an Oscar-nominated film
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BLUE MOON is a talky, period-drama that film about an obscure songer-writer in the 1940s. Yet, it attracted world-class talent AND Academy Award nominations, including for it’s script. Join Chas & Mel as they explore how narrative POV, interweaving relationships, hooky dialogue, and even the screenplay format itself make the script for BLUE MOON so great…



Foundational Episodes

Beginner's Guide →

DZ-40: Tactics and Scenes

How do tactics make your characters and scenes more dynamic?
In this episode, Stu and Chas turn their gaze to the “tactics” that characters use in scenes to get what they want. Tactics are how the characters try to achieve their goals and (we reckon) can be revealing of the essence of their character. The shifting and thwarting of tactics can make scenes more dynamic; while over the course of a story, the changing of tactics can reflect the growth of characters... even if their goal stays the same…
⏱ 2h 15m
4 FEB 2017
Listen to learn how a character's tactics reveal who they are under pressure--and how their changing tactics reveals their growth.
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DZ-54: Thematic Sequences

How does removing character and plot question force your audience to engage with theme?
Chas and Stu are joined, once again, by the inestimable Stephen Cleary. This episode is a spiritual sequel to our last episode with Stephen, the one on sequence structure. That episode explored how sequences could be broken into plot, character, and plot/character sequences…
⏱ 2h 49m
10 OCT 2018
Listen if you want to make theme your primary driver (for a sequence)
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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-41: Theme and Worldview

How can your characters' worldview dramatise your theme?
In this episode, Stu and Chas tackle one of the more esoteric topics in screenwriting (and writing in general): theme! To help us tackle this topic, we decided to look at television pilots, because we felt that television requires the theme to be more explicit. Our zig-zagging (and long) discussion covers thematic engines, music themes, thematic loglines, punishment vs reward, and - perhaps most of all - the worldview of characters…
⏱ 2h 32m
24 MAR 2017
Listen if theme feels abstract - we talk how how to make it visible through what characters believe.
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DZ-60: Unfilmables 1 - Engaging imagination

How can unfilmables enhance the experience of your script?
*AKA Why your screenwriting guru is wrong *…
⏱ 2h 25m
7 AUG 2019
Listen to discover how *produced* screenplays use unfilmables to shape tone, performance, and humour on the page.
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DZ-51: Antagonists! 3 - vs Nature

What changes in your story if your antagonistic forces can't be bargained with?
In this Part Three of our Five Part Epic Exploration™ into antagonistic forces (and sources of conflict), Chas & Stu explore “nature” antagonists, including some supernatural ones. What became clear in doing the homework (and recording this episode twice) was that the antagonistic forces - whether natural or supernatural - presented different narrative challenges to the protagonists if (a) they did not seem to make choices and (b) could not be bargained with or defeated…
⏱ 1h 52m
31 MAY 2018
Listen to understand why pressure--not obstacles--is what transforms a protagonist when they face an unstoppable force.
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