Genre

In this episode Chas, Stu and guest Kim Ho continue their exploration into the power(s) of antagonism and how focusing on them can develop story… →

Films: Rebel Ridge (2024) , Meet The Parents (2000)

We often struggle to develop the middle stages of a story. Could this be because we focus on our protagonists’ journeys and plot structure more than on how the antagonistic powers are awakened, wronged, discovered, gathering strength and revealing themselves… →

Films: Sinners (2025)

Following on from our episodes on establishing tone through action lines and through character, this is what we have been building up to: how to pull off a tonal switch… that does NOT throw the audience out of the film. And, in particular, how to pull that off on the page when writers don’t have framing, lighting, music, editing, etc. at our disposal… →

Films: Shaun Of The Dead (2004) , Sorry To Bother You (2018) , Swiss Army Man (2016)

Mel joins Chas to tackle physical comedy. We limited our homework selection to extended scenes (as opposed to moments and sight gags) in live action projects and – with the help of our Patreons – selected early sequences from BRINGING UP BABY, the pilot for HAPPY ENDINGS and that wonderful food poisoning scene in BRIDESMAIDS… →

Films: Bridesmaids (2011) , Bringing Up Baby (1938) , Game Night (2018) , Happy Endings (2011)

Shows: Happy Endings 1x1

Chas and Stu finally start their long-mooted exploration of tone with a series that examines films and shows with unusual tones and dives into how the writers establish those tones in the first 5 pages… →

Films: The Nice Guys (2016) , The Banshees of Inisherin (2022) , YELLOWJACKETS (2021)

Shows: YELLOWJACKETS 1x1

Chas, Stu and Mel reunite to talk about writing the feel of camerawork in screenplays. We use “oners” — a long-playing continuous take — as a lens to talk about how some writers have “directed” from the page. We talk immediacy, camera positions, handovers, and anchoring action and more… →

Films: Goodfellas (1990) , The Adventures of Tintin (2011) , Children of Men (2006)

In Part 3 (the final part? Ha!) of our exploration into ensemble stories, Stu, Chas & Mel examine films whose genres do not conventionally require a ton of characters or that use those ensembles in unconventional ways. In particular, adding whole storylines that are separate from the main character’s story. To that end, we dive into three films that were horrifically snubbed by the Oscars: THE WOMAN KING, RIDERS OF JUSTICE and NOPE… →

Films: The Woman King (2022) , Riders of Justice (2020) , Nope (2022)

In Part 2 of our exploration into ensemble stories, Stu, Chas and Mel examine films whose plot and genre require a lot of characters. Thus we tackle a team sports film (PITCH PERFECT), a murder mystery (GLASS ONION), a slasher (SCREAM 2022) and a family holiday flick (THE FAMILY STONE)… →

Films: Pitch Perfect (2012) , Glass Onion: A Knives Out Mystery (2022) , Scream (2022) , The Family Stone (2005)

Time for our annual backmatter episode, where we drop any ruse of any objectivity, and fully embrace our subjective opinions… →

Films: Andor (2022) , Obi-Wan Kenobi (2022)

Shows: Andor , Obi-Wan Kenobi

In part two of our two-part series on TALISMANS, we break down the beats used to turn objects (in a broad sense) into talismans; how talismans can track character journeys and transitions; and how they can be used to create powerful moments without words… →

Films: Thor: Love and Thunder (2022) , Portrait of a Lady on Fire (2019) , In the Mood for Love (2000)

In this series, Chas and Stu discuss TALISMANS. Physical objects that are imbued with meaning by a character or characters. They’re a powerful tool to access inner character… →

Films: Thor: Love and Thunder (2022) , In the Mood for Love (2000) , Cast Away (2000) , The Dark Knight (2008) , Mad Max: Fury Road (2015)

In this one-shot, Chas and Stu jump into the utter chaos of EVERYTHING EVERYWHERE ALL AT ONCE. Y’know, nultiverses, butt-plug action sequences, hot-dog fingers, a raccoon chef, a nihilist bagel. All the good stuff. And yet it lands emotionally in a way that feels inevitable… →

Films: Everything Everywhere All At Once (2022)

Inspired by her tweet on how subversive an opening OCEAN’S ELEVEN has, Chas and Stu invited amazing writer/director Jessica Ellis onto the show to deep dive into opening sequences. How does a good opening setup character, genre, and theme… →

Films: Ocean's Eleven (2001) , Long Shot (2019) , Arrival (2016) , A Serious Man (2009)

Stu and Chas reunite with TV writer & director Kodie Bedford to look at how some films start out as genre but gradually become character dramas. Or, as Stu never said on the episode “Genre in the streets, Drama in the sheets”.… →

Films: Hustlers (2019) , Pig (2021) , The Power of the Dog (2021)

In tackling this enormous topic, Stu and Chads enlist professional TV writer and director Kodie Bedford, someone who has somehow managed to defy genre pigeon-holing by writing mystery, comedy and vampire shows… →

Films: Get Out (2017) , Promising Young Woman (2020) , The Invisible Man (2020)

In their now-annual full backmatter episode, Stu and Chas let their hair down, drop the guise of objectivity, and allow themselves to have an even more subjective opinion about writing and the business of writing… →

Films: Ready or Not (2019) , The Mandalorian (2019)

Shows: The Mandalorian 2x1

Stu and Chas are joined by filmmaker, podcaster and writer Lia Matthew Brownn to deep dive into FURY ROAD and its astounding visual storytelling, both on the page and on screen. We talk about setups and payoffs, given circumstances, image systems, environmental storytelling, and how the relationship between Furiosa and Max is built over the course of the story with very little dialogue (besides Tom Hardy’s grunts and the odd bellow of “MEDIOCRE!”). You can also watch the complete live stream on YouTube or just the breakdown of the Furiosa/Max fight (which isn’t in the podcast) here: https://www.youtube.com/watch?v=f8uYAbEcQeQ&feature=youtu.be… →

Films: Mad Max: Fury Road (2015)

Draft Zero return with their next YouTube livestream! Stu and Chas take a deep dive into JOKER and analyse the film through the story paradigm of melodrama. Is it a melodrama? Why or why not does that matter? And does that influence how it has been written on the page… →

Films: Joker (2019)

By Order 66: Chas and Stu are joined by special guest - filmmaker Mel Killingsworth - to talk all things Star Wars. Well. Focusing on The Mandalorian and The Rise of Skywalker and wherever else our tangents take us… →

Films: The Mandalorian (2019) , Star Wars: The Rise of Skywalker (2019)

This episode, Chas steps down as co-host (kinda) and is interviewed by Stu as a guest, alongside director Ben Mizzi, about the short rom-com that Chas wrote and Ben directed & produced. The episode covers taking an idea from pitch to screen, working with a director, directing performance on the page, and marketing and distribution strategies for short films… →

In this second part of our series on unfilmables, Chas and Stu continue their deep dive into how writing the “unfilmable” can enhance your script. Rather than looking at micro moments, they turn their gaze to “moments of awe” — those often breathtaking cinematic moments that feel beyond writing. But are those scenes actually unscriptable… →

Films: You Were Never Really Here (2017) , Searching for Bobby Fischer (1993) , The Invitation (2016) , Moonlight (2016)

One day, Chas saw Avengers: Endgame for the second time and wrote a review on Letterboxd. In particular, he had issues with how little he perceived the characters of Cap and Tony changed within the film, their big finale (spoiler). Then friend and patron of the podcast Julio Olivera vehemently disagreed in the comments. He was egged on by Stu. And there in the comments began a debate that looked a lot like an episode of Draft Zero. So we decided to make it one… →

Films: Avengers: Endgame (2019)

Contained Thrillers* *seem to be a genre that never goes out of fashion. But being contained is not just limited to thrillers. It’s a way of telling stories on a lower budget, regardless of genre. So - while allegedly easier to make / get made - limiting a story to a single location also limits the tools that maintain an audience’s interest. Changing audience or character point of view, intercutting between locations or characters are all much harder (if not impossible) in contained films. So how do good contained films hook their audience and keep them… →

Films: Locke (2014) , The One I Love (2014) , Everly (2015)

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 perspectives, Stu (a director looking for material) and Chas (a writer keen for exposure), talk to an impressive roster of guests. We start with Gordy Hoffman, founder and judge of the Bluecat Screenplay Competition; repeat Austin Film Festival attendees - first for the screenplay and now for the finished web series of EX BEST - Diana Gettinger & Monica Hewes; Launchpad 2014 finalist Tony Pitman; and Insite Competition winner Blake Ashford, whose winning script CUT SNAKE hit cinemas in 2015... ten years after winning the competition… →

Films: Cut Snake (2015) , Dog Bowl (2015)

In this halloween special, Chas (sans Stu) is joined by a very special guest... Aaron Sterns the co-writer of WOLF CREEK 2 -- the big budget sequel to the infamous WOLF CREEK, also directed by Greg McLean. Chas and Aaron talk horror, anti-horror, collaboration, novels and how a screenwriter works within an existing franchise… →

Films: Wolf Creek 2 (2013) , Wolf Creek (2005)

Remember that time in THE DARK KNIGHT RETURNS when Bruce suddenly - magically - returned to Gotham, and you were like “WTF?!” Well, it turns out that many of the best films have moments that are just as coincidental or contrived (or a flock of Giant Eagles) and yet get away with it. Does Pixar’s “rule” that it is ‘cheating to use coincidences to get your characters out of trouble’, always apply… →

Films: Finding Nemo (2003) , Michael Clayton (2007) , Pulp Fiction (1994)

Stu and Chas move away from the world of features and dive into the Pilot Episodes of some (New) Golden Age Television: THE SHIELD, THE WIRE, BREAKING BAD, and MAD MEN. And we sneak in some discussion about ANGEL, THE SOPRANOS and GAME OF THRONES… →

Films: The Shield (2002) , The Wire (2002) , Breaking Bad (2008) , Mad Men (2007)

Shows: The Shield 1x1 , The Wire 1x1 , Breaking Bad 1x1 , Mad Men 1x1

With Stu busy working on Hollywood blockbusters, Chas is joined by Alli Parker (script department on Aussie TV series and former co-ordinator of European #scriptchat) to unpick successful romcoms to see if they can illuminate a path for writers working in this struggling genre. Cheap to produce and potentially highly lucrative, Chas and Alli look at RomCom’s conventions to see what it may take to reinvigorate this genre… →

Films: When Harry Met Sally... (1989) , (500) Days of Summer (2009) , The Proposal (2009) , Notting Hill (1999)

Of course there are. How could there not be? After all, Michael Bay is the 3rd highest grossing director at the worldwide box office... of all time. Behind, y’know, Spielberg and stuff. How could a man of such credentials not know story? Or, so argues this week’s guest: the author of MICHAEL F-ING BAY: THE UNHERALDED GENIUS IN MICHAEL BAY’S FILMS... [drumroll]... the Bitter Script Reader… →

Films: The Rock (1996) , The Island (2005) , Pain & Gain (2013)

It’s our Holiday Special! In this episode (recorded December 2014), Chas and Stu break all the rules. No homework. No pages. No empirical analysis. They reluctantly but boldly reflect over the first year of Draft Zero and how it has influenced their ‘careers’ (such as they are). They also engage in a heated debate on whether a short film, a micro-budget feature or web-based content is the best way to go in terms of pushing a filmmaking career forward… →

Films: Play It Safe (2015) , Payload (2011)

Chas and Stu are joined by Khrob Edmonds - an award-winning filmmaker - to discuss manipulation of time… →

Films: Pulp Fiction (1994) , Raiders of the Lost Ark (1981) , The Bourne Identity (2002) , The Bourne Ultimatum (2007) , The Untouchables (1987) , The Woman in Black (2012) , Up (2009) , Whiplash (2014)

Well, half of us is... Chas (sans Stu) is joined by a very special guest - Natasha Pincus. As a screenwriter, Tash’s feature CLIVE was on the 2012 Black List. As a director, her music video for Goyte’s Someone I Used To Know was nominated for an MTV Music Video Award. And at the time of this recording, her debut feature as a screenwriter FELL was weeks away from opening night… →

Films: Fell (2014)

Part 2 of our Screenplay Gurus series takes the same lens from Part 1 — Vogler, Snyder and Hauge — and points it at the two highest-grossing original films of 2013: GRAVITY and FROZEN. No franchise, no sequel. Just the two films that audiences went to see in the biggest numbers that year, and the question of what their scripts actually look like when you run them against the guru formulas… →

Films: Gravity (2013) , Frozen (2013)

Three of the most widely read structure books in screenwriting — Snyder’s Save the Cat, Vogler’s The Writer’s Journey, and Michael Hauge’s Six Stages — all make essentially the same claim: this is how great films are built. In our debut episode, we run that claim against two Oscar-nominated films to see if it holds: PHILOMENA and DALLAS BUYERS CLUB… →

Films: Philomena (2013) , Dallas Buyers Club (2013)