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.

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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.

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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

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 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.

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

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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)

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 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.

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

Follow Valerie on X, Instagram and Threads @valerie_francis

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