Podcast appearances and mentions of Blake Snyder

How can the Fast Drafting method help you finally finish your novel? And how do you make progress when you only have 30 minutes a day to write? Jessica Brody shares her tips for finishing first drafts after 20 years as an author. In the intro, Clive Barker's Kickstarter, The Amazon Tax [Seth Godin]; Trad publisher announces “human-originated, AI-facilitated” book, The Everything Code [PanMacmillan; AI policy; CHAPTR]; Holy relics, churches, and memento mori in Bruges and Brussels. This podcast is sponsored by Kobo Writing Life, which helps authors self-publish and reach readers in global markets through the Kobo eco-system. You can also subscribe to the Kobo Writing Life podcast for interviews with successful indie authors. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Jessica Brody is the best-selling author of over 20 novels across different genres and age groups, as well as writing for Disney Publishing. She's also the author of Save the Cat! Writes a Novel and other books and courses for writers at the Writing Mastery Academy. Her latest book is Page One to Done: Finish Your Novel in 30 Days with the Fast Drafting Method. You can pre-order with bonus extras at JessicaBrody.com/preorder You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes Why a small advance can set you up for long-term success Why 97% of first drafts are never finished How to finish a novel writing 30 minutes a day Why drafting and revising are two different jobs How a pre-writing ritual primes your brain for flow Writing a meta murder mystery after 20 years of teaching plot You can find Jessica at JessicaBrody.com and WritingMastery.com. Transcript of the interview with Jessica Brody Jo: Jessica Brody is the best-selling author of over 20 novels across different genres and age groups, as well as writing for Disney Publishing. She's also the author of Save the Cat! Writes a Novel and other books and courses for writers at the Writing Mastery Academy. Her latest book is Page One to Done: Finish Your Novel in 30 Days with the Fast Drafting Method. So welcome to the show, Jessica. Jessica: Hi, thank you so much for having me. I'm so honoured to be here. My writing community speaks so highly of this podcast, so I'm excited. Jo: Oh, well, thank you, and you were requested, so this is going to be a good one. First up— Tell us a bit more about you and how you got into writing and publishing. Jessica: Well, I started writing when I was seven. I like to put in air quotes, I wrote my first, quote, “novel” when I was seven. It was about three pages long. I got the bug very early. I didn't realise it was an actual career choice that you could take seriously until way later in life, after I'd already graduated college with a degree in economics and I was working as a financial analyst, and I was just writing on the side for fun. Then, as luck would have it, I got laid off from my job, and I ended up trying to take writing a little bit more seriously in that time. That's when I found the Save the Cat method, which absolutely changed everything for me. Before that, I had loads of rejection letters, and I eventually sold my first novel to St. Martin's Press, and I've been writing and publishing ever since. That was 20 years ago now. Jo: 20 years, wow. It's so interesting. So you were in economics, you were a financial analyst, and you got into writing. Did you have any pushback from either your own brain that was like, “I cannot make money this way,” or your family? Or how did you make that leap? Because we just hear that it's not a career, financially, really. Jessica: I know, and I think I went into it very blindly, using television as my resource of this is how much money I can make writing. Like Sex and the City, she was selling books for lots of money. So I was like, oh, I just have to sell one book, and then I'll be set. That was not the case. My first advance was so much lower than I expected, and what happened, though, was kind of interesting. I sold my first book, way lower advance than I was hoping for. I wasn't making any money anywhere else, so I was taking on all these odd jobs that I could do in my own time. I was doing transcription work, and I was working at a school half the time. I mean, I just had so many really weird jobs. I think what happened was, because I didn't have another financial net to help me, it just pushed me really hard. So once I sold one book, I was like, well, I need to sell another one and another one, and I ended up in this 20-year cycle, which I've slowed down thankfully, since, but of writing so obsessively, I should say. I just kept selling books and selling books. My advances got higher and higher, and eventually I was able to support myself with my writing, but it was not instant at all. Jo: Actually, that's a really good note there, because we often hear so much of these debuts that get paid a ton of money, and then they disappear, and they almost spiral down. Whereas what you've done is spiral up. Which is almost a better way to do it perhaps, with your reputation with traditional publishing. Jessica: It's funny, I tell this story a lot to writers who are looking to get published, that the big advance is not necessarily the end-all be-all. Because I have heard that story before, someone gets a very big advance, and then it doesn't earn out, and they can't sell another book because the publisher's lost money. I had the opposite experience. My advance was so low, and my publisher got worldwide rights. They bought worldwide rights. So they started selling foreign rights of my first book really early on, and I earned out before the book even came out, with just a few foreign sales. That ended up setting me up for success, because I was making money for the publisher from day one, and I was able to sell more books, and so I sort of worked my way up. I really do credit a lot of that to how long I've been able to stay in this game. Jo: No, it's a good way of thinking about it, because people forget the publisher isn't a charity. The publisher has to make money from your book. So it's nice that you make money, but they have to make money, or they're not going to bother, right? Jessica: Yes, exactly. Jo: So let's come back to Save the Cat, because you mentioned that the original method really changed how you write, and then of course you did Save the Cat! Writes a Novel. So I've got that. I imagine a lot of people listening have got that. Tell us a bit about why that methodology made such a difference to you, and why you think it's so useful. Jessica: Well, you'll sense a theme here. I went into this business, like I said, without knowing a lot, and I went into it the way I think a lot of writers do, which is, I had an idea, I sat down, and I tried to write it. I had no guidance, no map, no structure, and I just wrote. I actually finished something, which is surprising, but then I started to get all these rejection letters that basically said similar things, which was, “You're a good writer, you have a good voice, but there's no story here.” I just didn't understand that feedback, because I had finished something. I could print it out and stack it on my desk. Wasn't that a story? Apparently it was not. Then a screenwriter friend of mine that I was talking to about how I was getting all of these rejection letters with the same note said, “You should read this book that recently came out. It's called Save the Cat, and it's for screenwriters, but I think it could work for novels because it just seems to be all about structure and storytelling.” So I read the book cover to cover so quickly, because if anyone's read the original, it's just so readable, and everything started clicking in my mind. I realised, wow, I really don't know how to tell a story. I could plot out everything I had done wrong, and I went back to my book and I started rewriting it from page one with this new structure in mind. When I finished that, I ended up getting an agent for that book, and the agent sold that book. I've been using the method ever since. It just made so much sense to my brain. What I tell writers is, “Use the method that makes sense to your brain.” All storytelling structure methods are basically telling the same story, just with different words, sliced and diced a little bit differently, but structure is structure, and a story is a story. It has to have a beginning, middle, and end. It has to have conflict, it has to have a middle twist, and things like that. So this one worked for my brain, and I started to teach it to other novelists, because at the time there was still just the screenwriting guide. So I started to teach how I was using it to other novelists, and that turned into the book, Save the Cat! Writes a Novel. Then I wrote a young adult version of it as well. And I still use it to this day. It's just something that's always made sense to me. Jo: So were you hired by the estate? Blake Snyder died, right? So were you hired to write that, or is that something you arranged? Jessica: It was kind of something that was arranged. I think Blake Snyder Enterprises is the name of the company. Blake Snyder died in 2009, sadly. When I started using the method, I was blogging about it on my blog, and I would share some of my beat sheets of the novels I was writing. The people who had taken over his estate reached out to me and said, “Hey, can you blog for us? Because we don't have a lot of novel content on our blog. We just do screenplay stuff.” And I said, “Of course.” I had a fangirl moment. Oh my gosh, they've reached out to me and this is so exciting. So I started blogging for them, and then that turned into the workshops that I started doing with them. Then we partnered up on the book. I think it was one of those things that felt inevitable, like we were just working toward it. I was living in LA at the time. They're based in LA. And I remember having breakfast with them, and we all just looked at each other and said, “So we need to write a book, right? There has to be a book.” So we ended up sharing the copyright, and, as you see from the title, it says based on the books by Blake Snyder. It's very much his method. Then I brought some of my novel flair and some of my own little tips and tricks that I had picked up over the years and applied it to his method. Jo: I love that. We are going to come to your other book for writers in a minute, but just on that intellectual property sharing, writing in other markets, you also write for Disney Publishing. This is so fascinating to me. Now, there are lots of people who do write for other properties. So how did that come about writing for other properties, and how does that fit into your portfolio of the things that you do? Jessica: Yes, writing for other properties is really fun. It's probably not for everyone. You have to know what you're getting into before you pursue it, because it's very much not your IP. You're writing under someone else's brand, you're in their canon, and there are certain rules you have to follow. So you have guidelines. I found it to be really fun and kind of a break from some of my own stuff, because I didn't have to come up with everything. I didn't have to invent all the new worlds and all the new characters. A lot of them were just given to me, and I could play within the boundaries of that sandbox, and I really found that inspiring. So what happened actually is I was on a writing retreat with a bunch of other writers, and there was a writer at the retreat who already wrote for Disney Press and was supposed to write this new series for them, based on their Descendants series. She said to me, “I really can't do it, but I'd love to recommend someone else to them.” I think we had been talking about how big of a fan I was of Disney or something, and she said, “Do you want me to recommend you?” And I said, “Yes, absolutely.” Another big fangirl moment. So the editor of that series reached out to my agent. They talked to me. They got writing samples from me through my agent, and then before I knew it, I was hired to write, I think the first contract was maybe for two or three of the books, and then we renewed for a few more. It was just really fun. Then I formed a relationship with that editor. We ended up working on another series for younger kids, based on the Disney Princess LEGO series, which was much younger and new for me. It had illustrations. That was a whole new challenge, but I found it really fun. As I said, it was a nice break from writing my own things, because I could write them fairly quickly. They did have very fast turnarounds at the publisher too, but I could use my skills for structure and storytelling and apply it to a world that already existed, and it was a nice pairing. Jo: I love this. So much of what you've done seems to have come from relationships or just putting yourself out there in the world. Jessica: Yes, good observation. I hadn't thought of that. Jo: Whereas I think a lot of people think that it's all about cold pitching. It's not so much, from what you're saying. Jessica: Yes, and I did another IP project with Simon & Schuster called Boys of Summer, which was a young adult novel. That one specifically came from my agent. So a lot of times publishers will reach out to agents and say, “Here's what we're doing. Do you have authors who would fit?” And my agent will often reach out to me and say, “Here's the pitch I got from a publisher. Are you interested in submitting yourself for this?” That's what happened with Boys of Summer. They actually sent out an outline to a bunch of writers who were interested, and I had to write sample chapters to the outline, or I think it was the first couple of chapters or something. I was very gratefully selected to write it. That came about from having an agent, and a lot of times having an agent is a way into IP work. And then those connections can help too. Jo: Fascinating. Right. Well, let's get into your book Page One to Done, which as I said, one of my listeners actually requested to have you on the show to talk about this book, because she said it was absolutely fantastic and helped her finish her book. So why finishing? What is the problem? Why write a book on actually finishing? What are some of the common issues that people have? Jessica: Well, thank you to that listener. I really appreciate it, and here I am because of you. Connections once again. So Page One to Done came out of my own struggle with finishing, and not just finishing, but finishing efficiently and maintaining joy throughout the process of writing a novel. As I said, I was writing very fast and furiously, and my deadlines were piling up, and I started to feel like writing a novel stopped being fun. It started to become a very frustrating process, and I realised that was a lot about how I was approaching the first draft, which, as most writers know, the first draft is very hard. When I started to look further into it, I found this statistic online that's widely accepted in the writing community, which is that 97% of first drafts are not finished. Which is, wow, mind-blowing, but also not that hard to believe once you think about the challenges of writing a first draft. Taking an idea from a seed, developing it into a full plot with character development and arcs and subplots and side characters and themes and all the things that you think a story should have, getting that all onto the page and actually reaching the end. It's very, very difficult, and I never lie about how difficult it is. So I was struggling to finish things quickly, to enjoy the process, and I noticed that other writers were too. I felt like, well, I have this plotting guide that I love, this structure guide, Save the Cat! Shouldn't this be easier once I have an outline? And it wasn't. And that, I think, is because we forget that there's another part of the process. It's not just about developing a compelling character. It's not just about having a well-paced plot. You have to be able to get ideas out of your head and onto the page in a way that doesn't make you want to quit. I think one of the problems with the first draft is most of us write something down, it does not match what's in our head, and we start to get more and more frustrated. The process becomes overwhelming. We're holding too much of the story in our head. We're going back to page one to revise with every new idea we have, so it starts to slow down. The farther we get into the book, the longer that back to page one process takes, and things start to spiral out of control. I think that's essentially what happens to this 97% of first drafts. The writer quits because it's not good enough. It doesn't match what's in their mind, and there's too much to hold, and it starts to become overwhelming. So this is what was happening to me. Even though I was finishing things, the process was still very overwhelming, and I started to experiment with different things. Different mindset shifts that I could make, different ways I could change my writing routine to really enhance the process, to get into flow faster, to stay in flow for longer, things like that. It took me about five years, and I developed this collection of mindset shifts and strategies and routines that I could not only apply to myself, but I turned it into a system that was repeatable, and I started teaching it in my Writing Mastery Academy. I called it the Fast Drafting method, and it's all about letting go of this idea that our first draft has to be perfect or even that good, and just focusing on getting ideas down as quickly as possible, even if that creates a big mess. It's this freeing process of doing that in a way that we don't get in our own way. So I started teaching it to other writers. People were finishing things who had never finished things before. Writers who had taken two years to write a first draft were writing first drafts in weeks. The biggest comment I was getting was, “This is so freeing. This is so liberating. This is so fun.” And it gave people the motivation that they needed to actually sit down and revise the book. Before, either they never finished, so they never got to the revision process, or they were so overwhelmed and bogged down by the two years it took for them to write one draft, they didn't have the energy to revise and get it to the next level. So anyway, all of this is to say it was working for me, it was working for other writers. I turned it into a book called Page One to Done, and it's my three-phase process, mindset, preparation, and drafting, which I equate to running a marathon. You wouldn't run a marathon without proper training and proper nutrition and the right mindset, just like you wouldn't write a novel without the right mindset, the right preparation, and the right skills you need to get to the end. Jo: That's fantastic. You mentioned training there and some of the routine changes. So I hear new writers say, “Oh, I can't write unless I maybe have two hours or three hours to write down stuff, and I never have three hours at a time, so I never have time to write.” I hear that a lot. So what would you say to those people? What is a routine and a mindset shift that might help those people? Jessica: That's great, and I hear that all the time too. I interviewed a handful of authors for this book who had gone through the fast drafting method with me, and I would say the majority of them wrote for 30 minutes to one hour a day and were able to finish their books in a matter of weeks to maybe two months. That's because what I teach in the book is not about the amount of time you have. It's about how you use that time. When you really structure your day and your writing time with intentionality, you do whatever you can to block out distractions, get into flow, stay in flow. I'll give you one amazing tip that basically solves all of these things in a second. But when you really bring intentionality to those 30 minutes, you can write more in 30 minutes than you can in three hours without bringing these kinds of intentional choices. So that's one of the things I teach. You don't need more time. You actually just need to approach the time you have with the right mindsets and the right intentions. So one of the biggest shifts I tell people is just don't write and revise at the same time. For one, it pulls your brain in two different directions and creates the requirement of context switching, because essentially drafting and revising are two different jobs. Drafting is getting ideas out of your head and onto the page. Revising is polishing those ideas. They require very different headspaces and very different skills. So when we try to do both of them at once, we're pulled in two different directions. We're essentially trying to polish something we haven't even figured out yet, so we're polishing in the dark, if you will. It causes our brain to snap back and forth so many times. The term context switching is very big in the zeitgeist today, and that's because it's eating up our brain capacity. So if you spend 30 minutes just getting ideas down without judging them as they're coming out, without trying to revise them as they're coming out, you will get a lot of words down. A lot of that has to do with just what do you expect out of those 30 minutes? If you expect to write a chapter of absolutely brilliant polished prose, you're probably not going to do it, and you're going to feel like you wasted three hours. Then the next time you have three hours, you're like, “Well, no, I'm not going to do that. It's too frustrating, and I don't have three hours to begin with.” But if you sit down with the idea of, “I'm going to get all my ideas down. I'm going to just enjoy this process and live in my story for these 30 minutes,” you will be amazed at how much will come out onto the page. And you can absolutely finish a book that way. So intentionality is how you set up your workspace. Making sure that your phone is on do not disturb, making sure there are no pop-ups on your screen, making sure there are not even windows open behind your document. Every time your mind thinks about something else, you have to bring it back, and that eats brain power. So it's things like that. I have a whole chapter on how to set up a writing routine. One of the biggest tips I give people is to do what I call a pre-writing ritual. This is based in neuroscience, and there are all of these studies that back this up, that our brain does something where it associates an activity with another activity. So let's say right before we sit down to write, every time we do that, we do 10 jumping jacks, just as an example. But we only do 10 jumping jacks before we write. We don't do 10 jumping jacks before we sit down to do our taxes or answer emails. It's just before we write. Your brain starts to create this associative link with jumping jacks and writing. These are ways that we can prime our brain to get into the writing mode, and after doing that a handful of times, you do your jumping jacks, and your brain is literally already in your story before you sit down. It starts to soften that resistance that happens when we think, “Oh, I have to go write now,” or, “I've got to go write a certain amount of words,” or, “I have to work with my story.” It softens that, where it just becomes, “Oh, this is what I'm doing now.” Setting up these pre-writing rituals, which could include jumping jacks, could include something else, a lot of examples we can explore if you want, creates that associative link and allows us to get into the writing zone even faster. So by the time we sit down, we're already primed to go. We're not wasting a lot of that time going, “Oh, should I do it now? Should I do it later? I've got to open my document. Oh, my coffee's a little low.” All the things that we do to delay writing. They start to fall away. Jo: Yes, I mean, I always tell people, you and I turned up on time. We arranged this. We respect each other. We turn up, and we're doing this within a time slot. So I always say to people, “Look, make a calendar entry for your writing,” and do you respect your writing enough to turn up on time and do the work? We had a few minutes of saying hi or whatever, and then we got on with our work, which was this interview. So if you've arranged to start writing for that half an hour, then it is work still, right? You need to turn up and honour that. Jessica: Yes, and actually I have the same tip in the book. I say put it on your calendar, block it off. For the reasons you said, it creates in your brain the idea that this is a serious thing. It's not just a, “Oh, I'll get to it when I get to it,” like folding the laundry. It's like, no, this is what I've decided to do, I'm serious about it, I respect it. Just like any other appointment that you would respect, like lunch with a friend or an important business meeting, you show up for it. You don't go, “I think I'll show up to that business meeting in a few hours when I feel like it.” Also it keeps the routine consistent, because one of the tips I give is to always write at the same time every day if you can, because again, that associative link created in your brain, that habitual routine. So if you put it in your calendar for the days that you're going to write, you won't schedule over it by accident, which is just another logistical thing. I say something similar to what you just said, Joanna, in the book, which is basically, if you booked a massage for an hour, you would stay for the hour, right? Because you paid for this massage. Jo: Hell yes. Jessica: It's important to you. You're not going to get up in the middle and start texting your friends. You want your massage. If you treat your writing like any other thing that's important to you and show up for it consistently, it will show up for you, too. Jo: Yes, and I think the other misconception is that, okay, so that person has made it, and they're at the desk. I listen to rain and thunderstorms in my headphones. That's kind of, I guess, my routine. But that doesn't mean that I can just stream something wonderful. You talked about separating the writing and the editing, but sometimes it really is pretty basic, right? Morgan walked into the room. That will often be my thing, and then I'll be like, “Okay, well, why?” And what was the room like? Or was it even a room? So sometimes you just have to start writing something rather than wait for a perfect sentence. Jessica: Oh, yes, absolutely. Waiting for the perfect sentence, you'll be waiting for a long time. I say waiting for inspiration, you'll be waiting for a long time. My joke is, if I waited to write only when I felt inspired, I'd finish a book about every 20 years, if that. I think that's very important, and I teach a lot of tips and tricks in the book on how to get past that resistance, because of course, we don't want to just sit down and write something that we don't like. We don't want to just write down, “Oh, she stared at her computer for 10 minutes.” But sometimes we have to write that down to get to the next sentence or the next plot point or whatever barrier is in our mind. So one tip I'll tell people is put things you don't like in brackets, the square brackets. It's a really simple tip, and it's one of the tips I share in the book. Just put it in brackets and move on. What the brackets do, at least for people who use it, is it's like scaffolding. It's a reminder to your brain, this isn't permanent. This isn't going to stay. I'm going to come back to this later and fix it once I figure out what the story is and what she's actually doing in the room at this moment. For now, it's there. It's on the page. I can move past it. For me at least, the brackets are just this really nice reminder of the scaffolding. Nope, nope, nope, not perfect, not permanent, moving on. Then you can come back later and flesh it all out. I share a lot of anecdotes from my 20 years of writing novels, and one that I particularly like is I was working on a novel, and I had this scene that was just so awful, where all of my characters were sitting in a room. I had no idea what room it was or what it looked like, and they were talking about their feelings. It was just so awful and boring, but I had to get through this scene because I had to establish certain things that came later. I was complaining and complaining about this scene. I was on a writing retreat at the time, and my writer friends were like, “Let's just do a writing sprint, and we'll all write really fast, and we'll all get through our bad scenes, and we'll move on.” So I did that. I moved past the boring scene. It was still boring all the way to the end, but here's the thing, I couldn't figure out what happened in that scene until I'd figured out the whole story. So I wrote the bad version, and then in the next draft I came back and I was like, “Oh, this scene should take place on this bridge that I wrote in the finale that I didn't even know I needed, and it's this very symbolic bridge, and they can be standing on the bridge, and then they should be talking about this because that's going to pay off in the third act,” and I hadn't even thought of that yet. So all the things were coming together, but I could never have come up with that at the time. If I had just sat there and tried and tried, I probably would have gotten stuck at that scene and quit. So I had to just write the bad version, move past it, and come back later. Jo: Yes, and I think maybe because you're famous for structure, people think that maybe you wouldn't have to do that, because you already came up with that in the plotting. It sounds like you're also putting in those elements and foreshadowing and deepening things in the edit. So that's quite comforting for me as a discovery writer, because I end up doing so much more of that kind of thing in the edits. Jessica: Well, something I like to say is that we're all discovery writers, just different degrees. Because the writing process, no matter how much you plot in advance, is always going to be a discovery process. There are always going to be things you didn't think of. There's always going to be a way to tie things together that you never could have thought of before you started writing. So much of the story evolves and gets processed on the page and in your mind as it's coming out onto the page, and it's delusional to think you can think of all that before you start engaging with the characters. You can come close. I've known writers who have come very close, but almost all writers will discover something that they didn't know in the outline. I would argue that that's actually the fun part of writing. It's not the days when writing goes exactly to plan. They're nice, but they're not necessarily the fun parts. The fun parts are when you sit down to write the scene you thought was going to be the scene, and suddenly this new detail appears, and you go, “Oh my gosh, this totally unlocks everything, and I never even thought of it.” It could be in a text message. It could be on a billboard. It could be something the character just blurts out that you weren't expecting, and suddenly your whole story comes together in that moment, or maybe just the scene comes together. It's those moments, I think, that we write for. So even just expecting the book to come out exactly as you plotted is one of those mindset shifts. If you shift it and think, “This is really fun. I get to discover new things about my story that I wasn't expecting,” that, again, just makes the process a little more fun. So instead of, “Oh, this isn't what I thought it was going to be,” or, “This isn't what I outlined,” which is focusing on what's wrong with the book, it becomes, “Oh, wow, this is teaching me something I never expected about my story, and that's pretty cool.” Jo: Yes, I think that moment, Carl Jung called it, I guess, synchronicity, the moment when these things come together and it feels just incredible, that's the moment we all look for. It does seem to happen on every book. Everything clicks into place, and I look forward to that moment with every book. I did want to ask you about a novel that you have coming out soon as we record this, called How to Write a Murder. Now, this is a new genre for you, and it's quite meta because it's about writers as well. So talk about writing a brand new genre now at this point in your career. What are the challenges of trying to reach a new audience? Why do this book now? Jessica: Wow, great question. I love challenging myself to do something new. I wrote contemporary for many years and then thought, “I'm going to try a sci-fi.” Or, “I'm going to try middle grade now.” I think I go where the story wants, where I'm inspired to go when it comes to story ideas. However, with mystery, it's been one of those things that's always been on the back of my mind, like a wish list, a bucket list. I want to write a murder mystery. I just never had the right idea. Or I never had the time, or I never had the space. Then I finished my last novel contract, and I took a break, because I had been writing on deadlines for years. I took a very, very much needed break from deadlines. For the first time in I think 15 years, I did not have a book deadline. I just asked myself, “Jessica, what do you want to write?” As opposed to, what's the next book that's due? And the answer was very clear. I want to write that murder mystery. I toyed with a few ideas, and then I started to think about, okay, so I wrote this book on plot that a lot of people know and use. What if someone used that book to plot a literal murder? What would that look like? This meta explosion came to mind, which is that I wanted to write a murder mystery that's structured like a plotting guide for murder mysteries. The characters in the book are all writers who are familiar with this plotting guide, and the events of the story are unfolding like the plot of a murder mystery according to this book. You have no idea which one of them is actually using the book to plot the murder, because they all know the book. So one of the taglines is, “One dead body, seven mystery writers, and they all know how to get away with murder.” It was sort of my culmination of everything I'd done in my career. All the plotting workshops I'd taught, all the revision courses I'd taught, and of course this plotting structure method I'd been teaching for years, and I put it into this book. It's a fictional version of Save the Cat! It's called The Bestseller Formula. The premise of this book is that someone is using a murder mystery plotting guide to plot a literal murder. So the reader is learning how to write a murder as they're reading about the murder on the page. Jo: I love it. I know lots of people are going to want that. It does bring the business side of things into more difficulty, because of course you have readers, like you mentioned middle grade, you've got YA books, and obviously, I guess, the writers that you teach will be interested. How is this going to work for your book marketing and your business? Because it also sounds like this might be a standalone. Jessica: It is a standalone as of now. I have some sequel ideas, but we're not pursuing them yet. It is a different market for me, for sure, and that's become a challenge as I'm marketing, because I'm not in the thriller mystery space yet. I haven't written a novel for adults since the very, very beginning of my career. I've been mostly writing for teens and middle grade. The good news is most of my teen readers are now adults, because it's been so long since I wrote for teens. So there's that. I think the book will appeal to mystery readers just because it's a fun mystery, and there's a fun meta element to it. I think it's going to appeal to writers as well. So I'm very much leaning on that, at least for the launch. I hope my writer community will get behind this book, because it's very much an ode to storytelling. It's an ode to writers. I dedicated it to writers. As a writer, you will understand this book on a level that a reader never will. You will get so many of the little inside jokes that a reader might just skim past. So I did very much write it for writers, with the hope that readers will also enjoy it. I had the most fun writing it I've had, I think, of writing any book. Partly I think that was because I wasn't writing it under deadline. I was just writing it for me, but also just because it felt like the book I'd been destined to write for so long. Jo: Fantastic. So we're out of time. So where can people find you and your books and everything you do online? Jessica: How is that possible? I feel like we just started. JessicaBrody.com is the best place to find everything. If you're interested in my writing courses, you can check out WritingMastery.com as well. Jo: Well, thanks so much for your time, Jessica. That was brilliant. Jessica: Thank you, Joanna. I had so much fun.The post From Page One To Done: Fast Drafting Your Novel With Jessica Brody first appeared on The Creative Penn.

本期 Bear 聊了一本他读完很受震动的书——《救猫咪》（*Save the Cat!*），作者是好莱坞编剧布莱克·斯奈德（Blake Snyder）。---**这本书讲什么？**《救猫咪》是一本好莱坞编剧教程，核心主张只有一个：写剧本不靠灵感，靠工程。斯奈德本人卖过百万级剧本，是真在行业里赚过钱的人，不是纸上谈兵。书里几个核心工具：- **一页 = 一分钟**：120 页剧本 = 两小时电影，老手翻到第 60 页如果故事还没到关键转折，直接扔废稿堆- **四十张卡片**：整部电影的骨架就是 40 张卡，每张一场戏，先排好节奏和冲突再动笔- **十五个节拍表**：把三幕结构拆成 15 个精确节拍，还标了每个节拍大概出现在第几页——等于给电影排了一张施工时刻表- **一句话故事**：用一两句话讲清楚整部电影，讲不清楚说明自己没想明白---**"救猫咪"这条法则**主角一出场，要让他做一件讨人喜欢的事，比如顺手救一只猫。道理很简单：你想让观众跟你走两小时，先给他们一个喜欢你的理由。---**Bear 最大的收获：Show, don't tell**斯奈德说，最忌讳让角色用对白直接交代信息，最好的方式是让观众自己看出来。Bear 读到这里想到产品设计——一个需要用一页页 onboarding 解释自己的产品，某种程度上已经输了。电影和产品，在这一点上讲的是同一件事。另一个类比：斯奈德说别替角色提前想好找哪个演员来演。Bear 的理解是——产品要解决的问题可以先定死，但 UI 是可以换的。角色确定，演员可换；问题确定，界面可换。---**关于定位**斯奈德提醒编剧：电影最大的消费群是 25 岁以下，写了个中年人才叫好的故事，大概率卖不动。Bear 觉得这说的是产品定位的核心问题——你在为谁做东西，这群人够不够多，能不能触达，愿不愿意掏钱。---**这本书的争议**《救猫咪》长年霸占亚马逊编剧类销量第一，影响力大到引发了反弹：- 评论人 **Peter Suderman** 批评说，这套方法让写作变容易了，但也让它变得没那么有创意——"一个疯狂科学家，发现了批量生产完美暑期大片的秘密配方"- 编剧 **Cole Haddon** 更直接，称这本书"灾难性地损害了 21 世纪的美国电影"，叙事太熟悉，把观众养得越来越被动Bear 的态度：争议本身说明这本书有多大分量。任何好用的框架，用着用着都可能从结构退化成公式。它帮你稳稳踩住及格线，但及格线往上那一截，永远得靠框架之外的东西。---**本期提到的资源**-

How can building an audience in advance help your stories reach the people who make movies? And how can you prove there's demand for your book or screenplay before you've written it? Brooks Elms shares his advice after more than 20 years as a WGA screenwriter. In the intro, what doesn't work for book marketing and what does [Amy Chan SubStack; Unsingle; Rephonic]; Goodreads giveaway for Bones of the Deep; FutureVision XPrize. This podcast is sponsored by Kobo Writing Life, which helps authors self-publish and reach readers in global markets through the Kobo eco-system. You can also subscribe to the Kobo Writing Life podcast for interviews with successful indie authors. This show is also supported by my Patrons. Join my Community at Patreon.com/thecreativepenn Brooks Elms is a WGA screenwriter with over 45 scripts, over a dozen sales, and he has directed two indie features. He is the creator of the Answer the Call system and has trained over 1,000 writers. You can listen above or on your favorite podcast app or read the notes and links below. Here are the highlights and the full transcript is below. Show Notes How to see the opportunity in AI when others only see the threat How to test a story with samples, and what a 16-second movie can do Building the trailer before you write the screenplay Letting your audience finance the film once they have validated the idea Why Hollywood still wants existing IP, and what makes them pay attention Feeling safe enough to write the truth, and finding a concrete path forward You can find Brooks on LinkedIn or email him at brooks@brookselms.com. Transcript of the interview with Brooks Elms Jo: Brooks Elms is a WGA screenwriter with over 45 scripts, over a dozen sales, and he has directed two indie features. He is the creator of the Answer the Call system and has trained over 1,000 writers. So welcome to the show, Brooks. Brooks: Thank you. It's awesome to be here. Jo: Fantastic. So first up— Tell us a bit more about you and how you got into screenwriting. Brooks: I started filmmaking first. A buddy came up to me in high school and said, “Hey, we're making a karate movie, do you want to help us?” I was like, “Oh my God, yes, that sounds amazing.” So next thing I know, I had this karate outfit on, and we were just making this completely ridiculous and totally fun movie, and it was amazing. It was so fun. Then it went to a whole other level when we shared it with a friend, this guy Jay Sharon, and he watched the movie and he laughed so hard he literally fell out of his chair. I was like, “Oh my God,” the fun I had making it could actually transfer to somebody else. I was hooked. So from there I went to NYU film school, and then made a few independent feature films which were good but not great in terms of how they were received. They were great for me in terms of enjoyment, but I knew I needed to iterate faster at that point. So then I was like, “Well, it's expensive and it takes a long time to make a movie,” at least back then. So I pivoted to screenwriting, and pumped out two, three scripts a year, got signed at UTA, got writing assignments, and basically launched a screenwriting career. Then I still tried to get some stuff going, but it's hard when movies are so expensive. It's not hard, it's just that it takes a lot of precision in the marketing, and a lot of conversations to find the right matches to finance something, and you're either interested in doing that or you're not. I just was like, “Well, I'll just mostly write screenplays.” Then I started teaching at UCLA Extension and then coaching after that, along with writing. Then all the way up to the future. What's great about moving forward is that with AI, shot-making is becoming very close to cinematic quality. You can actually match cinematic quality in moments in some genres, but probably by next year. Right now you could actually do a really good horror movie all AI for 10, 20,000 bucks, depending on how much you're doing yourself or getting other people to do. So the economics are going to absolutely explode. So I'm sitting on dozens of scripts that didn't get through the Hollywood packaging bottleneck because they're too expensive, and I now have this giant slate that's ready to go, and I'm just absolutely thrilled. It's been a lifelong dream for me. Jo: Oh, so much to come back on there. Where to start? I do want to talk about what you just said there, sitting on dozens of scripts and now seeing the opportunity. I actually wrote down in my journal about a year ago, I see what's coming with AI, and I think that the best thing I can do is create as much original IP as possible, so that I can make the most of the opportunity ahead. So let's just get into the AI, because a lot of people feel it's a super bad thing. Talk about the opportunities and the attitude that you've got [around AI], and that you've seen others have around this, for what is ahead in a positive way. Brooks: It's fascinating to see how people respond to AI. I wonder, when the printing press rolled around, if there was some sort of backlash. Books must be handwritten. They can't be mass-produced. Here's one of my theories. At a deep psychological level, it's so profoundly powerful that I think the default setting is, “Oh, crap.” When I was a kid, some things were hard, and that power imbalance, when something big, new and powerful comes along: I'm going to get screwed, and so this is somehow a bad thing. I think that's the base psychological thing going on with most of the noise. Obviously there are some legit problems, in terms of copyright infringement from learning models, or from some of the environmental situation. So I'm not saying it's all rainbows and butterflies, but I think 90% of the noise around it comes from a fear of change. Here's the other one—a fear of, “Oh, yikes, I'm going to get taken advantage of somehow by either robots, or the corporations are going to use the robots against me,” or something like that. I have real empathy for me when I feel that way a little bit, but I don't feel it much, and for other people that do feel it. The other thing is, you know what it is? I think they fear their own empowerment even more. I had a therapist who was really good. He said, people aren't so much afraid of failing as they are afraid of succeeding. Because if we fail, we're stuck in act one and we don't go anywhere. The fear is answering the call and going to act two, when everything effing changes in the new world. So I think people are afraid of how goddamn powerful they're going to be when they can have a team of AI agents helping them do everything they want in business or life or whatever. I think it's the same thing with the internet. People are like, “Oh, I don't like social media, blah, blah, blah.” And I get it. There's a lot of noise and a lot of crap. Yet we have access to billions of people, and the algorithms in social media right now I think are level three out of 10. They're just going to get better and better. Even as it is now, if I do a post about something and it gets ignored, that's on me. The algorithms are trying to match me to my people. So if I'm not unique enough and authentic enough and aware enough of how virality works, that's on me, and it's a learnable skill that I can embrace and then change and then get better at. So I think people then resist that change. They resist the empowerment of learning the art of virality, or learning the art of some sort of social media stuff or whatever. The last thing I'll say about this rant is, I don't want to act like I'm the guru on the hill that has all the answers. I refuse calls all the time. I'm scared about all sorts of things. I'm certainly not perfect. I feel frustrated when I'm trying to put my big ideas into action and I can't get this technology thing to work or that one, and I throw tantrums. I'm trying to come at it from a real human perspective, but by and large, I've got stars in my eyes. I'm like, “This is amazing. This is going to be so powerful.” For so many people, you just have to be ready to embrace it and just go along for the ride, because there's going to be some big-ass changes. There already are, and that's going to accelerate. Jo: You mentioned there learning the art of whatever it is. One of the things is, I've spent 20 years, and so have you, learning our craft and our art, and now it can be done very easily. I'm generating video, as you mentioned, which is a craft I haven't spent 20 years on, but now I can generate. So things have definitely changed in that way. Just coming to the screenwriting side. Probably about a decade ago now, I did my first screenwriting course. I've written screenplays. Then I looked at the game you have to play and, like you said, the conversations you have to have, the events you have to go and network at, all the things that you have to do to put a screenplay in front of the right person at the right time. I was like, “I cannot do that. It's just not going to happen. I can't do that along with everything else.” So I put it aside, but now I feel maybe it's time to bring it back because things are changing. So can you maybe talk about, if someone has a screenplay now that they've written, or some IP like a book that they have now— What would you recommend people do in terms of wanting to get that [IP] in front of somebody, or doing something with it themselves? Brooks: It's such a good question. By the way, not even a screenplay—you could do the same things with a novel. Let me try to be succinct here, which is a good challenge for me. A simple way to look at it is, you're giving samples. Let's say it's a lemonade stand, and you give out a little shot of your… maybe you have cayenne pepper lemonade, some sort of fun lemonade. If you give out a sample and people are into it, they're going to come back and they're going to tell friends. If you give a sample of the lemonade and they're not into it, then you go back to the kitchen and you mix up a different flavour. So that's some basic business, but the internet allows us to do that at scale. So what I like to encourage people to do when I coach them is come up with the minimum viable material. It can be a 10-second clip. There's a writer in my community who made a really beautiful 16-second movie. It's one shot. I love it so much. It's two wine glasses. There's a lipstick smudge on one of the wine glasses. They're half full, and it's just that shot. It's sitting there, and all of a sudden you hear this thundering, thumping down these stairs, dun, dun, dun, dun, dun, dun. Then you see out of the corner of the frame one person runs by, and then the other person behind her runs by and goes, “Wait.” That's it. That's the whole movie. It's 16 seconds. He did that with his phone. So there's so much going on. There's a couple of basic elements, but he just did it with his phone, and you can evoke enormous emotional impact on people through social media, whether it's just words. You guys have a big advantage as novelists because you're so good with words. Whether it's a little bit longer, like sudden fiction, that's a couple of pages or whatever. Even just copywriters are really in a good position for the future because they're super potent with two words or three words or 10 words. Then novelists are probably really advantageous because it doesn't cost anything to just put some words out on the internet. The point is, if you put something out, it's a signal, and you're talking about billions of people who could find that signal. If you do it and then you look at the response, and then you try again, you look at the response, we can do this iteration infinitely for free. So you can do it already. You've been able to do it for 10, 15, 20 years, just with words. But now you're going to basically be able to do that with movies or clips or trailers. So the thing that I'm leading in my community of writers is having people build trailers in advance, or clips. When a book or a movie is done, how the heck do we get people to see it? One way is a trailer or some sort of behind-the-scenes material. You can just do that stuff now before even writing the screenplay. I saw that you were doing this project, a trailer for this competition. And then you mentioned, “Oh, I've got to write the screenplay.” Not really. You have to develop the story enough to know what you're referring to, and then it's about studying the craft of either trailer construction, or whatever the clips are, or viral clips. They all have a structure, and then you just test it. If you enjoy that testing process, which I find absolutely thrilling, it feels like the filmmaking version of a stand-up comedian. If I did stand-up, I say a joke, they laugh or they don't laugh. It's really beautiful feedback from the universe. Nerve-wracking, right? But we can do that now as storytellers. We put a story out there in any format, and the audience responds. Just like you have to read any room, you have to learn how to read the engagement on social media. What do likes mean? What do shares mean? What do comments mean? How do you deal with trolls? All that is just part of the new art. Once you get good at it, holy smokes, that's the key to the kingdom. You can build audiences in advance, and for movies you could even have them finance your movie in advance, if you've built an email list of 20,000, 30,000, 40,000 people because you kept putting out all these viral clips around your story, novel, or screenplay. Then you go, “Okay, now 30,000 people are on my email list and I tell them about me and my perspective and my world. We're going to make this darn thing with AI for 20,000 bucks. You guys have got to pony up some money. Put in a dollar, five, 10, or you get the VIP $500 experience.” It's like crowdfunding, but much more sophisticated, because most crowdfunding was like begging friends and family to donate to your crazy dream. What I'm talking about is going to the audience directly, developing enough of the story, then going to the audience second, and then only when they validate the idea, to the extent that you're happy with. You could do a crazy idea that's going to have a small audience, and you don't have to have a blockbuster audience. You get to pick the audience size that you want, and then put the samples out there and see if you have a relevant audience size for this next project. Once the audience tells you, “Yes, we want this,” then you go make it. So you're ultimately reducing risk to almost zero. It takes time and you have to learn how to do this stuff, but it's thrilling to me because we just have the capacity to test the material and listen to the audience upfront. The last thing I'll say, and I've rambled a lot, I'm sorry. When I made a movie in 1994, a feature film right out of NYU, it took me three years to find out what the audience thought about that movie. I had to make the damn thing, and then I ran out of money, and that took me years to edit it, and I finally got it, blah, blah, blah. And again, I loved it. I loved every facet of it, and it was fine, but it was super inefficient. Today, I could take those same elements, create an AI trailer this weekend, put it in front of hundreds of thousands of people, and they could tell me right away, “This sucks,” or, “This is interesting,” or, “Holy smokes, this is amazing. I want this.” If it's not, “Holy smokes, this is amazing, I want it,” I can go ahead and re-edit the whole damn trailer, and just keep reiterating at almost no cost. Then once the demand is there, I can take that demand and that audience and go to Hollywood, and that's when they're going to want to work with me. Then it doesn't take a million conversations and finding the needle in the haystack, because Hollywood sees the numbers and they go, “Oh, you're the people we do want to do business with. You've proven demand. We want to do business with you.” Jo: Yes, it's so interesting. I can hear people listening and they're like, “Easier said than done, getting an email list of 40,000 people.” And in fact— It's exactly the same as building up a career as an independent author. This is as a filmmaker, as a visual person, and the industry is visual, so doing a visual trailer is the obvious thing. And as you say, the tools I use just to do this one, I use Midjourney, and I've used Seedance as the main video model. It does take a while, but it is pretty fast now, if you have a visual image of what you want in your head, which obviously you're a visual person as well. But is it… Brooks: Hold on. I want to push back on that a little bit, because I think it's really important. So yes, that's true, but underneath that, my friend, it's a relationship. It's the relationship, and the media is secondary. You have been prolific in connecting with your audience, and that's why I think a lot of people like you, because you share and they get to know you in that sort of cadence. I saw you in another podcast, you mentioned Seth Godin, who just said, “Hey, I want to be the type of person that has this relationship with my audience. I'm going to share some of my thoughts every day.” He happened to do it with words, with his background in marketing, but you could do the same thing with still images. You could do the same thing with a five-second movie clip once a week. It's the relationship you want with your fans. I'm not saying you snap your fingers and you have 50,000 people on your email list. What I'm saying is, what else are you doing? If we're artists and our impulse is to create and share, and if you do it in this way, if I can create and share and inspire trust in this relationship with a stranger because they like my genre thing and they like the way they felt when they experienced my media, words, images, movies, it doesn't matter. They just like the feeling, and they go, “Ooh, I want more of that feeling. How do I get more of that? Oh, this person has this email list or community.” If I can do it with one, then I can scale it out. So getting the first one, or the first 5 or 10 samples, that is a whole process. But then once you do that, scaling up is more of a mechanical thing. It's not even that hard, especially when you can do paid ads. So you can scale up very quickly if you have the sauce. If you don't have the sauce, it doesn't matter who you're related to, you've got to get the sauce right. Jo: Yes, and again, it's so parallel to the indie author community. I've just got to ask you, in the olden days, an author might write a screenplay, or a screenwriter write a screenplay, and then they would send it. They'd find an agent. They'd pitch an agent, and I guess then they'd hope that someone would turn that into a movie. So is that just dead now? Is it realistically that you need to get yourself out there, build the audience in the same way that it often is for authors? Brooks: So, no. I've got two screenplay deals going right now. So here's how it's going to work. Think about Broadway, or the theatre district in Britain. It's like West End or East End or whatever… Jo: The West End. Brooks: Sorry for my American ignorance. West End, okay. So every town on the planet has a stage, but there's only one Broadway, there's only one West End, right? And every town has its own festival, but there are a few significant tastemakers. There's Cannes, there's Sundance, there's Toronto. Hollywood is always going to be a tastemaker in our lifetime, for sure. What they don't have anymore, what they enjoyed for the first 100 years of the industry, is that they had a stranglehold on basically the equipment, the financing, and the audience, and that's all going away. Do you want to hear a fun story about the birth of cinema? Do you know why Hollywood started in Hollywood? Jo: No. Brooks: So Thomas Edison invented the camera, or the type of model camera that they were using in, I don't know, 1910 or something around there. They didn't want to pay his patent. They didn't want to pay the patent to make these movies, so they went all the way across the country, a bunch of outlaws, and they set up shop in California because he couldn't enforce his patent that they were basically stealing. And reason number two, LA enjoys amazing weather almost all year round. The weather here is either nice or really nice. You have mountains, you have beach, you have desert, you have all these different locales. So when it was really important to be on location, LA was the perfect place. Anyway, that is all going away. For many decades, more people could make movies. In the early '90s, Robert Rodriguez made a movie for 9,000 bucks. There was a book in the '80s that I bought that I loved, it was Feature Filmmaking at Used-Car Prices. This guy, Rick Schmidt, I think his name was. There were the independent filmmakers really in the '60s and the '70s. So the cost has been going down and down and down, and now it's less than ever. Once social media came along, now you have access to the audience, so why do you even need Hollywood? That being said, there are tons of people. There are 400,000 people already working in the movie and the TV industry here. And they're voracious. We have a voracious demand. Humans need stories. We need big stories, long stories. We need stories, and Hollywood is so good at giving them stories. And so they have a need for these things, and they're still spending a lot of money on those budgets. So yes, there's still a demand for turning books and optioning them and turning them into movies. Books are great. Any sort of existing IP is great because there are marketing efficiencies there. People already know that stuff, know the vibe of it, and so it's easier to market than something that's totally creative and new. When you're spending that much money, you want those marketing efficiencies. They're really important. So the point being, the power is shifting away from Hollywood. Hollywood will still be a tastemaker, but you and me can reach anybody on the planet now. Almost. Billions of people. If it's making a movie, right now you could make a movie that most people wouldn't realise is an AI movie. If it was a horror film, I know a handful of people that could make a feature-length horror film right now with AI and 99% of the audience couldn't tell, if it was professionally written. Jo: I think the point here though is, I'm an author, the people listening are authors, and we don't want to make movies. We want to license our IP to people who want to make movies. Brooks: Yes. Great. Okay, good. So then you could, if you wanted, build an audience. Hollywood loves when something's already proven, so that's that IP thing, right? So if you just have a great book, then it's all about the sales. You guys have Dragons' Den, we have Shark Tank here. And what's amazing about that show is these are people or entrepreneurs pitching an idea, and there's an amazing rhythm that happens. They say, “We've got this great idea. It's this sort of company.” And the sharks, or the dragons, will listen. And there's a huge turning point when they reveal sales. They're either really excited about the idea and then they go, “Well, how are the sales?” And the person goes, “Well, we don't have any sales yet.” And they go, “Uh,” and they're not interested. Or they might even be like, “Eh, it doesn't seem like a good idea.” And they're like, “Well, how are the sales?” And they're like, “Oh, well, we've sold through the roof.” And then all of a sudden they perk up. So it's all about the sales. So step one is writing something that you want. Step two is making sure other people in your target audience are also loving it as much as you do. Step three is proving in some way at scale that there's real demand for it. So you could do that with trailers, you could do that with clips, you can do that as an indie publisher. There's all sorts of things that you can do. Humans are much more persuaded by concrete data than they are by just vibes. So if you can bring Hollywood concrete data of any type, like viral videos, like audience, like obviously bestsellers. Awards mean something, but not quite as much as sales. Then you're going to get Hollywood's attention because that reduces risk for them. So even now, when Hollywood's definitely shrinking and contracting, there's still very significant money being spent because it's a huge demand. If you ever walk around a studio lot, those things are opulent places. It's stunning. Like, how are they paying for all this stuff? These lots are enormous. It's because humanity is voracious for stories, and movies are one premium type of storytelling. The demand for stories is steady if not going up. It's just that we have a wider variety of types of stories that we can do, whether we're an indie author. So anyway, did I answer the question? You get me too excited with these questions, Jo. It's a problem. Jo: Yes. I think there's a lot of opportunity and a lot of ways in, but the parallels with being an indie author I think are quite clear. One of the things I found interesting about your profile and what you do is that you help clients who are already accomplished but not quite breaking through, and that sounds like a lot of mid-list indie authors, probably a lot of mid-list screenwriters, mid-list filmmakers. This is a hard place to be because, on the one hand, we are grateful for what we have achieved and what we can do, and yet wanting more, wanting that big Hollywood deal or the Netflix deal, or wanting the massive bestseller or whatever. So if someone wants to get to that next level, what are some of the ways that they can perhaps try and get there? Brooks: It's a great question. Coaching is a really wonderful way to learn anything of this sort of complexity and challenge, especially if it's a hyper-competitive business. We need two things, I think, to write a great novel or screenplay or both. A, we need to feel profoundly safe in our space. If we can't really feel deeply authentic about the things that are embarrassing, or that we feel shame about, or just our shadows, or anything that we don't feel completely comfortable saying and sharing in public usually. We need to be able to touch those things, and be articulate about those things, and that's one part of it. Then we need a concrete path forward. Maybe you're thinking about some tragedy that you had in childhood, and how you dealt with it and how difficult that was. So you need to be able to be real precise in those observations about what it felt like, and how you tried to compensate for it, and that didn't work and it made it worse. Whatever your observations are about your life journey, you need to be really specific and really deeply felt. A good coaching relationship allows you to be in that space, to be really honest with yourself and authentic. g Aood coach will push you back and say, “You know what? That sounds interesting, but maybe not quite as true to you deeply.” So that's one piece of it. Then there's a concrete path forward. You need to have the emotional access to that truth, and then you need to know what to do with that truth in a step-by-step way. Because most people, the ones that you're talking about, they're accomplished in something else. What happens is when we first start writing, and maybe this happens with novelists, but for sure it happens to screenwriters, you just start typing words. But you haven't really thought through the theme, the concept, the structure, the character, all the deeper questions that really matter. The milestones, like a North Star: winning a major award, or getting a publisher. That's the direction that we're heading towards, and then you set it and forget it, but you want to keep checking it every week, every month or whatever. But you want it very specific. “I would like to sell a book, or sell a book to Hollywood, or write a screenplay, or get a producer attached to a screenplay.” Whatever the milestone is, make it really specific, really concrete, and then reverse engineer. This is what I do on the concrete path. I reverse engineer every step to get there, starting with a really tiny one we can do today, and I make sure they feel really safe, and then we just walk through. Then what happens is, if you do that, if you feel safe, if you're showing up authentically and you have a process that's repeatable, not just willy-nilly, it's got to be something that's proven to work. It wasn't an accident I wrote 45 scripts. I've got a whole system. But by the way, the first five scripts took me forever. The last movie that I made took me three years to write that script. I can write a better script with those same elements in three months now, because I know I have a concrete path. So if you want to do something new, whether it's playing the piano or getting six-pack abs or writing a screenplay, work with somebody who's got a system that's already proven, and make sure you relate to them, and then just follow the system. Then when the doubts come up, and they will, that's where the feeling safe is really important. Because, oh, I want the six-pack abs, but I don't feel like going to the gym. I want the extra donut. If I'm working with a really good trainer, they go, “Dude, do you want the six-pack abs or not?” And then you go back and forth, and I go, “Okay, now I can make peace with myself and say I can take one tiny bite of the donut and then still do my workout,” and then I'm moving towards that North Star. Does that make sense? Jo: Yes. I think, like many independents, I resist anything that is systematised. I'm a discovery writer, and I follow the muse, and all of that kind of thing. I think I would say something in a similar vein, which is sustainable creativity for the long term, because your 45 scripts are also years of work, and my books are years of work, and we get better at what we do. So my system, I do have a system really, because— My system is that I do the work, and I write my stories, and I get them out there, and I do the marketing. So even if it's not as systematised as such, it's still a process that I have repeated over and over again. Brooks: That's fascinating to me. Would you consider yourself a pantser? You're like, “I've got an idea,” and you just start writing? Jo: I don't use the word pantser. I guess I call it discovery writing, which is… Brooks: That's a better term. Jo: Yes. What I'm writing for this prize, for example, I know the characters, I know now what's happening. When I had the idea, it was very much a vision and a theme, and the competition has a theme: a positive future with AI and technology. But the things that came around that, I then started playing with ideas around the treatment. I haven't written the screenplay yet. I don't do a plot, or I don't follow Save the Cat or any of that kind of thing. When I write a novel, I just explore and I never write in order. Then at some point I stop and then I have to think about the structure and putting it all together, so the edits are quite big. But my fun is in that discovery, really. Brooks: Oh, that's awesome. Okay, so let me ask, that's really fascinating. And by the way, that doesn't, to me, negate the system that I use. The one that I use is ultimately… the thing is, these questions, the audience is wanting your unique answers to. You don't necessarily need to do it in a certain order. I think that's actually really cool that you write out of order and you have a few elements in mind. All that stuff sounds awesome. The only thing that then makes me curious is, how's your pace? Are you actually completing novels at a pace that feels good, or do you feel like you go too fast, too slow? Jo: I do one or two a year at the moment. Well, two a year, really. But I would say I'm not as successful as I'd like to be, so I'm not saying that my system is the best. I'm saying I want to be better. It's just that my fun is this sort of creative chaos, which I then try and control later. One of the things I really like about screenplays and treatments and doing this kind of thing for film is that it is much more structured, I think, than a 70,000-word novel. You can go in all kinds of directions, whereas with screenwriting you do have to be more disciplined really. Brooks: Yes, so this is going to be fun probably, to hear my view for your audience, and the differences as I see them. For starters, you're talking about what, 10, 20, 30 hours reading a novel sometimes, or maybe less, whereas a movie's a 90-minute experience, right? So that's different. Or if it's a TV series, you might see an hour and then an hour. So that's a very different experience. What happens is when it's condensed like that, you're loading up layers. So every scene is stacked with exposition beneath the drama, and done in a certain way. So specifically, movies are only what you can see and only what you hear. Whereas novels, if you can think it, you can write it, it can be in there. So you don't need to have a plot, but if you want to sell your book to Hollywood, it helps. So I was very resistant about structure. I went to NYU film school, where we really just made short films. It was funny, I had friends that were in the dramatic writing department, and I was like, “You guys are wasting your money. You're just learning to write scripts. We learn to write the scripts and make the movies.” What I hadn't realised is it's a different skill set to hold somebody's attention across an hour-long play, or a 90-minute movie, than it is to make a movie that holds their attention for two minutes or five minutes. I found out years later when I made a feature that was like a lot of shorts patched together, and people were not… They liked it, but they didn't love it. I was like, “Well, what's going on?” And so then I learned to really love Save the Cat in particular. It completely changed me. What happened was, I got a big old slice of humble pie. I had made my second feature, and I put everything I had into it, and it had loose structural beginning, middle, end, blah, blah, blah. But I was still, “Eh, Hollywood BS. What do they know? It's all fake.” So I was very anti-Hollywood structure. Then I was like, now I've got two independent films out there, people saw them, liked them, whatever, but it wasn't getting me consistent work. It wasn't really advancing my career in the way that I wanted. And I was like, “Well, maybe there is something to the Save the Cat.” So I went to the Save the Cat workshop with Blake when he was still alive, and he was delightful, a really awesome guy. He's got this kind of cutesy style, for people that don't know. For context, Blake Snyder was a working Hollywood screenwriter, and he had this system called Save the Cat, which actually has some really interesting ideas. He's got this very light, breezy sort of style. A lot of people don't like him and some people really love him, and everything in between. But I took his weekend seminar, and it completely changed me, because at that point, like I said, I took three years to write a script. Then once he had a process and he had a way of thinking about craft that was just much more screenwriter-friendly, I was like, “Oh my God.” It was so much easier, because I was just focused on the right thing at the right time. So it just sped everything up. After that, I was banging out two to three scripts a year, and better and better quality. So for me, because I went from winging it and wrote five scripts in 13 years, and then wrote two to three scripts every year, I became a huge proponent of system and process. Then my own system really came from that, but it's modular. I have a nine-step system, but you don't necessarily have to go in that order, other than the last three steps, but I won't get into the details. Sometimes you kind of jump from two to three and then back to two and then back and forth. So I love that you get the feel for those elements, and then you just felt your way through. But writing screenplay pages doesn't make sense until you really understand concept, you get a deep sense of beginning, middle, end, character arcs, and these other threads. There are just way better tools for those jobs than screenplay format, because it's a really weird format. It's got these weird slug lines at the top that are all in caps, because a screenplay is a blueprint for somebody else to make the movie. It's not an end-user document like a novel. I don't let my clients even go to that format because it just gets them focused on the wrong things. What they really need to know is, what is your perspective about this theme? What happened in your life that you're fascinated with, that you'd even want to write about this? And tell me what your real life lessons are. So we go into… again, I go back to relationship. What's your relationship to the universe? And what's your relationship to your best friends, or where you got your heart broken, or whatever you want to write about. And then we get that clarity, and then I show you how to express it in terms of developing a screenplay. It's really long-form storytelling, and then the structure just makes it build on itself. But with the structure, because you're talking about so much money and people involved to make it, at least traditionally, what ended up happening was narrative structure that was not so much rigid. Because here's the thing, you can look at 50, 100 years of European cinema and you can look at Hollywood cinema, and Hollywood laps them. When I taught at UCLA Extension, I had lots of foreign students. Let's say there'd be two or three students… if there were 12 people in the class, two or three people would be from America, and everybody else would be from other countries. I would go around, I'd be like, “What movies and TV shows have you been watching?” Almost in every single country, they watch half from their own country, half from Hollywood. So Hollywood storytelling works, that's just the data, and they're dominant. The reason it works is what Aristotle was saying thousands of years ago.. There's a way of thinking about beginning, middle, end that just deeply speaks to the psyche, and you can ignore it if you want. I think Godard said, “You need beginning, middle, and end, but not necessarily in that order,” right? Which is great. Just the way we experience life, there's a beginning, a middle, an end to this podcast interview. There's a beginning, middle, end to the day, a beginning, middle, end to me eating lunch. So if you don't lean into the beginning, middle, end psychological aspect of your story, you're going to bore your reader. But to your point, you don't necessarily have to sort that out in the beginning. It's more efficient probably if you do, but you don't have to. Go into it wherever the muse tells you to go, and then at some point, like you do, then you go, “Okay, now I go back and I edit.” If you're saying there's another level, you have another gear in you, then yes, I'd be curious to slowly go through how you're making those decisions. Because what's happening probably is there are ways you're holding back a little bit. There's maybe something you're afraid of being vulnerable about. That's usually where me or other writers are holding themselves back, and we can take a look at that. There are different ways I show writers to do it. Then you can go, “Oh, I was doing it here, and now I can do it there.” And it could be with process, or just a certain creative choice. With story, it's clear and compelling. Those are the simple things. So, is this clear enough? Is it compelling enough? And there are almost always ways to up-level on any facet, whether it's one sentence, or a sentence that describes the whole concept of the book, or a chapter. Each one of those can be looked at with that lens and we can just say, “Hey, this is 70%, 80%,” whatever, and then we say, “Well, how do we get a little bit more?” And then when you do that enough, it piles up. Then especially if you bring in an audience and people are flipping out for your work, they'll tell you. Jo: Yes, I love a challenge, so thank you for everything you've shared today. So where can people find you and everything you do online? Brooks: Well, one way you can find me—if anything I said seemed helpful for you, if you have questions about Hollywood or you have a screenplay in your heart—you can just email me, brooks@brookselms.com. You could look me up on LinkedIn. I'm at Brooks Elms. I also have a Skool community called Screenwriter Marketing, but it's really for any sort of storyteller, and it talks about my favourite way to engage an audience and get through it. So anybody can jump into that if you like my vibe. If you really think anything I've said, or the way I said it, seems like it could be helpful for you, just reach out. Let me know what you're up to, and maybe there's a way I can help you. Jo: Fantastic. Well, thanks so much for your time, Brooks. That was great. Brooks: You're welcome. It was a total pleasure. It was lots of fun, and I really appreciate you.The post How To Prove The Demand For Your Stories And Get The Attention Of Hollywood With Brooks Elms first appeared on The Creative Penn.

Episode Description:This is a From the Archive episode with one of my favorite guests: Steven Pressfield.Steven Pressfield has spent his career writing about war, creativity, discipline, storytelling, and the inner battle every artist faces. In this archive conversation, James and Steven explore how stories work—and why the same structures that power novels and movies also show up in real life.They begin with The Legend of Bagger Vance, which Pressfield built from the structure of the Bhagavad Gita. James connects that idea to his own writing, where ancient texts like the Yoga Sutras became frameworks for modern essays about entrepreneurship. Their point is simple: if a story has survived thousands of years, it probably contains a structure worth studying.From there, the conversation moves into the hero's journey. The ordinary world. The call to adventure. The refusal of the call. The mentor. The threshold. The extraordinary world. The tests, allies, enemies, ordeal, return, and gift.But Pressfield pushes the idea further. In real life, people do not always answer the call. Some people refuse it for years. Some cross the threshold and then run back. Some sacrifice security, status, money, family expectations, or even relationships to follow the deeper pull of their lives.James shares his own story of walking out of a finance job after three days, leaving his coat on the chair, taking the elevator down 40 floors, getting on a train, and never returning. Pressfield recognizes it immediately as a real-life threshold moment.The conversation then turns to The Artist's Journey. Pressfield explains that the hero's journey ends when the hero returns home with a gift. The artist's journey begins when the artist asks: What is the gift I am meant to give? What is my material? What is my voice? What am I here to make?They discuss Resistance as the real villain in every story, why the question “Who am I?” often drives the inciting incident, why villains often do not change, why opening and closing images matter, and why genres have rules that writers ignore at their own risk.This episode is a masterclass in story, but it is also a meditation on identity. The deeper question is not just how to write a story. It is how to recognize the story already trying to live through you.Editorial Note:This is a "From the Archive" episode. References to “new” or “upcoming” books, projects, or events reflect the timing of the original recording.What You'll Learn:Why Steven Pressfield built The Legend of Bagger Vance on the structure of the Bhagavad Gita.How ancient myths and spiritual texts can become frameworks for modern stories.Why the hero's journey begins only when the hero answers the call.What separates the ordinary world from the extraordinary world.Why Resistance appears immediately after the call to action.Why crossing the threshold changes how other people see you—and how you see yourself.How the artist's journey begins after the hero's journey ends.Why the artist's real question is: What gift am I bringing back?How to go deeper into theme instead of just telling a surface-level story.Why success, awards, money, and status can become forms of Resistance.How dreams, intuition, and recurring ideas can point toward a person's real work.Why every strong story creates a first pole and second pole: the question and the answer.Why the villain may be a person, a force, or Resistance itself.Why genre conventions matter, even for experienced writers.How opening and closing images can reveal the full emotional transformation of a story.Timestamped Chapters:[02:00] Steven Pressfield and the Ancient Structure of StoryJames introduces Pressfield through The Legend of Bagger Vance, The Authentic Swing, and the Bhagavad Gita.[03:33] Ancient Wisdom in Modern WritingJames explains how he used the Yoga Sutras as a hidden structure for one of his most popular entrepreneurship essays.[04:42] Stories That Have Been Tested for Thousands of YearsWhy myths, sacred texts, and ancient epics still work as storytelling engines.[05:00] Pressfield's Small Books on StorytellingJames introduces Pressfield's mini-books on how stories begin, what they are about, and how artists find their material.[05:31] Are You the Hero or the Red Shirt?James asks whether everyone is really the hero of their own story—or whether some people refuse the call.[07:13] The Call to Adventure and the Refusal of the CallPressfield walks through Joseph Campbell's structure: ordinary world, call, refusal, and threshold.[08:31] It Is Never Too Late to Answer the CallThe hero's journey can begin late, and people may have more than one journey in a lifetime.[09:08] Ordinary World vs. Extraordinary WorldLuke Skywalker, Star Wars, Christopher Vogler, Blake Snyder, and the moment a story crosses into Act Two.[10:45] Resistance at the Edge of the ThresholdWhy no one enters the extraordinary world without hesitation, fear, or circumstances forcing the break.[11:23] Mentors, Books, and Virtual TeachersJames questions whether every hero needs a mentor and describes books and podcast guests as his own collective mentors.[12:32] What Steven Gave Up to Become a WriterPressfield recalls sacrificing security, a marriage, and stable advertising jobs in order to keep writing.[13:25] The Temptation to Stay SafeThe boss offers the title, the office, the raise—and the artist has to decide whether to cross the threshold anyway.[14:15] James Walks Out of the Ordinary WorldJames tells the story of leaving a finance job after three days, taking the elevator down 40 floors, and never returning.[15:36] Real Life Follows the Hero's JourneyPressfield explains that threshold moments happen before we understand them as story structure.[16:44] The Books That Made Steven Pressfield a Creative MentorJames names The War of Art, Turning Pro, Nobody Wants to Read Your Sht*, The Knowledge, and The Artist's Journey.[17:36] How the Hero Becomes Known DifferentlyPressfield explains how crossing the threshold changes the hero's identity in the eyes of others and themselves.[20:26] Breaking Bad and the Discovery of the Real SelfWalter White becomes an example of a character realizing who he really is inside the extraordinary world.[21:08] What the Audience Sees Before the Villain DoesJames explains how the hero, villain, and audience may recognize transformation at different moments.[22:13] Crossing the Threshold Means Losing PeoplePressfield and James discuss how entering a new life attracts new people and repels old ones.[23:38] Real Life Is Messier Than StoryUnlike a focused screenplay, a life can contain many themes at once: parenthood, business, art, family, and identity.[24:36] Ignorance, Arrogance, and FaithWhy artists and entrepreneurs need enough irrational confidence to begin before they know whether they have anything to say.[26:53] Peeling Back the OnionJames and Steven discuss how artists move from surface ideas to deeper themes over time.[29:04] The Rolling Stones, the Beatles, and Artistic EvolutionHow great artists begin by imitating what they love and eventually discover what they are really trying to express.[32:08] What Are We Actually Talking About?Pressfield pauses the conversation to ask whether a theme is emerging from the discussion itself.[33:25] The Calling Is Already Inside YouPressfield argues that each person is born with a destiny, identity, or inner pressure that eventually wants to surface.[35:21] The Hero's Journey Across GenerationsJames and Steven discuss World War II, the Greatest Generation, the boomers, and social movements as mass threshold moments.[39:48] The Full Shape of the Hero's JourneyOrdinary world, call, mentor, inciting incident, trials, return, and the gift brought back to the people.[41:17] When the Artist's Journey BeginsPressfield explains that the artist's journey starts when the hero's journey ends.[42:33] What Is the Gift?The artist asks: What is my act? What is my material? What is my medium? Who am I?[44:20] Good Will Hunting and the Beginning After the EndingWhy the end of one story often marks the beginning of the artist's real work.[45:17] Catch Me If You Can and the Artist After the AdventureJames uses Frank Abagnale as an example of a hero's journey followed by a less cinematic but still meaningful artist's journey.[47:00] The Return Home and the Embedded SelfPressfield explains that the person at the end of the journey was already hidden inside the person at the beginning.[49:05] Who Am I?James identifies the core question behind the inciting incident: am I ordinary, or am I extraordinary?[51:28] Who Am I, Why Am I Here, What Do I Want?Pressfield connects story structure to Stanislavski's dramatic questions and real-life identity.[53:37] Taken, Jason Bourne, and the Hidden SelfThe extraordinary world reveals the self that was always there but could not appear in the ordinary world.[55:00] Why Stories Let Us Practice the ExtraordinaryJames describes storytelling as a safe space where people in ordinary life can rehearse crossing the threshold.[55:45] Steven Pressfield: Servant of the MusePressfield answers James's question “Who are you?” by describing himself as a servant of the muse.[56:31] Success, the Muse, and the Second Half of LifePressfield discusses process, hierarchy, status, Richard Rohr, and why chasing awards can become Resistance.[01:03:00] Becoming a Second-Half Person at Any AgeJames and Steven discuss moving past external goals earlier in life and clearing the channel for deeper work.[01:05:25] The 10,000-Hour Rule and Cross-PollinationWriting, advertising, finance, comedy, podcasting, and entrepreneurship all become grist for the mill.[01:07:16] Inventing Yourself as You GoPressfield tells James that he is creating something that has never existed before: the James Altucher version of the artist's journey.[01:08:20] How to Find the Extraordinary WorldPressfield advises people to listen to their dreams, journal them, and pay attention to the signals coming from the deeper self.[01:10:40] Inner Work and Learning to Hear IdeasSteven recommends Robert A. Johnson's Inner Work and describes creativity as the skill of noticing what is already arriving.[01:11:49] The First Pole and the Second PoleThe inciting incident creates a question the audience needs answered, as in The Bourne Identity: Who is he?[01:13:31] The Villain Is EverywhereJames and Steven discuss why villains keep returning and why Resistance may be the real villain in every story.[01:15:05] Does the Villain Ever Change?Darth Vader becomes an example of a character who may look like the villain but is really on another journey.[01:16:16] Opening Image, Closing ImageThe Godfather shows how a story can begin and end in similar places while revealing total transformation.[01:17:19] Why Everyone Can't Just Write a ThrillerEven with formulas available, genre rules and obligatory scenes still have to be understood and honored.[01:18:24] Rules, Genres, and Why Audiences Feel CheatedPressfield explains that if a genre's necessary beat is missing, the audience may feel the story is hollow.[01:18:42] Romance, Tragedy, and The Way We WereJames and Steven discuss romance structure and why a love story can still work when the couple does not end up together.[01:20:54] No One Is Born a ProJames reads a Pressfield line about falling before hitting bottom and connects it to the artist's journey needing the hero's journey first.Additional Resources:Steven Pressfield Official WebsiteSteven Pressfield BooksThe War of Art by Steven PressfieldTurning Pro by Steven PressfieldThe Artist's Journey by Steven PressfieldNobody Wants to Read Your Sht* by Steven PressfieldThe Authentic Swing by Steven PressfieldThe Legend of Bagger Vance by Steven Pressfield“How Does a Story Start?” by Steven PressfieldThe Writer's Journey by Christopher VoglerSave the Cat! by Blake SnyderInner Work by Robert A. JohnsonFalling Upward by Richard RohrSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

If AI falls short in your writing, Clint Horvath says the problem is you: ChatGPT is a mirror, and it can only reflect a story you already know A to Z. In this episode of Content Amplified, Clint, a post-production veteran turned screenwriter with three films on Amazon Prime, breaks down how he uses AI as a tool within storytelling rather than a replacement. He explains how he fed roughly 50 of his own screenplays into AI so it learned his writing patterns, why he deliberately switches genres mid-story (turning a sci-fi into horror in act three) to push the AI past its predictable path, and the deadline story that proves the method: laid off and racing the Philip K. Dick Science Fiction Festival, he wrote the script with AI as a co-pilot through seven revisions, finished January 28, and was selected February 3. He also shares why he goes into every AI conversation objectively so it stays neutral, and how the approach carried him through writing one screenplay a month in 2025. If you want AI to amplify your creativity instead of flattening it, this conversation shows you how.About ClintClint Horvath is a post-production veteran specializing in graphic design and visual effects, with a career spanning local news, the Miami Heat, the Florida Panthers, and Fox Sports, where he covered Florida's home teams across hockey, baseball, and basketball. He holds an MFA in creative writing from Full Sail University and has studied story structure deeply, from Blake Snyder's beat sheet to Syd Field. Outside his day job on creative, marketing, and branding teams, he writes and directs films: he has three films on Amazon Prime and more than 50 scripts. He also writes books under the pen name Rich Von Halt, an anagram of his name.Show NotesConnect with Clint on LinkedIn: https://www.linkedin.com/in/clinthorvath/Clint's website: clinthorvath.comText us what you think about this episode!

Would you like access to our advanced agency training for FREE? https://www.agencymastery360.com/training Have you ever pitched a client and led with everything your agency does well, only to watch their eyes glaze over halfway through? What you're missing is positioning copy that actually moves people. Today's featured guest has spent 40 years in the advertising and branding world, the last 20 of them devoted entirely to one question: why do some messages land and others disappear? In this episode, he'll walk through the storytelling frameworks he pulled from Hollywood screenwriting, evolutionary biology, and 12 years of podcasting, and then apply one of them live to Agency Mastery in real time. Park Howell is the founder of Park&Co, an agency he opened in Phoenix in 1995 and grew from a one-man operation to a team of 20 and beyond. He is now a full-time consultant, speaker, and coach on the business of story, and the host of The Business of Story podcast, which he has been running for 12 years. Park has been on the podcast previously talking about storytelling, how agencies fail to use it, and how, used, correctly it can help you connect with clients. In this episode, we'll discuss: Is your agency telling the wrong story? The And-But-Therefore Framework How learning about Hollywood screenwriting can help you improve your proposals Three Forces of Trust Your Story Needs to Build Subscribe Apple | Spotify | iHeart Radio Sponsors and Resources E2M Solutions: Today's episode of the Smart Agency Masterclass is sponsored by E2M Solutions, a web design and development agency that has provided white-label services for the past 10 years to agencies all over the world. Check out e2msolutions.com/smartagency and get 10% off for the first three months of service. Why Agencies Are Telling the Wrong Story The default agency pitch goes something like this: we have the best people, the best process, and a portfolio you will love. We are customer-centric, we care more, and we will be a true partner. And simply put, if every agency in the room is saying the same thing, none of it creates separation, none of it creates trust, and none of it gives a prospect a reason to remember you when the meeting ends. The root problem is that agencies tell their story from the inside out. They start with what they offer and work backward toward why a client should care. The structure that actually works is the opposite: start with the audience, name what they want, name what is standing between them and that outcome, and only then introduce how you help close that gap. The story is not about the agency. The agency is the guide. The client is the hero. The moment that inversion happens in how an agency frames its pitch, its content, and its proposals, the entire communication dynamic shifts. The And-But-Therefore Framework, Applied Live Park gave a live example of the and-but-therefore framework using Agency Mastery as the subject. The structure is deceptively simple: agreement, contradiction, consequence. You establish something the audience knows to be true about themselves. You introduce the contradiction, the reason they do not yet have what they want. Then the therefore: what becomes possible when that contradiction is resolved and how you help resolve it. The exercise surfaces something worth paying attention to. When Park asked for the one-word theme of Agency Mastery's story, he pushed back on it being focus. Why? It's a verb, a mechanism. The emotional outcome is actually freedom. You want freedom, but you do not have freedom, therefore here is how to get it. The distinction is not semantic. Copy that leads with a mechanism asks the reader to do intellectual work. Copy that leads with an emotional outcome pulls them forward before logic enters the picture. The and-but-therefore framework makes that difference visible and correctable in under five minutes. What Hollywood Screenwriting Has to Do With Your Next Proposal Park's Story Cycle System draws directly from the hero's journey and Blake Snyder's 15 beats, the frameworks professional screenwriters use to structure everything from Star Wars to The Wizard of Oz. The parallel between those two films is genuinely worth sitting with: same structure, same emotional beats, same character archetypes, separated by four decades and completely different settings. The reason the pattern keeps appearing is not coincidence. It is the way human beings have organized meaning since the first stories were carved into clay tablets. A practical application for agency pitches. Before the next proposal goes out, write an and-but-therefore for the prospect. A single focused statement that demonstrates you understand what they want, why they do not have it yet, and what changes when they work with you. Bring that into the room instead of a feature list. The agencies that win consistently do not win on credentials. They win because they showed up having already done the work of understanding the client, and the and-but-therefore is how that understanding gets made visible from the first sentence. The Three Forces of Trust Your Story Needs to Build When the and-but-therefore is executed well, it does not just clarify a message. It builds trust across three dimensions simultaneously. The audience feels understood: you know what they are trying to achieve. They feel appreciated: you recognize why that outcome matters to them. And they feel that their current struggle is real and acknowledged: you are not glossing over the gap between where they are and where they want to be. Most agency communication fails on the third dimension. It jumps too quickly to the solution without spending enough time in the problem. When a prospect does not feel that their frustration has been fully seen, the solution that follows lands as a pitch rather than as a read. The difference between a founder who says "I just want more freedom" and a message that reflects back "you started this business for freedom and the business owns you instead" is in how heard the person on the other side of that message feels. That is what separates the story everyone remembers from the one nobody does. Do You Want to Transform Your Agency from a Liability to an Asset? Looking to dig deeper into your agency's potential? Check out our Agency Blueprint. Designed for agency owners like you, our Agency Blueprint helps you uncover growth opportunities, tackle obstacles, and craft a customized blueprint for your agency's success.

In the fifth 15-minute section of our screenplay, Napoleon's journey takes a sharp, downward turn. Success is replaced by mounting setbacks as our hero heads to Egypt - an ambiguous mission that isolates him from power and allies. The Directory's antagonism grows ever more apparent, Josephine's betrayals come to light, and disaster strikes in the form of Nelson's fleet. As loyalty in his own ranks falters, Napoleon faces not only external foes but the erosion of his own myth, setting the stage for the looming low point of his story.In episode six of our screenwriting escapade we continue to forge ahead in our mission of crafting a top-notch screenplay treatment about the life of Napoleon Bonaparte. Alex Stevenson is joined by James Topham (who knows a thing or two about screenwriting) and Ben Deery (who knows a thing or two about acting) to put the movie world to rights. Having analysed the pitfalls and frustrations of Ridley Scott's Napoleon 2023 in the first season the Napoleon Movie Quarter-Hourly, this time round the team have to come up with the magic themselves.This episode features a bonus contribution from our own Prof Alexander Mikaberidze from 35:40 - explaining the precise nature of the incontrovertible evidence of Josephine's infidelity which Junot is supposed to have presented to Bonaparte... As our resident bot NAIpoleon Bot-aparte puts it:A Playful Opening and Format Mash-UpThe episode begins with a tongue-in-cheek parody intro as “Cavalry Matters,” poking fun at historical drama tropes and AI-generated content, before moving into the “Napoleon movie” project focus 00:00:09.Introduction of the Team and Their RolesAlex Stevenson introduces the project collaborators: Benjamin Deery (acting expertise) and James Topham (screenwriting expertise). The trio set out to reimagine Napoleon's story for the screen 00:01:26.Recap and Structure So FarJames Topham recaps their progress, summarizing the story up to scene 20—the film's midpoint. He details five key scenes depicting Napoleon's transition from general to budding ruler and the dynamic with Josephine 00:03:14.Dramatic and Character DevelopmentsThe team walk through significant scenes involving military victories, shifting romantic dynamics (including Napoleon's changing feelings for Josephine), negotiations, and turning points, such as Josephine's infidelity and the metaphorical “unripe pear” scene 00:04:34.Debate over Historical Events and Narrative ChoicesThere's an in-depth discussion about the authenticity and dramatic effectiveness of sending Napoleon to England vs. Egypt, with concerns about narrative payoff and dramatic logic for audiences 00:12:22.Motivations Behind the Egyptian CampaignAlex Stevenson provides historical context for Napoleon's Egyptian adventure, discussing the Directory's motives, the project's ties to myth-making, prestige, and the origins of Egyptology (including the Rosetta Stone) 00:16:16.Identifying the "Bad Guys Close In" PhaseThe team frame the next segment of their narrative as the “bad guys close in” phase, per Blake Snyder's structure. This act will feature setbacks for Napoleon, the Directory as antagonists, and cracks forming within Napoleon's “gang” 00:22:02.Setbacks in Egypt and Antagonist DynamicsA list of major setbacks is outlined: confirmed betrayal by Josephine, isolation after Nelson destroys the French fleet, Ottoman intervention orchestrated by the Directory, and discussions on how to visually and narratively stack these blows for dramatic effect 00:27:32.Reintegrating and Redefining the "Gang"They debate how to portray dissension among Napoleon's loyalists. 00:43:22.Looking Ahead: Approaching the Low PointThe episode closes with a preview of the next section: Napoleon's imminent “all is lost” moment, a stretch defined as the dark night of the soul, where all seems lost before act three begins. 00:51:07.

Ever wonder why some horror stories linger in your mind long after the lights go out? Jamie Nash reveals how structure (not jump scares or gore) creates true terror.In this episode, I'm joined by Jamie Nash, screenwriter and author of Save the Cat! Writes Horror, the ultimate guide to creating “Monster in the House” stories that keep readers up at night.With over 25 years of experience writing and teaching horror (including films like V/H/S/2 and Lovely Molly), Jamie shares how to craft terrifying tales using Blake Snyder's iconic Save the Cat! framework. We talk about how structure, theme, and moral depth make stories truly scary and how to balance dread, scares, and gross-outs for maximum impact.Whether you're writing a slow-burn psychological thriller or a relentless survival horror, this episode will show you how to use the Save the Cat! framework to make every scream count.[00:00] What makes a novel truly horror and how to tell if your story actually fits this genre (before you waste time writing the wrong one).[00:00] The three ingredients every unforgettable horror story needs and why missing even one can ruin your scare factor.[00:00] How to use Save the Cat! beats to build tension and fear so your story feels cohesive and terrifying, not random and rushed.[00:00] The two main types of horror pacing, and which one to choose to keep your readers gripped. [00:00] Why passive heroes kill good horror and how to turn your protagonist into the story's fiercest weapon.[00:00] The difference between dread, scares, and gross outs, and why dread flags (red flags that signal unease) are the true engine of horror.If you've ever wondered how to write horror that lingers long after the last page, this conversation with Jamie Nash is your masterclass in scarecraft.

This week on the Movie Squad pod, Tristan Fidler and Simon Miraudo look at two movies that each save the cat… and that's where the similarities end. First up, Simon leads a review of Sorry, Baby, the darkly funny directorial debut of writer and star Eva Victor, about a young English professor reckoning with ‘the terrible thing' that happened to them. Then, Tristan looks at Darren Aronofsky's rollicking thriller Caught Stealing, starring Austin Butler, Zoe Kravitz, Matt Smith and more. And yes, just like Sorry, Baby, it has a cat co-star. Would it shock you to learn that Brekky host Pam Boland reveals during this episode that she has not yet read Blake Snyder's iconic screenwriting book ‘Save the Cat'? Would it shock you even more that she's actually keen to watch both these movies? Listen back to find out why! Then, stay tuned for a pod-exclusive review of Josh Hartnett's Fight or Flight, in which he plays a hapless former secret service agent who has to protect a hacker on a plane full of assassins. All of these films are now showing in Australian cinemas. Remember, Radiothon runs until 30 September! So, there's still time for you to show us how RTRFM and Movie Squad are More Than Radio to you by becoming a subscriber at support.rtrfm.com.au. Be sure to tune in to RTRFM every Friday at 7:30am to hear Movie Squad live on Breakfast with Pam!

Comedian/author Kate Spencer (All's Fair in Love and Pickleball) helps the HDTGM crew cover the 1992 Sylvester Stallone & Estelle Getty comedy Stop! Or My Mom Will Shoot. They discuss everything from infant fetishizing, diaper nightmares, and how the movie was penned by screenwriting guru Blake Snyder of "Save the Cat!" fame. Tune in to hear us try to make sense of a movie that Sylvester himself is ashamed of. Enjoy! (Originally Released 04/30/2013) • Go to hdtgm.com for tour dates, merch, FAQs, and more• Have a Last Looks correction or omission? Call 619-PAULASK to leave us a voicemail!• Submit your Last Looks theme song to us here• Join the HDTGM conversation on Discord: discord.gg/hdtgm• Buy merch at howdidthisgetmade.dashery.com/• Order Paul's book about his childhood: Joyful Recollections of Trauma• Shop our new hat collection at podswag.com• Paul's Discord: discord.gg/paulscheer• Paul's YouTube page: youtube.com/paulscheer• Follow Paul on Letterboxd: letterboxd.com/paulscheer• Subscribe to Enter The Dark Web w/ Paul & Rob Huebel: youtube.com/@enterthedarkweb• Listen to Unspooled with Paul & Amy Nicholson: unspooledpodcast.com• Listen to The Deep Dive with June & Jessica St. Clair: thedeepdiveacademy.com/podcast• Instagram: @hdtgm, @paulscheer, & @junediane• Twitter: @hdtgm, @paulscheer, & msjunediane • Jason is not on social media• Episode transcripts available at how-did-this-get-made.simplecast.com/episodesGet access to all the podcasts you love, music channels and radio shows with the SiriusXM App! Get 3 months free using the link: siriusxm.com/hdtgm

Sometimes, the fire of creativity is struck not by lightning but by the slow, smoldering ache of dissatisfaction. And in today's soul-stirring conversation, we welcome Shawn Whitney, a filmmaker who found cinema not in the corridors of academia, but in the quiet rebellion of self-taught screenwriting and micro-budget filmmaking. Shawn Whitney is a screenwriter, director, and founder of Micro Budget Film Lab who empowers indie creators to tell powerful stories on shoestring budgets.Our journey with Shawn begins not in childhood fantasies of movie stardom, but in the dense woods of Brechtian theater and the quiet study of old black-and-white films. His path wandered, as many worthwhile ones do, through rejection, basement solitude, and heartbreak—until something within him demanded not just expression but transmutation. Shawn didn't study film in college. Instead, he emerged from the theater world and fell into filmmaking after a failed workshop production left him broke and dispirited. Yet that fall became his rise. As he said, “I just started writing screenplays and learning the craft in the quiet shadows.”There's something beautiful in learning the art of story not from glamorous sets or high-priced workshops but from the bones of failed experiments and the echoes of dialogue bouncing around your own mind.Shawn described his education not with fanfare but humility—referencing Sid Field, Blake Snyder, and the ever-controversial Save the Cat—tools that became his spiritual guides, not rigid masters. And with every script, he refined a method. Not the method, mind you. A method. “You just need a method. You can't just be anarchy,” he mused.But perhaps what struck me most was Shawn's philosophy that screenwriting is not just structure—it's an argument about what makes life meaningful. Films, he insists, must be animated not by market trends, but by inner turmoil, by the strange flickering passions of the human heart. “It can't just be about chopping up zombies. Your characters must go through an inner transformation.” That idea—that a film is a living question—sets Shawn apart in a world often obsessed with following the formula instead of feeling the pulse.Shawn's micro-budget films—“A Brand New You” and “F*cking My Way Back Home”—aren't just titles that stick. They are rebellious acts of filmmaking born from limited means and limitless creativity.His stories unfold not in sprawling CGI landscapes, but in human longing, funny sadness, and philosophical absurdity. One film follows a man trying to clone his dead wife in the living room. Another explores redemption from the passenger seat of a towed Cutlass Supreme. With a budget of $7,000 and a borrowed tow truck, Shawn pulled off scenes that feel bigger than most tentpole blockbusters.But filmmaking, for Shawn, isn't just about his own expression. Through Micro Budget Film Lab, he's become a teacher, a mentor, and a kind of mad scientist in the alchemical lab of storytelling. His passion is not merely to direct, but to help others break free from the gatekeeping systems that keep fresh stories from being told. “We need a micro budget movement,” he declared, envisioning a cinematic rebellion where filmmakers use what they have to tell stories no one else dares to.Become a supporter of this podcast: https://www.spreaker.com/podcast/bulletproof-screenwriting-podcast--2881148/support.

Will and Matt discuss screenwriting and comedy when it comes to the late Blake Snyder's one of two screenplays sold. (For those that don't know, Blake Snyder's screenwriting book Save the Cat has taken over Hollywood for like a quarter of a century now... and yet... this is a movie that was written.) DISCLAIMER: Language and Spoilers!!STOP! OR MY MOM WILL SHOOTdir. Roger Spottiswoodestarring: Sylvester Stallone; Estelle Getty; Roger Rees

“Your story comes from your heart, and then you structure it to deliver it in the best way.” — Rain BennettEver hear the term "story beat" and wonder what it really means? In this episode, Rain breaks down the mysterious middle ground between scenes and acts—the story beat. And he uses Blake Snyder's popular (and sometimes polarizing) Save the Cat beat sheet to do it.You'll get a clear explanation of what a beat is, how the 15-beat structure works, and why it's helped thousands of storytellers—from screenwriters to brand strategists—craft more compelling narratives. Rain walks you through the full beat sheet, explains how it maps to The Lion King, and shares tips on how to use this structure for your own business, brand, or film storytelling. If you've been overwhelmed by big frameworks, this episode will give you a clear, practical tool to work with.In this episode, you will learn to:Define what a story beat is and understand how it fits between scenes and acts.Use Blake Snyder's 15-beat sheet to outline or revise your story with more clarity.Apply structural thinking without becoming rigid or formulaic.Break down familiar films like The Lion King to see how classic stories follow this shape.Build emotional momentum in your stories by anchoring each beat to character decisions. Hosted on Acast. See acast.com/privacy for more information.

In this episode we talk about the #1 movie template "Save the Cat" by Blake Snyder.It is based on the hero's journey but also has elements of plot and pacing.It is so popular that it has been adapted to books, stories, videos and more!

Sometimes, the fire of creativity is struck not by lightning but by the slow, smoldering ache of dissatisfaction. And in today's soul-stirring conversation, we welcome Shawn Whitney, a filmmaker who found cinema not in the corridors of academia, but in the quiet rebellion of self-taught screenwriting and micro-budget filmmaking. Shawn Whitney is a screenwriter, director, and founder of Micro Budget Film Lab who empowers indie creators to tell powerful stories on shoestring budgets.Our journey with Shawn begins not in childhood fantasies of movie stardom, but in the dense woods of Brechtian theater and the quiet study of old black-and-white films. His path wandered, as many worthwhile ones do, through rejection, basement solitude, and heartbreak—until something within him demanded not just expression but transmutation. Shawn didn't study film in college. Instead, he emerged from the theater world and fell into filmmaking after a failed workshop production left him broke and dispirited. Yet that fall became his rise. As he said, “I just started writing screenplays and learning the craft in the quiet shadows.”There's something beautiful in learning the art of story not from glamorous sets or high-priced workshops but from the bones of failed experiments and the echoes of dialogue bouncing around your own mind.Shawn described his education not with fanfare but humility—referencing Sid Field, Blake Snyder, and the ever-controversial Save the Cat—tools that became his spiritual guides, not rigid masters. And with every script, he refined a method. Not the method, mind you. A method. “You just need a method. You can't just be anarchy,” he mused.But perhaps what struck me most was Shawn's philosophy that screenwriting is not just structure—it's an argument about what makes life meaningful. Films, he insists, must be animated not by market trends, but by inner turmoil, by the strange flickering passions of the human heart. “It can't just be about chopping up zombies. Your characters must go through an inner transformation.” That idea—that a film is a living question—sets Shawn apart in a world often obsessed with following the formula instead of feeling the pulse.Shawn's micro-budget films—“A Brand New You” and “F*cking My Way Back Home”—aren't just titles that stick. They are rebellious acts of filmmaking born from limited means and limitless creativity.His stories unfold not in sprawling CGI landscapes, but in human longing, funny sadness, and philosophical absurdity. One film follows a man trying to clone his dead wife in the living room. Another explores redemption from the passenger seat of a towed Cutlass Supreme. With a budget of $7,000 and a borrowed tow truck, Shawn pulled off scenes that feel bigger than most tentpole blockbusters.But filmmaking, for Shawn, isn't just about his own expression. Through Micro Budget Film Lab, he's become a teacher, a mentor, and a kind of mad scientist in the alchemical lab of storytelling. His passion is not merely to direct, but to help others break free from the gatekeeping systems that keep fresh stories from being told. “We need a micro budget movement,” he declared, envisioning a cinematic rebellion where filmmakers use what they have to tell stories no one else dares to.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Join co-hosts Adrian M. Gibson and Greta Kelly as they delve into a writing masterclass on Writing for Different Mediums with author/actor Luke Arnold. During the episode, Luke breaks down his approaches to four different mediums (prose, comics, screenwriting and video games), including expressing your creativity through various mediums, learning from other mediums, researching and understanding your medium, as well as comparing story structure, pacing, expectations, character development and worldbuilding across mediums.NOTE: This is part two of a two-part chat with Luke. Click ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠⁠ to check out part one.RESOURCES MENTIONED:- Scriptnotes Podcast- Save the Cat books by Blake Snyder and Jessica Brody- Kurt Vonnegut's “Shapes of Stories” lecture- Understanding Comics by Scott McCloud- A Swim in a Pond in the Rain by George SaundersOUR SPONSOR:Transference by Ian Patterson is a sci-fi dystopia that dissects the medical industry, economic inequality, and what it means to be human in a city where diseases can be transferred. Purchase Transference ⁠⁠⁠⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠⁠⁠⁠.SHOUTOUT TO THE 'SFF ADDICT' PATRONS:Thank you Ian Patterson, David Hopkins, Luke F. Shepherd, Christopher R. DuBois, Tai, Luke A. Winch and GavinGuile for supporting us on Patreon at $10+.SUPPORT THE SHOW:- ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ (for exclusive bonus episodes, author readings, book giveaways and more)- Rate and review SFF Addicts on your platform of choice, and share us with your friendsEMAIL US WITH YOUR QUESTIONS & COMMENTS:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠sffaddictspod@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ABOUT OUR GUEST:Luke Arnold is an actor and the author of The Fetch Phillips Archives. His latest release is Whisper in the Wind, which you can purchase ⁠⁠⁠⁠⁠here⁠⁠⁠. You can also wishlist his video game Shoot for the Moon on ⁠Steam⁠.Find Luke on ⁠⁠⁠Instagram⁠⁠⁠, ⁠⁠⁠Amazon⁠⁠⁠ and ⁠⁠⁠his personal website⁠⁠⁠.ABOUT OUR HOSTS:Adrian M. Gibson is the author of Mushroom Blues, which you can purchase ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠here⁠.Find Adrian on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠his personal website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.Greta Kelly is the author of ⁠⁠⁠⁠⁠⁠⁠⁠⁠The Queen of Days⁠⁠⁠⁠⁠⁠⁠⁠⁠, The Frozen Crown and The Seventh Queen.Find Greta on Instagram⁠ and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠her personal website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.M.J. Kuhn is the author of⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Among Thieves⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and⁠⁠⁠ Thick as Thieves⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.Find M.J. on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠her personal website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.FOLLOW SFF ADDICTS:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Linktree⁠⁠⁠⁠⁠⁠⁠⁠MUSIC:Intro: "⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Into The Grid⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠" by MellauSFXOutro: “⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Galactic Synthwave⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠” by DivionAD ATTRIBUTION:- Music: "⁠⁠⁠⁠⁠⁠⁠⁠Corporate Advertising Music⁠⁠⁠⁠⁠⁠⁠⁠" by SigmaMusicArt / "⁠⁠⁠⁠⁠⁠⁠⁠Synthetic Deception⁠⁠⁠⁠⁠⁠⁠⁠" by GioeleFazzeri- Video:⁠⁠⁠⁠⁠⁠⁠⁠ Svavar Halldorsson⁠⁠⁠⁠⁠⁠⁠⁠ /⁠⁠⁠⁠⁠⁠⁠⁠ Gorodenkoff⁠⁠⁠⁠⁠⁠⁠⁠ /⁠⁠⁠⁠⁠⁠⁠⁠artlab⁠⁠⁠⁠⁠⁠⁠⁠ /⁠⁠⁠⁠⁠⁠⁠⁠Jacob Wackerhausen⁠⁠⁠⁠⁠⁠⁠⁠ /⁠⁠⁠⁠⁠⁠⁠⁠ FHP Animation Studio⁠⁠⁠⁠⁠⁠⁠⁠ /⁠⁠⁠⁠⁠⁠⁠⁠ SweetBunFactory⁠⁠⁠⁠⁠⁠⁠⁠ / ⁠⁠⁠⁠⁠⁠⁠⁠shivkantsharma07⁠⁠⁠⁠⁠⁠⁠⁠ / ⁠⁠⁠⁠⁠⁠⁠⁠iLexx⁠⁠⁠⁠⁠⁠⁠⁠ /⁠⁠⁠⁠⁠⁠⁠⁠ circotasu⁠⁠⁠⁠⁠⁠⁠⁠ /⁠⁠⁠⁠⁠⁠⁠⁠ Astragal⁠⁠⁠⁠⁠⁠⁠⁠ /⁠⁠⁠⁠⁠⁠⁠⁠ Alasabyss

Blake Snyder told writers to 'Save the Cat,' but is this advice credible, or was Blake Snyder just a talented salesman? In Get Rec'd, Ed and Amanda examine his 1994 kid's film, 'Blank Check,' for the answer.For the flash enthusiasts, we also delve into how Blake Snyder's screenwriting advice can be applied to the short fiction format.Also in this episode, we touch on the line between plagiarism and homage, and deliver an important update for Not Quite Prize entrants.Join the conversation now on social media via the links at notquitewrite.com Register for the Not Quite Write Prize for Flash Fiction at notquitewriteprize.com Enter our free erotic fiction competition, the Not Quite Write Prize for FLESH Fiction at notquitewritepodcast.com/fleshfiction

Are There Any Good Politicians? Examining 'Dave' (1993) and 'The Campaign' (2012)In this episode, Jerome breaks down Blake Snyder's 'beats' as they apply to two political comedies: 'Dave' (1993) starring Kevin Kline and Sigourney Weaver, and 'The Campaign' (2012) starring Will Ferrell and Zach Galifianakis. The hosts ask the question, 'Are there any good politicians?' while addressing the intricacies of each film's storyline, character arcs, and thematic depth. The episode also highlights Jerome and Chris's contrasting perspectives on the effectiveness of junior high humor in political satire. To top it off, there's a heartfelt ode to their beloved Detroit Lions. It's an insightful, humorous discussion about politics, movies, and a touch of sports.00:00 Introduction and Show Updates01:22 Election Year and Political Movies02:34 Drinks and Movie Selection04:32 Discussion on 'Dave'06:04 1993 Movie Trivia09:14 Plot Breakdown of 'Dave'41:06 Script Analysis and Trivia44:27 Analyzing 'Twins': A Case of Perfect Rule Breaks45:24 The Role of Luck in Storytelling47:22 Rewriting Movies: Fixing Plot Holes48:20 Character Analysis: Alan's Role in 'Dave'49:55 Final Thoughts on 'Dave'50:30 Introducing 'The Campaign'52:01 Critiquing 'The Campaign'54:15 Box Office Performance and Cast Insights56:31 Plot Breakdown: 'The Campaign'01:14:06 Six Degrees of Separation and Trivia01:22:34 Closing Remarks and Sports TalkBuy or Rent Dave (1993)Buy or Rent The Campaign (2012)Follow Silver Screen Happy Hour on Instagram here:https://www.instagram.com/silverscreenhappyhour/

Stranger Than Wildcat Part Two Writer's Block & Literary Symbolism in Film - Stranger Than Fiction (2006)Hosts Chris Wiegand and brother Jerome dive deep into the 2006 film 'Stranger Than Fiction' starring Will Ferrell and Emma Thompson. Jerome meticulously breaks down Blake Snyder's beat structure as applied to the movie. They discuss themes of writer's block and uncover a surprising metaphor that ties the story to religious undertones, alongside this, they share their thoughts on 'Wildcat', ultimately making connections between filmmaking, storytelling, and life's deeper meanings.00:41 Introduction to Silver Screen Happy Hour00:50 Recap of Wildcat Episode01:40 Drinks and Banter02:44 Discussion on Stranger Than Fiction02:49 Movie Specs and Box Office Performance04:58 Cast and Characters05:40 First Impressions and Viewing Experiences07:40 Plot Overview and Key Scenes08:32 Harold's Mundane Life and Narration12:13 Meeting Anna and Hearing the Narration13:18 Karen Eiffel and the Rule of Three17:27 Harold's Transformation and Guitar Purchase26:39 Harold's Love Life and Discovering Karen27:19 Climax and Resolution30:27 The Role of the Wristwatch30:52 David Mamet's 'Why Here, Why Now?' Concept31:52 Plot Issues in 'Stranger Than Fiction'34:49 The Guitar Scene Analysis37:01 Religious Connotations in Films43:11 Six Degrees of Separation Game50:11 Bonus Content: Emotional ReflectionsWatch Stranger Than FictionFollow Silver Screen Happy Hour on Instagram here:https://www.instagram.com/silverscreenhappyhour/

It's the end of another year for Casual Trek, so Charlie and Miles have picked out episodes to gift each other!It's been quite a year, all in all, so they've both been merciful and decided to go for some fun episodes.Charlie's gift to Miles is Space:1999's Nick Tate guest starring in a Miles O'Brien spy drama in “Honour Among Thieves”Miles' gift to Charlie is some amnesia-based hijinks around a castle in “Among the Lotus Eaters”And for two episodes about betrayal with ‘Among' in the title, neither host mentions Among Us!00:02:17 What Non-Star Trek Thing We've Been Enjoying: Absolute Superman, Spy X Family, 00:14:02 Star Trek: Deep Space Nine “Honour Among Thieves”00:52:29 Star Trek: Strange New Worlds “Among the Lotus Eaters”Talking points include: Castles, Miles is MARL now, Absolute Superman, Spy X Family, Titanic, Nick Tate, gangster movies, Goodfellas, disappointing D&D Beyond stats, Skip Intro's series on Copaganda, Poker Face, John Hodgeman (who I did know about from his podcast), Brighton is genuinely nice despite how Miles and I describe it, It's Always Sunny in Philadelphia, Con Air, Chester will appear again, Blake Snyder ruining the film industry, Charlie is a Time Team nerd, Morgan Wallens is awful, Charlie and Miles do a forced amnesia bit, the amnesia plot of 24, the finale of Chuck, Dr Who amnesia theories. Oh, and occasionally Star Trek.Pedant's Corner:My Heart Will Go On is apparently a power balladThere's an 11 year difference between Nick Tate and Colm MeaneyCasual Trek is by Charlie Etheridge-Nunn and Miles Reid-LobattoMusic by Alfred Etheridge-NunnCasual Trek is a part of the Nerd & Tie NetworkChristmas music by Emraanhttps://ko-fi.com/casualtrekMiles' blog: http://www.mareidlobatto.wordpress.com Charlie's blog: http://www.fakedtales.com

Wildcat (2023) Movie Breakdown & TributeIs Wildcat worthy of an Oscar at the 2025 Academy Awards Ceremony? Multiple Oscars? Yes.Chris Wiegand and his special guest, wife Jessie, honor the late George Wiegand with a heartfelt tribute in this latest episode. They then get into an emotional and insightful breakdown of Wildcat (2023), starring Maya Hawke, directed by her father, Ethan Hawke. Jerome Wiegand joins in for an in-depth discussion using Blake Snyder's storytelling 'beats,' highlighting the film's artistic achievements and its poignant exploration of Flannery O'Connor's life and work. The hosts discuss the movie's thematic elements, potential Oscar-worthy performances, and the intricate relationship between faith and writing. One of the most compelling films of the year.00:00 Introduction and Tribute to Uncle George00:37 Discussing Wildcat and Flannery O'Connor01:41 Toasting to Uncle George02:32 Introducing the Silver Screen Happy Hour and Wildcat07:53 Exploring Flannery O'Connor's Life and Work10:47 Film's Reception and Artistic Choices18:04 Personal Reflections and Emotional Reactions34:02 Character Development and Storytelling Techniques43:37 Flannery's Defense Mechanism44:12 The Power of Film Interpretation44:56 The Emotional Priest Scene45:42 Opening Image and Flannery's Reality46:42 Flannery's Writing and Illness47:39 Meeting the Publisher48:56 Flannery's Creative Process53:32 The Role of Regina54:56 Flannery's Struggle with Illness57:27 Flannery's Stories and Symbolism01:07:04 The Midpoint Party Scene01:10:35 Flannery's Acceptance of Her Illness01:14:40 Regina's Role in Flannery's Spiritual Journey01:17:56 Aslan vs. Qui Gon Jinn: A Comparison01:19:15 The Power of Confession01:21:30 Gathering the Team: The Five Point Finale01:22:14 The Writing Process and Identity01:23:16 Flannery's Personal Struggles and Triumphs01:34:47 The Wildcat Metaphor and Racism01:42:26 Final Thoughts and AcknowledgementsWatch We Don't Run here:Ethan & Maya Hawke - We Don't Run (from Light in the Attic & Friends)BUY OR RENT WILDCAT HERE:WildcatFollow Silver Screen Happy Hour on Instagram here:https://www.instagram.com/silverscreenhappyhour/

In this episode, we tackle the "messy middle" of the second act. One of the solutions we offer involves a series of Try Fail cycles, where the protagonist encounters a carefully designed obstacle course that tests their resolve and pushes the plot forward. Ines emphasizes the importance of a structured approach to these cycles, suggesting that each cycle should include a plan, an obstacle, a setback, a scene of growth, and a regrouping phase to maintain narrative momentum and character development. While Leslye insists the best way to get out of the middle is with the "Yes, But" or "No, And" formula. This method ensures that each scene contributes to escalating the stakes—when a character succeeds ('Yes'), there's a complicating factor ('But'), and when they fail ('No'), the situation worsens or changes direction ('And'). This episode is packed with practical advice and approaches to help authors refine their storytelling skills, keep readers engaged through the mid-point of their books, and effectively develop their narratives towards a satisfying climax.    Sign up for author Nalini Singh's newsletter to receive fan service here: https://nalinisingh.com/ Want the official Psy-Changeling Reading Order? Click here: https://nalinisingh.com/books/psychangeling-series/   BOOKS and SHOWS MENTIONED IN THIS EPISODE Write your Novel From the Middle by James Scott Bell: https://amzn.to/3A2KWg7  Save the Cat by Blake Snyder: https://amzn.to/4882ELO  Save the Cat Strikes Back by Blake Snyder: https://amzn.to/3YmeNJU  Save the Cat Goes to the Movies by Blake Snyder: https://amzn.to/3NmAmDQ  Lisa Daily's Youtube Channel where she talks about Three Dates and a Disaster: https://www.youtube.com/@BestsellingAuthorLisaDaily  Leslye's watching Love Is Blind on Netflix. Ines binge watched Nobody Wants This on Netflix.   Check out Leslye's podcast where she discusses the messy middle on her Substack. You can find Ines' substack at https://ineswrites.substack.com/    Get ready for Ocean of Light, coming in 1 week! Grab your copy to read along: https://amzn.to/487ZAPO    Want to learn worldbuilding from Leslye? Sign up here: https://learn.myimaginaryfriends.net/ Want to learn story structure from Ines? Sign up here: https://ineswrites.com/PTP   Find the hosts online at: Leslye Penelope: https://lpenelope.com/  Ines Johnson: https://ineswrites.com/    Credits: "Moonlight Hall" Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 4.0 License.

Breaking Down John Wick with Blake Snyder's Beat Sheet Jerome and Chris dig into the action-packed world of 'John Wick.' Using Blake Snyder's beat sheet as a framework, Jerome meticulously dissects the movie's plot, pacing, and character development, and along the way, points out several intriguing plot issues, provides insights on 'praise of the killer,' and shares entertaining trivia. The brothers also touch on their favorite lines of dialogue and the film's standout moments. Tune in for an engaging analysis that blends professional breakdowns with laid-back banter, all while enjoying some fine whiskey!00:00 Introduction to John Wick00:29 Hosts and Drinks00:47 Episode Theme and Movie Discussion03:30 John Wick Movie Specs06:10 John Wick's Popularity and Trivia10:52 John Wick's Plot and Character Analysis16:29 Script Issues and Key Scenes35:53 The Spiritual Significance of John Wick's Dog36:55 The Worst Line in the Movie37:55 John Wick's Iconic Comeback Line38:49 Break into Three: The Turning Point39:12 The Anti-Hero Father: Viggo's Betrayal39:42 The Five-Point Finale40:02 The Humane Execution of Iosef41:04 Hightower Surprise: Marcus's Fate41:22 Debate Begins Again: Seeking Revenge41:53 Execution of the New Plan42:22 Closing Image: A New Hope44:35 Plot Issues in John Wick52:33 Praise of the Killer: Building the Myth57:34 Trivia and Final Thoughts01:03:01 Six Degrees of Separation Game01:08:51 Upcoming Movies and Final Wrap-UpBuy or Rent John WickFollow Silver Screen Happy Hour on Instagram here:https://www.instagram.com/silverscreenhappyhour/

Analyzing 'Unforgiven' (1992)A must-listen for movie buffs and aspiring screenwriters! Chris and Jerome dig into the thematic elements of Clint Eastwood's 'Unforgiven' in this first of a two-part series that explores a "once a killer theme". Jerome provides an insightful breakdown using Blake Snyder's storytelling structure, while Chris shares entertaining anecdotes and whiskey pairings. The episode features lively discussions, trivia, character analyses, and a humorous take on Chris' wife's aversion to violent films. Closing it out, they tease an upcoming 'Six Degrees of Separation' challenge and encourage listeners to support local cinemas. 00:00 Introduction and Hosts' Excitement01:06 Movie Selections: Unforgiven and John Wick02:30 Drinks and Personal Stories05:37 Unforgiven: Movie Details and Initial Thoughts14:47 Unforgiven: Themes and Character Analysis35:03 Myth vs. Reality: The Final Example35:11 Foreshadowing the Ending36:14 Will's Transformation Begins37:56 Midpoint: A False Defeat40:15 The Final Myth vs. Reality Moment42:43 The Kid's Breakdown44:27 Will's Return to Violence47:03 The Climactic Showdown52:59 Character Analysis and Final ThoughtsBuy or Rent Unforgiven Follow Silver Screen Happy Hour on Instagram here:https://www.instagram.com/silverscreenhappyhour/

True Romance (1993) Love on the Run - Part TwoJoin us in this episode as we delve into the classic film 'True Romance,' directed by Tony Scott and penned by Quentin Tarantino. We'll explore its themes, character arcs, and unforgettable scenes featuring an impressive cast like Christian Slater and Patricia Arquette. We also analyze its structure using Blake Snyder's beats and examine key cinematic elements, from the soundtrack to powerful dialogue. Additionally, we discuss rapid romances in crime films, comparing 'True Romance' with 'Out of Sight,' and touch on connections with 'Bonnie and Clyde.' Expect in-depth analysis, iconic dialogues, and a fun game of 'Six Degrees of Separation.' Don't miss this comprehensive look at crime film romances and industry insights.00:00 Father's Day Confusion00:59 True Romance Introduction01:17 Gift and Gratitude01:58 Tarantino's Ego and Commentary03:42 True Romance Movie Details04:07 Box Office and Awards06:33 First Viewing Experiences08:24 Star-Studded Cast10:38 Detroit Pride14:40 Movie Theater Memories18:06 True Romance Plot Overview43:13 Clarence's Suitcase Dilemma43:55 Meeting Daddy Clifford Worley44:28 Introduction of Dick Ritchie44:55 The Iconic Scene with Vincent Concordia53:18 Alabama's Fight for Survival01:02:11 The Final Drug Deal01:06:06 Resolution and Reflections01:07:22 Trivia and Behind the Scenes01:20:21 Six Degrees GameCheck out True Romance on YouTube Follow Silver Screen Happy Hour on Instagram here:https://www.instagram.com/silverscreenhappyhour/

Welcome to the latest episode of "The Pin Tool Podcast," where art meets entrepreneurship. I'm your host, Al Wayman, from Creek Road Pottery LLC, guiding you through the multifaceted world of pottery and business. Today, we're diving into the topic of using screenplay structure as a project management and promotion tool. In the book Save The Cat by Blake Snyder, there is a great outline that Blake calls a "Beat Sheet". In this episode, we look at the Blake Snyder "Save The Cat" story structure for screen writing and apply it to our projects in the pottery.  Questions applied to the structure may be found on The Pottery Dailies substack, in an article titled The Screenplay Strategy. Have a great week! Alford Wayman Creek Road Pottery LLC  https://creekroadpottery.com The Pottery Dailies https://thepotterydailies.substack.com/  

Author, podcaster and professor Robert Prince has this thing he does when he watches a movie: the Atomic Bomb test. “After I've watched about 20 minutes of the film I ask myself, ‘If an atomic bomb were to go off and destroy everyone in this film, would I care all that much?' If the answer is no, I don't keep watching the film,” he says in his class at the University of Alaska. He has this test because to make your reader keep reading, they have to care what happens to the characters in the story. This is true in real life, too, right? When we interact with people, most of us have levels of caring. We might worry and care more about our parent or child when they drop the ice cream carton on their instep than about the random guy in the frozen dairy section of the grocery store when he does it. But, if that guy starts tearing up, maybe is standing above the ice cream splattered all across the store's scuffed tile floor and says, “This was for my mom. She's dying and she asked for rocky road ice cream. This is the last rocky road ice cream!” Well, yeah, we might care a bit more. “A key component to storytelling is getting your audience to care about what happens to the characters in your story,” Prince says. “People stick around to hear the end of stories because they have grown to care about the people in the story and want to know what happens to them. If you've ever cried when a character died in a movie, then the filmmakers did an awesome job of making you care about the people in that film.” The question becomes how to do that. According to Prince, “you can make people care about the characters in your story by describing them well enough that your audience can picture them and recognize them as a certain type of person--maybe like someone they already know. How old are they? What do they look like? What kind of personality do they have? Do they have any particularly unique traits or mannerisms? This is why written news stories about people tend to include some seemingly odd and superficial facts about them at first. Those facts are not included because the reporter is particularly superficial. The reporter included those facts because they know you will not be as invested in what happened to that person if you cannot picture them in your mind.” Empathy, however, isn't just built on perfection. We wouldn't care as much about that grocery store guy with his ice cream if he'd just done the right things, expressed no emotion, and there was a clean up on aisle twelve. Empathy builds off flaws and human worth, those virtues we love. It's why Blake Snyder has “Save the Cat” as a trope and an inspiration. We care more about characters who save the cat or the puppy or even the zombie hamster. “Flaws make characters relatable, more human, and feel a little more like underdogs,” Prince writes. “This is why James Bond has to get beat up in every 007 movie. That's how the filmmakers show us he is human so we can relate better to him. It's the same reason Superman has kryptonite. We feel for characters when we see that they have some sort of weakness.” And that other part is the struggle. We empathize with characters that are having a hard time getting what they want. So to help your readers empathize with your characters you want to pass that Atomic Bomb test and you do that by . . . Good description and unique mannerisms Flaws Human worth/virtues Struggles DOG TIP FOR LIFE Be like dogs. Dogs have human worth. RANDOM BS GENERATOR LINK The link is here. SHOUT OUT! The music we've clipped and shortened in this podcast is awesome and is made available through the Creative Commons License. Here's a link to that and the artist's website. Who is this artist and what is this song? It's “Summer Spliff” by Broke For Free. WE HAVE EXTRA CONTENT ALL ABOUT LIVING HAPPY OVER HERE! It's pretty awesome. We have a podcast, LOVING THE STRANGE, which we stream biweekly live on Carrie's Facebook and Twitter and YouTube on Fridays. Her Facebook and Twitter handles are all carriejonesbooks or carriejonesbook. But she also has extra cool content focused on writing tips here. Carrie is reading one of her raw poems every once in awhile on CARRIE DOES POEMS. And there you go! Whew! That's a lot! Subscribe

Blake Snyder's famous Save the Cat plotting--where he describes fifteen beats a movie screenplay should have--is useful for us novelists.  And wonderful setting descriptions from Willa Cather.  Also, what's wrong with this sentence: He scrunched his eyebrows in confusion?  And Neil Gaiman's eight rules of writing.Support the Show.

Are we dreaming or did we really sit down with Katherine Center for the bookish chat of a lifetime?! Tune in for this week's interview with the New York Times bestselling author + all-time favorite of ours (and so many of you)! We leave no page unturned in this fun-filled, inspiring, comprehensive conversation with one of the best in the biz. What makes a good love story? What does a year-in-the-life look like for Katherine Center? How did she get her start?  We're serving it all + more today, besties! Thank you so much for listening! Leave a review, send us your questions, drop us a hi anytime! Find Katherine on Instagram (@katherinecenter) and her website! Find us on Instagram (@bookedsolidpod,@hannahbooksit, @stephanienmack)! TODAY'S SOLID SPONSOR: Today's episode of the Booked Solid podcast is brought to you by Kelly Greer, luxury + family travel advisor. Get Booked Solid—on your perfect getaway! “Traveling leaves you speechless and then turns you into a storyteller.” — Kelly Greer Find Kelly on her website, Instagram, and/or email her directly with inquiries: kelly.greer@holidayroadadventures.com. TODAY'S SOLID READS: The Rom-Commers by Katherine Center How to Walk Away by Katherine Center The Bodyguard by Katherine Center Thinks You Save in a Fire by Katherine Center  Hello Stranger by Katherine Center  The Science of Storytelling by Will Storr The Summer Pact by Emily Giffin  Save the Cat! by Blake Snyder

FINRA's Financial Intelligence Unit acts as a nerve center for information on emerging threats impacting the financial industry with the aim of providing actionable intelligence to firms, other regulators and law-enforcement to keep investors safe. On this episode, Blake Snyder, senior director of FIU, joins us to share how the group has grown and matured over the last few years and how they are evolving the way they share information, including through the introduction of the new Threat Intelligence Products, or TIPs.Resources mentioned in this episode:Episode 33: AML in the Securities IndustryEpisode 86: Introducing FIUTIP: Protecting Vulnerable Adult and Senior InvestorsInvestor Insight: Pig Butchering ScamsInvestor Insight: Ramp-and-Dump ScamsRegulatory Notice 22-25National Cyber-Forensics and Training Alliance (NCFTA)InfraguardFIU@finra.org Find us: X / Facebook / LinkedIn / E-mail

In Episode 4: Emotional Beats (Part 1) Jeannetta and Brittany welcome Kara Smith to The Write Attention podcast!   Kara is a Bermudan-British screenwriter based in the UK who has worked on the HULU drama series BLACK CAKE, the UK's highly acclaimed streaming series: HBO/Sky's horror-comedy THE BABY, Netflix's new genre series LOCKWOOD & CO from Joe Cornish and Edgar Wright, as well as Amazon's ANANSI BOYS created by Neil Gaiman, among other productions. In the first part of this conversation, Kara, Brittany and Jeannetta discuss the cross-sections between screenwriting and fiction/poetry including how screenwriters view emotions in writing and whether you should write about what you know. Show Notes 1. La Maison Baldwin, https://www.lamaisonbaldwin.org/ 2. Irenosen Okojie, https://www.irenosenokojie.com/. 3. Save the Cat by Blake Snyder, https://savethecat.com/ 4. “Phenomenal Women” by Maya Angelou can be found here: ​​https://www.poetryfoundation.org/poems/48985/phenomenal-woman 5. Mad Men, https://www.imdb.com/title/tt0804503/ 6. “The Uses of the Erotic: The Erotic as Power” by Audre Lorde can be found in Sister Outsider   

This week Ines and Leslye tackle how to bring stories to a close with a deep dive on story endings. We dive into character arcs, open doors (and windows!), and resolutions. BOOKS MENTIONED Write Your Novel from the Middle by James Scott Bell: https://amzn.to/4a6NaqQ Emotion Thesaurus by Angela Ackerman and Becca Puglisi: https://amzn.to/44v2TPn  One Stop for Writers: https://onestopforwriters.com/emotions  The Monsters We Defy by Leslye Penelope: https://amzn.to/4btzGXe Save the Cat by Blake Snyder: https://amzn.to/4abpK3A  Save the Cat Goes to the Movies by Blake Snyder: https://amzn.to/4bpDJUm  Save the Cat Writes a Novel by Jessica Brody: https://amzn.to/3xf7TFV The Heroine's Journey by Gail Carriger: https://amzn.to/3WuZD4t That Time I Got Drunk and Saved a Demon by Kimberly Lemming: https://amzn.to/3WuZwG5   Ines' Substack where she breaks down Marvel movies according to the Five Part Finale https://ineswrites.substack.com/p/5-part-finale-of-the-incredible-hulk   Check out Margie Lawson's courses: https://www.margielawson.com/lecture-packets/  Sign up for author Nalini Singh's newsletter to receive fan service here: https://nalinisingh.com/ Want the official Psy-Changeling Reading Order? Click here: https://nalinisingh.com/books/psychangeling-series/   Want to learn worldbuilding from Leslye? Sign up here: https://learn.myimaginaryfriends.net/ Want to learn story structure from Ines? Sign up here: https://ineswrites.com/PTP Get ready for Shield of Winter, coming in 1 week! Grab your copy to read along: https://amzn.to/4b6r34L    Find the hosts online at: L. Penelope: https://lpenelope.com/  Ines Johnson: https://ineswrites.com/  Credits: "Moonlight Hall" Kevin MacLeod (incompetech.com). Licensed under Creative Commons: By Attribution 4.0 License.

In this episode, I'm breaking down Marvel's The Guardians of the Galaxy using Blake Snyder's Five Part Finale from the Save the Cat Plotting Method.

In this episode, I'm breaking down Marvel's Thor using Blake Snyder's Five Part Finale from the Save the Cat Plotting Method.

In this episode, I'm breaking down Marvel's Black Panther using Blake Snyder's Five Part Finale from the Save the Cat Plotting Method.

“Billionaires can’t take a week off? What’s the point of having a billion dollars if they have fewer options than I do?”  –Tim Ferriss In this episode of Deviate, Rolf and Tim discuss common travel fantasies, and the fears that keep people from traveling (5:00); how we can redefine what “wealth” is and live fuller lives (18:00); why keeping a healthy perspective on information intake, technology, and “efficiency” is important, both on the road and in daily life (25:00); the “beginner’s mind,” and tips for writing and creativity (54:00);  the merits of going on foot and “getting lost” on the road, and how this figured into Rolf’s writing classes (1:17:00); notions of “success,” and how to definite the notion of success in a way that enhances one’s way of being in the world (1:37:00); and Rolf’s recommendations for drinks, food, documentaries, books, and poetry (1:50:00); Tim Ferriss (@tferriss) is a best-selling author and podcaster. General Links: Paris Writing Workshops (Rolf’s summer writing classes) Vagabonding, by Rolf Potts (audiobook) The Game Camera (short film cowritten by Rolf and Kristen Bush) Tim Ferriss on how to create a successful podcast (Deviate episode) Arnold Schwarzenegger on The Tim Ferriss Show LeBron James on The Tim Ferriss Show Cheryl Strayed on The Tim Ferriss Show Jerry Seinfeld on The Tim Ferriss Show Tortuga (bags design for long-term travel) Unbound Merino (travel clothing company) AirTreks (round-the-world flight planner) BootsnAll (online travel community) Interview Links: Van Life before #VanLife (Deviate episode) Man bites dog (aphorism about journalism) “War is God’s way of teaching Americans geography” (quote) Beginner’s mind (attitude of openness) Adaptation (2002 film) Anne Lamott (American author) Kurt Vonnegut (American author) The Hero's Adventure with Joseph Campbell (podcast remix) Flâneur (urban wanderer) Situationists (1960s social and artistic movement) Psychogeography (exploration strategy) Dave Chappelle (comedian) John Hughes (filmmaker) Rachel Kaadzi Ghansah (American essayist) Grizzly Man (2005 documentary film) Werner Herzog Reads Curious George (satire) Con Air (1997 film) Aimee Nezhukumatathil (poet) Naomi Shihab Nye (poet) Major Jackson (poet) Donald Hall (poet) Books mentioned: Walden, by Henry David Thoreau (book) The 4-Hour Work Week, by Tim Ferriss (book) The Art of Nonfiction, by Ayn Rand (book) Writing Tools, by Roy Peter Clark (book) To Show and to Tell, by Phillip Lopate (book) Screenplay, by Syd Field (book) Story, by Robert McKee (book) Save the Cat, by Blake Snyder (book) A Moveable Feast, by Ernest Hemingway (book) Leaves of Grass, by Walk Whitman (book) Good Hope Road, by Stuart Dischell (poetry) Alien vs. Predator, by Michael Robbins (poetry) The Deviate theme music comes from the title track of Cedar Van Tassel's 2017 album Lumber. Note: We don't host a “comments” section, but we're happy to hear your questions and insights via email, at deviate@rolfpotts.com.

“Billionaires can't take a week off? What's the point of having a billion dollars if they have fewer options than I do?”  –Tim Ferriss In this episode of Deviate, Rolf and Tim discuss common travel fantasies, and the fears that keep people from traveling (5:00); how we can redefine what "wealth" is and live fuller lives (18:00); why keeping a healthy perspective on information intake, technology, and "efficiency" is important, both on the road and in daily life (25:00); the "beginner's mind," and tips for writing and creativity (54:00);  the merits of going on foot and "getting lost" on the road, and how this figured into Rolf's writing classes (1:17:00); notions of "success," and how to definite the notion of success in a way that enhances one's way of being in the world (1:37:00); and Rolf's recommendations for drinks, food, documentaries, books, and poetry (1:50:00); Tim Ferriss (@tferriss) is a best-selling author and podcaster. General Links: Paris Writing Workshops (Rolf's summer writing classes) Vagabonding, by Rolf Potts (audiobook) The Game Camera (short film cowritten by Rolf and Kristen Bush) Tim Ferriss on how to create a successful podcast (Deviate episode) Arnold Schwarzenegger on The Tim Ferriss Show LeBron James on The Tim Ferriss Show Cheryl Strayed on The Tim Ferriss Show Jerry Seinfeld on The Tim Ferriss Show Tortuga (bags design for long-term travel) Unbound Merino (travel clothing company) AirTreks (round-the-world flight planner) BootsnAll (online travel community) Interview Links: Van Life before #VanLife (Deviate episode) Man bites dog (aphorism about journalism) “War is God's way of teaching Americans geography” (quote) Beginner's mind (attitude of openness) Adaptation (2002 film) Anne Lamott (American author) Kurt Vonnegut (American author) The Hero's Adventure with Joseph Campbell (podcast remix) Flâneur (urban wanderer) Situationists (1960s social and artistic movement) Psychogeography (exploration strategy) Dave Chappelle (comedian) John Hughes (filmmaker) Rachel Kaadzi Ghansah (American essayist) Grizzly Man (2005 documentary film) Werner Herzog Reads Curious George (satire) Con Air (1997 film) Aimee Nezhukumatathil (poet) Naomi Shihab Nye (poet) Major Jackson (poet) Donald Hall (poet) Books mentioned: Walden, by Henry David Thoreau (book) The 4-Hour Work Week, by Tim Ferriss (book) The Art of Nonfiction, by Ayn Rand (book) Writing Tools, by Roy Peter Clark (book) To Show and to Tell, by Phillip Lopate (book) Screenplay, by Syd Field (book) Story, by Robert McKee (book) Save the Cat, by Blake Snyder (book) A Moveable Feast, by Ernest Hemingway (book) Leaves of Grass, by Walk Whitman (book) Good Hope Road, by Stuart Dischell (poetry) Alien vs. Predator, by Michael Robbins (poetry) The Deviate theme music comes from the title track of Cedar Van Tassel's 2017 album Lumber. Note: We don't host a “comments” section, but we're happy to hear your questions and insights via email, at deviate@rolfpotts.com.

In this episode, I'm breaking down Marvel's Doctor Srtange using Blake Snyder's Five Part Finale from the Save the Cat Plotting Method.

In this episode, I'm breaking down Marvel's Incredible Hulk using Blake Snyder's Five Part Finale from the Save the Cat Plotting Method.

 Justin Sparks shares the Story of his Brother in Law Blake Snyder and How God can use a tragedy for His Glory. Justin Sparks https://www.sparksformissouri.com/ https://house.mo.gov/memberdetails.aspx?district=110&year=2023&code= Support Triple Play https://www.buzzsprout.com/2112944/support Get some Swag Gear at https://www.tripleplaylife.com Resource One Advisors https://www.RS1A.com CS Design https://csdesign.online 'Brookes Bible College https://www.brookes.edu/ Support the show

Nate Huntley talks all things comedy with heart! From feature films and sketches to songs and acting, Nate shares his best tips for staying organized and focused on a career in comedy. Welcome to the 4th episode of the Hungry Artist Podcast, where we're getting rid of the "starving artist" mentality by interviewing hungry, driven, passionate artists and finding out their recipes for success! http://instagram.com/hungryartistpodcast  MEET Nate Huntley: http://instagram.com/huntleynate  http://natehuntley.com  http://instagram.com/argylegargoylecomedy  https://www.youtube.com/@ArgyleGargoyleComedy  CONNECT w/ host Kaitlin: My Website: http://kaitlinmoose.com  My IG: http://instagram.com/kaitlinmoose  TOPICS: - pursuing multiple interests using the pie method - get your bad 1st script out so you can move on and get better - NY vs LA - medium, genre, cultural differences - high-concept comedy and asking "what if" - win people over with laughter so you can surprise them with other emotions and meaning - tell honest stories; don't play the comedy of the scene - don't be "too easy" on your characters--give them lots of obstacles - how to get a literary agent - the process of pitching a script to studios - when receiving feedback, pay attention to WHAT people tell you to fix and not necessarily HOW to fix it - create system for capturing ideas like notes app on phone - how to set and organize your goals for maximum progress; strive to be better every day, not perfect - creativity and life balance can both come in waves but sit down to work and give yourself that time and space so inspiration will strike - what is the anatomy of a good comedic sketch: the setup, reveal the turn, escalate, surprise button - you will learn by doing and bridge the gap between your talent/skill level and your taste - let comparison inspire you, not dissuade you - recipe for success: discipline, creativity, belief in yourself RESOURCES discussed: - ScriptNotes podcast - https://podcasts.apple.com/us/podcast/scriptnotes-podcast/id462495496 - Blake Snyder's Save the Cat - Syd Field's The Screenwriter's Workbook - Duffer Brothers course on MasterClass - James Clear's Atomic Habits - Ira Glass "The Gap" - https://vimeo.com/85040589  Thanks for watching the Hungry Artist Podcast! You can support our mission by subscribing and writing a review on Apple Podcasts: https://podcasts.apple.com/us/podcast/hungry-artist/id1702976743  Until next time, STAY HUNGRY!

Have you taken yourself out on an "artist's date" recently? Do you struggle to find time in your busy schedule to do anything creative?In this special episode of The Creative Toolkit, Risa Williams talks to Miguel Chavez, a TV actor, and Mike Sonksen, a professor and poet, about how to create space to get creative. We're all so busy these days, how do we find a consistent space to let our ideas out and to get in an artistic mindset? How do we honor the creative sides of ourselves without letting stress and fear shut us down?Learn ways to find more time in our busy schedules to work on creative projects more oftenHow to mentally prep your brain to get in the artistic mindsetFinding "The Sacred Space" to get creativeMaking a "Grand Gesture" where you raise the stakes on purposeSetting intention before you beginTimers and deadlinesWhy you should take yourself on an artist's dateTools/People discussed: Deep Work by Cal Newport, Maya Angelou, JK Rowling, Save the Cat by Blake Snyder, The Artist Date from The  Artist's Way, Natalie Goldberg, Risa's tool: The Inspiration Journal from The Ultimate Self-Esteem Toolkit.Host: Risa Williams, www.risawilliams.com, @risawilliamstherapyCo-Hosts: Miguel Chavez, @miguelleehimself, Mike Sonksen @mikethepoetlaSupport the showFor info on books, workshops, guests, and future episodes, please visit: risawilliams.com.*All tools discussed on the show are meant for educational purposes only and not as a replacement for therapy or medical advice.

The impact that Blake Snyder's Save the Cat® book series has had on Hollywood screenwriting is incalculable. Rarely does a book change the way screenwriters approach story and structure. In his best-selling book, Save the Cat! Goes to the Movies: The Screenwriter's Guide to Every Story Ever Told, Blake Snyder provided 50 “beat sheets” to 50 films, mostly studio-made.Now his student, screenwriter and novelist Salva Rubio applies Blake's principles to 50 independent, auteur, European, and cult films (again with 5 beat sheets for each of Blake's 10 genres in the book Save the Cat!® Goes to the Indies: The Screenwriters Guide to 50 Films from the Masters.If you're a moviegoer, you'll discover a language to analyze film and understand how filmmakers can effectively reach audiences.If you're a writer, this book reveals how those who came before you tackled the same challenges you are facing with the films you want to write. Writing a “rom-com”? Check out the “Buddy Love” chapter for a “beat for beat” dissection of Before Sunrise, The Reader, Blue Is the Warmest Color, and more to see how Linklater and Krizan, David Hare, and Kechiche and Lacroix structured their films.Scripting a horror film? Read the “Monster in the House” section and discover how 28 Days Later and The Texas Chain Saw Massacre are the same movie – and what you need to do to write a scary story that keeps audiences on the edge of their seats.Want to execute a great mystery? Go to the “Whydunit” chapter and learn about the “dark turn” that's essential to the heroes of The Big Lebowski, The French Connection, and Michael Clayton.Want your protagonist to go up against an evil “institution”? Consider how Mamet handled Glengarry Glen Ross and Tarantino's famed Pulp Fiction.Writing a “Superhero” story? See how Susannah Grant structured Erin Brockovich, Anderson & Baumbach worked out Fantastic Mr. Fox, and Gilliam & Stoppard & McKeown laid the foundation for Brazil.With these 50 beat sheets, you'll see how “hitting the beats” creates stories that resonate the world over for these outstanding writers—and how you can follow in their footsteps.Salva Rubio is a novelist, screenwriter, and author.He has been nominated at the Spanish Goya Awards for Best Animation Feature. As a graphic novel writer, some of his works have been published in America, including Monet, Itinerant of Light (nominated for an Eisner Award), and The Photographer of Mauthausen. Salva is an associate member of the WGAW (Writers Guild of America, West) and a member of the Academia de las Artes y las Ciencias Cinematográficas de España.Enjoy my conversation with Salva Rubio.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/2664729/advertisement

On this episode of “No ‘I' in Writing,” Chris puts on his book coaching hat, and we talk about where Christy is in her novel-writing process and strategies she can use to get unstuck and start writing forward again. We talk about why it's important to get a first draft out quickly, how to tie deadlines to more specific goals, and why Sauron has a backstory and every Orc does not (aka why you should focus on developing a single antagonist). We also talk about why Christy could never kill her own chickens (but Chris probably could) and BS reasons Chris thinks bourbon is good for you. Shouts out: Diana Ma (Christy's co-teacher) Jason Joyce Amy (Chris' lovely wife) (@akl.makes Instagram) All the Scheuers out there in radioland Links and Such: Christy's summer class at North Seattle Continuing Ed: Craft & Create: Writing in Community | Continuing Education (northseattle.edu) The Talented Mr. Ripley by Patricia Highsmith  https://www.amazon.com/gp/product/B007Q6XJGS It by Stephen King https://www.amazon.com/Stephen-King-ebook/dp/B018ER7K5I Save the Cat, by Blake Snyder https://www.amazon.com/Save-Cat-Last-Screenwriting-Youll-ebook/dp/B00340ESIS Link to Chris' Novels: Systemic and Host: ⁠https://www.amazon.com/dp/B0BP9VDQ8C ⁠ Christina's website: ⁠https://www.christinascheuer.com⁠ Chris' Author Website: ⁠https://chrislodwigauthor.com⁠          Christina's Instagram: ⁠https://www.instagram.com/ashmeadowedits⁠ Chris' Facebook: ⁠https://www.facebook.com/ChrisLodwigAuthor⁠ Christina's email: cscheuer@gmail.com Chris' email:  ChrisLodwig@gmail.com

Two years ago, Jennie Nash and I (this is KJ) got into a debate about what was the best, most helpful book for a writer's bookshelf. Almost instantly we realized that we couldn't choose just one (although if we could, I suspect it's Save the Cat Writes a Novel for me and Twyla Tharp's The Creative Habit for Jennie, but even as I write that I'm having second thoughts in favor of Big Magic but I'm just SO ANNOYED with her right now because of the whole take-back-my-book thing) and, yeah. Anyway. It's summer reading time, and to my summer reading list I've added a few books about writing, starting with Rick Rubin's The Creative Act: A Way of Being and, yes. Twyla Tharp's book (it's taken me this long to get over my resistance but JENNIE IS ALWAYS RIGHT about these things) and adding, for a practical note, Save the Cat Strikes Back by Blake Snyder and The Trope Thesaurus from Jennifer Hilt. (Want my non-professional summer reading list? Subscribe to #AmReading.) If you're looking to add to your own professional summer reading, you can't do better than going back to the series of summer episodes that Jennie and I recorded as a result of that first debate. They're all listed and linked below, along with the books we discussed, and I'm putting the first of them (Episode 269) here—in which we debate, yes, Big Magic versus The Creative Habit.Since then, Jennie's published two Blueprint for a Book books: one each for fiction and nonfiction and, coming later this summer, memoir. They're all EXCELLENT and highly recommended as well.Working Bookshelf Episodes:* Inspiration (Big Magic versus The Creative Habit)* Plotting (Save the Cat Writes a Novel versus The Situation and the Story)* Productivity (Productivity with Deep Work versus From 2K to 10K)* Up Your Game (The Practice versus The Bestseller Code)* When You're Stuck (The War of Art versus Dear Writer You Need to Quit)* Getting Published (The Essential Guide to Getting Published versus 78 Reasons Why Your Book May Never Be Published and 14 Reasons Why It Just Might)* Writing While White (The Anti Racist Writing Workshop, Craft in the Real World, Writing the Other)* When You Don't Know Why You're Doing This (Start with Why versus How to Write an Autobiographical Novel)* Writer Comfort Reads (Bird by Bird versus Making a Literary Life)* Editing (Meander, Spiral, Explode: Design and Pattern in Narrative versus Blueprint for a Book)If you love a good writing retreat—especially one that comes with good solid coaching and the chance to meet others who are working on similar projects—here's one to check out. This fall, three Author Accelerator certified book coaches are offering Mainely Memoir, a retreat for women writers in historic Biddeford, Maine, held over three days in the gorgeous Maine woods in September, with one-on-one coaching both before and after the retreat. It's the perfect opportunity to give yourself the gift of time and focus so that you can make real progress on your memoir this year. Find out more at www.mainelymemoir.comHey - are you following Sarina on Instagram? It's a great place for romance goodness (and check out her (Surprise!) billboard at 34th and 7th Ave!). This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit amwriting.substack.com/subscribe

We read SAVE THE CAT by Blake Snyder so you don't have to! In this week's episode, Alexie and Adam share the most (and least) helpful lessons from this classic screenwriting book. Discover how to implement fantastic screenwriting advice, such as using irony in loglines, creating a world-changing shift at the midpoint, and utilizing memorable-and-effective strategies for story crafting like Pope in a Pool, Double Mumbo Jumbo, and more.

Episode 168 / Jami Albright and Sara Rosett discuss how to create compelling characters. We look at the pilot episode of Ted Lasso and delve into why the characters of Rebecca and Ted are fascinating and how the writers made them well-rounded characters. Special supporter event: chat with H. Claire Taylor on May 28th. Watch for info in your private RSS feed. 

Flight Plan is with the editor, and it was a close call. TB was at her desk at 4 in the morning the day it was due to make last minute tweaks. Now TB's working on the cowrite with Adrian J. Smith and the first draft is almost done. TB's also plotting the next paranormal with Miranda. Finally, TB's putting the big IHS May sale together. Busy busy! Clare is in a writing groove, bashing out 2-3,000 words a day. Hot Shot has a narrator and fingers crossed it comes out before the Women's World Cup. Clare (and TB) is going to 20 Books to 50K in Las Vegas. The South Coast Sapphic Hang Out was epic and Clare got to rub elbows with many fab authors. In maybe fun news, Clare's going to a Tottenham double header: the men and women have back-to-back games. Will Clare be sad on Monday? They crash on to the topic: Top Tips from Screenwriting. One of TB's 2023 goals is to read more writing craft books and she's actually been doing that. TB takes the reins on this episode sharing the writing beats she learned from Save the Cat by Blake Snyder. The book outlines 15 beats that every story should have, and TB walks the listeners through them by using one of her books as an example. What writing tips have you learned from screenwriting? Head over to lesbianswhowrite.com and leave a comment on the episode. Happy listening! Clare and TB Link:  Save the Cat: https://www.amazon.com/Save-Cat-Last-Screenwriting-Youll-ebook/dp/B00340ESIS

In under 90 minutes, this movie manages to offend, stupefy, and disturb. You'll laugh, but not for the reasons the writers want you to. Sylvester Stallone stars in this movie, and was supposedly tricked into the role. You can check out the Schwarzenegger-Stallone Rivalry in this wild Wikipedia page. It's worth noting that one of the three writers of this movie is Blake Snyder. Snyder is the author of the best-selling screenwriting book, Save The Cat. So keep that in mind before you drop money on this while we're already dealing with inflation.  Thanks Dr. DeVito for commissioning this strange, strange movie!  And stay tuned for upcoming Bald Move Badass plans at the end of the episode! Hey there! Check out https://support.baldmove.com/ to find out how you can gain access to ALL of our premium content, as well as ad-free versions of the podcasts, for just $5 a month! Join the Club! Join the discussion: Email | Discord | Reddit | Forums Follow us: Twitch | YouTube | Twitter | Instagram | Facebook Leave Us A Review on Apple Podcasts Learn more about your ad choices. Visit megaphone.fm/adchoices

Are you an expert looking to get your work published in top magazines and journals? In this podcast episode, Erica Holthausen explains how to make it happen.    We talk about: The traditional way of getting published in high-profile publications, such as relying on connections or having a good publicist, is not as necessary as it used to be. Publications like Inc, Forbes, and Entrepreneur have a large need for content to drive traffic and advertising revenue, and they often rely on experts to provide this content. But how do you become one of them? Strategies for overcoming writer's block and grabbing the reader's attention. The ineffectiveness of the traditional five-paragraph essay structure and the importance of understanding the reader's perspective. Why you need to do research on the publication you're trying to get published in  Why you need a swipe file of headlines that resonate with you. Ways to overcome writer's block  How to make sure that an article grabs the reader's attention. What is a “Body of Work” and why do you need one? Quotes: "The five paragraph essay is garbage, It does not encourage critical thinking, there are a whole bunch of things about it that don't work." "If you have a clickbait headline, designed to get people to click, and then you don't deliver on what you promised, in that headline, you are blacklisted." "Their time is more valuable than yours every single time." "You have to understand what they're going through and make the articles skimmable"   Website: Catchline Communications: https://catchlinecommunications.com/ Book mentioned: "Save the Cat" by Blake Snyder.   Connect with Marion Abrams: Instagram: https://www.instagram.com/madmotion/ Twitter: https://twitter.com/Madmotion LinkedIn: https://www.linkedin.com/in/madmotion/ Website: https://www.madmotion.com/