Podcasts about story structure

Grab Your Free Ticket to The 2025 Spark To Story Summit (MAY 27-29)Struggling to figure out where your story is going? In this episode, we break down how understanding your content genre can give you a built-in structure for your novel, shaping your plot, character arc, and emotional payoff. We'll explore the difference between marketing and content genres, explain why genre is more than just a shelf label, and dive into how frameworks like Save the Cat Writes a Novel and The Story Grid can help you choose your content genre and write with more intention.Episode Breakdown00:00 – Introduction to Genre and Storytelling 00:22 – Welcome to The Write It Scared Podcast 01:31 – Understanding Your Story Genre 02:27 – Marketing vs. Content Genre 05:39 – Frameworks for Identifying Content Genre 06:50 – External vs. Internal Content Genres 08:33 – Blending Genres and Finding Your Story's Spine 10:12 – Conclusion and Next Steps 

Cameron Sutter is a sci-fi/fantasy author and the inventor of Plottr – the popular visual story planning software. Many authors have used Plottr to outline and flesh out their book creation process. Now, Cameron joins us to talk about Storysnap, a tool he designed to help authors create story bibles and streamline their creative process. //Draft2Digital is where you start your Indie Author Career//  Looking for your path to self-publishing success? Draft2Digital is the leading ebook publisher and distributor worldwide. We'll convert your manuscript, distribute it online, and support you the whole way—and we won't charge you a dime.  We take a small percentage of the royalties for each sale you make through us, so we only make money when you make money. That's the best kind of business plan.  • Get started now: https://draft2digital.com/• Learn the ins, the outs, and the all-arounds of indie publishing from the industry experts on the D2D Blog: https://Draft2Digital.com/blog  • Promote your books with our Universal Book Links from Books2Read: https://books2read.com  Make sure you bookmark https://D2DLive.com for links to live events, and to catch back episodes of the Self Publishing Insiders Podcast.

In Chosen (S7 E22 of Buffy the Vampire Slayer), Buffy, her friends, and the potentials bring the series to a close and engage in one final battle with The First. Along with the recap of Chosen, this podcast episode focuses on:  (1) the challenges of winding up a seven-season story; (2) deep character development that makes the finale gripping; (3) inconsistency that undermines some of the finale's impact; (4) whether the scythe's magic is too convenient; and (5) writing a happy ending while ensuring the final battle takes a toll. Download free Story Structure worksheets: https://www.lisalilly.com/worksheets Get more content, including access to the self-study course How To Plot Your Novel: From Idea To First Draft, by becoming a patron: https://www.patreon.com/lisamlilly  Check Out Lisa M. Lilly's Q.C. Davis mystery series by getting a free novella: https://lisalilly.com/no-good-plays/ About Lisa M. Lilly In addition to hosting the Buffy and the Art of Story podcast, Lisa M. Lilly is the author of the bestselling four-book Awakening supernatural thriller series as well as numerous short stories. She is currently writing the latest novel in her Q.C. Davis mysteries. Her non-fiction includes books on writing craft under L. M. Lilly. She also founded WritingAsASecondCareer.com. Get free books by Lisa M. Lilly: https://lisalilly.com/free/

Send us a textIt's just Mark, his overanalysis, and Rudy Vallée as he tries to figure out what makes Some Like It Hot such a timeless comedy, why the idea of syncopation gives it rare thematic harmony, and how Billy Wilder and IAL Diamond were so damn good.https://markoveranalysesfilm.buzzsprout.com/https://www.markoveranalysesstory.com/https://twitter.com/overanalysefilm

Are you passionate about Christian storytelling and dreaming of a career in faith-based filmmaking? Join media executive Phil Cooke https://philcooke.com and Ryan Grow, Executive Producer and Head of Lifeway Films, for a powerful and practical conversation that dives deep into the world of Christian movies and documentary filmmaking. From pitching your first project to navigating story structure and the unique challenges of faith-driven media, Ryan shares industry insights, personal stories, and what it truly takes to create films that impact both hearts and culture. Learn how filmmakers can bridge the gap between church and cinema—and what surrendering your dreams to God looks like in a creative career.

In End of Days (S7 E21 of Buffy the Vampire Slayer), Buffy King-Arthurs the scythe from a rock, the gang tries to save wounded potentials, and Buffy faces Caleb again. Along with the recap of End of Days, this podcast episode focuses on:  (1) choosing which characters to highlight at the end; (2) indirect dialogue and actions that resolve character arcs; (3) whether Willow's magic, Caleb's strength, and another new character are consistent with Buffy's history; (4) the perils of new story questions at the eleventh hour; and (5) satisfying the audience as you wrap a very longform story. Download free Story Structure worksheets: https://www.lisalilly.com/worksheets Get more content, including access to the self-study course How To Plot Your Novel: From Idea To First Draft, by becoming a patron: https://www.patreon.com/lisamlilly  Check Out Lisa M. Lilly's Q.C. Davis mystery series by getting a free novella: https://lisalilly.com/no-good-plays/ About Lisa M. Lilly In addition to hosting the Buffy and the Art of Story podcast, Lisa M. Lilly is the author of the bestselling four-book Awakening supernatural thriller series as well as numerous short stories. She is currently writing the latest novel in her Q.C. Davis mysteries. Her non-fiction includes books on writing craft under L. M. Lilly. She also founded WritingAsASecondCareer.com. Get free books by Lisa M. Lilly: https://lisalilly.com/free/

Have you ever wondered how a movie gets made? Or better yet, where do the ideas from movies come from? And if you have your sight on making a short film, wouldn't it be great if someone helped you buff your idea and make the end product simply spectacular? Shannan E. Johnson is that someone! As a former creative executive at NBCU/The Syfy Channel, Shannan left her full-time gig to become a storytelling expert who develops creatives and their ideas for the screen. As a script consultant, teacher, and therapist, she uses her innate understanding of storytelling to make compelling TV and movies. In today's podcast, Shannan walks us through her wide-ranging career and shares what it's like to work in Hollywood. She offers invaluable tips on how to write and tell a great story. I walked away from our conversation with a framework on how to approach fear and how to position my vision to achieve my desired outcomes! As you listen to the interview, the conversation will skip forward here and there - this is because Shannan's audio cut off at certain points, but the insights remain powerful throughout. Chapters: 00:00 Introduction to Shannan E. Johnson 02:09 The Journey into Storytelling 07:14 Understanding the Craft of Screenwriting 12:23 The Differences in Storytelling Mediums 18:19 Transitioning to Executive Roles in Hollywood 24:15 Navigating the Business of Hollywood 26:48 The Evolution of Storytelling in TV 35:03 Navigating the Transition from Executive to Entrepreneur 41:08 Building Confidence and Leadership Skills 47:09 The Professional Pen: Empowering Screenwriters 51:03 Introducing Truffle Sauce: A New Film Experience Connect with Shannan: Website: http://www.shannanejohnson.com/ The Professional Pen: https://www.awriterforyourwriter.com/bio.html Instagram: https://www.instagram.com/shannanejohnson/ The Professional Pen IG: https://www.instagram.com/theprofessionalpen/ Connect with your host: Website: Martine Severin Instagram: Martine | This Is How We Create Subscribe to the Newsletter: Martine's Substack This episode of This is How We Create is produced by Martine Severin and edited by Ray Abercrombie.  

In Touched (S7 E20 of Buffy the Vampire Slayer), Faith takes over as the leader, Spike reaches out to Buffy, and disaster looms. Along with the recap of Touched, this podcast episode focuses on:  (1) the mayor and Giles as foils for one another; (2) the way The First evolves as a season antagonist; (3) Faith's emotions, doubts, and growth shown through action and dialogue; (4) recurring episode themes; and (5) why some unanswered questions drive a story and others distract from it. Get more content, including access to the self-study course How To Plot Your Novel: From Idea To First Draft, by becoming a patron: https://www.patreon.com/lisamlilly  Download free Story Structure worksheets: https://www.lisalilly.com/worksheets Check Out Lisa M. Lilly's Q.C. Davis mystery series by getting a free novella: https://lisalilly.com/no-good-plays/ About Lisa M. Lilly In addition to hosting the Buffy and the Art of Story podcast, Lisa M. Lilly is the author of the bestselling four-book Awakening supernatural thriller series as well as numerous short stories. She is currently writing the latest novel in her Q.C. Davis mysteries. Her non-fiction includes books on writing craft under L. M. Lilly. She also founded WritingAsASecondCareer.com. Get free books by Lisa M. Lilly: https://lisalilly.com/free/ Edit

In Empty Places (S7 E19 of Buffy the Vampire Slayer) Faith takes the potentials on a night out and everyone pushes back against Buffy's plan to attack Caleb again. Along with the recap, this podcast episode focuses on:  (1) why an antagonist doesn't need to be a villain; (2) strong foreshadowing early in the story; (3) why Faith and Buffy's history affects how Buffy sees the conflicts and her choices; (4) what role grief plays in the final confrontation; and (5) what Empty Places says about leadership. Get more content, including access to the self-study course How To Plot Your Novel: From Idea To First Draft, by becoming a patron: https://www.patreon.com/lisamlilly  Download free Story Structure worksheets: https://www.lisalilly.com/worksheets Check out FeedSpot's 35 Best Buffy the Vampire Slayer Podcasts You Must Follow in 2025 (Buffy and the Art of Story podcast is No. 7!): https://podcast.feedspot.com/buffy_the_vampire_slayer_podcasts/ Revisit Grief and the Buffyverse: https://lisalilly.com/grief-in-the-buffyverse/ Check Out Lisa M. Lilly's cold case murder mystery The Forgotten Man: https://www.amazon.com/Forgotten-Man-Q-C-Davis-Mystery-ebook/dp/B0C2BBNXDT About Lisa M. Lilly In addition to hosting the Buffy and the Art of Story podcast, Lisa M. Lilly is the author of the bestselling four-book Awakening supernatural thriller series as well as numerous short stories. She is currently writing the latest novel in her Q.C. Davis mysteries. Her non-fiction includes books on writing craft under L. M. Lilly. She also founded WritingAsASecondCareer.com. Get free books by Lisa M. Lilly: https://lisalilly.com/free/

Join co-hosts Adrian M. Gibson and Greta Kelly as they chat with bestselling author Nicholas Binge about his new novel Dissolution, memory and identity, writing elderly characters, the joys of teaching and podcasting, agents and querying, getting books optioned for TV and film, living up to hype, marketability vs. artistic vision, experimenting with story structure, antagonists, dementia, grandparents and much more.NOTE: This is part one of a two-part chat with Nicholas. Stayed tuned next week for his writing masterclass on Finding the Emotional Core.OUR SPONSOR:Transference by Ian Patterson is a near-future, sci-fi dystopia that dissects the medical/pharmaceutical industries, economic inequality, and what it means to be human in a city where diseases can be transferred.Transference is available now in eBook and paperback. Purchase it ⁠⁠⁠⁠⁠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:Nicholas Binge is the bestselling author of Ascension and Professor Everywhere. His latest release is Dissolution, which you can purchase here. He's also the co-host of The Binge Reading Book Club podcast.Find Nicholas on Twitter, Instagram, Amazon and his personal website.ABOUT OUR HOSTS:Adrian M. Gibson is a podcaster, writer and illustrator. His debut novel, Mushroom Blues, is available on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Amazon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ in all formats.Find Adrian on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Amazon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠his personal website⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.Greta Kelly is the author of ⁠⁠⁠⁠⁠⁠The Queen of Days⁠⁠⁠⁠⁠⁠, The Frozen Crown and The Seventh Queen.Find Greta on ⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠Amazon⁠⁠⁠⁠⁠⁠⁠⁠ and ⁠⁠⁠⁠⁠⁠⁠⁠her personal website⁠⁠⁠⁠⁠⁠⁠⁠.M.J. Kuhn is the author of⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Among Thieves⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and⁠ Thick as Thieves⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.Find M.J. on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠, ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠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

Send us a textMark's obsession with overanalysing films has gone some ways to the way his life has been as he tries to figure out what makes Mulholland Drive so mesmerizing, how the film does actually mostly make sense, and how many times he'd buy someone pretending to play the trumpet to a recording. (Answer: many, many times) https://markoveranalysesfilm.buzzsprout.com/https://www.markoveranalysesstory.com/https://twitter.com/overanalysefilm

In Dirty Girls, S7 E18, Faith arrives in Sunnydale and Buffy takes an army of potentials to battle a super-powered misogynistic preacher. Along with the recap, this podcast episode focuses on:  (1) how to keep it fun when characters need to exchange information viewers already know; (2) foreshadowing a tragic climax; (3) how story structure affects pace; and (4) what Buffy's choices and Caleb's character say about the episode themes. Get more content, including access to the self-study course How To Plot Your Novel: From Idea To First Draft, by becoming a patron: https://www.patreon.com/lisamlilly  Download free Story Structure worksheets: https://www.lisalilly.com/worksheets Check out FeedSpot's 35 Best Buffy the Vampire Slayer Podcasts You Must Follow in 2025 (Buffy and the Art of Story podcast is No. 7!): https://podcast.feedspot.com/buffy_the_vampire_slayer_podcasts/ Revisit Grief and the Buffyverse before watching Empty Places: https://lisalilly.com/grief-in-the-buffyverse/ About Lisa M. Lilly In addition to hosting the Buffy and the Art of Story podcast, Lisa M. Lilly is the author of the bestselling four-book Awakening supernatural thriller series as well as numerous short stories. She is currently writing the latest novel in her Q.C. Davis mysteries. Her non-fiction includes books on writing craft under L. M. Lilly. She also founded WritingAsASecondCareer.com. Get free books by Lisa M. Lilly: https://lisalilly.com/free/

Storytelling is a powerful way to create relationships with your audience. Your stories allow you audience to get to know you. STORYTELLING BY THE BEST The best speakers in the world use powerful storytelling. Zig Ziglar always used great stories in every point he made. He was a master at storytelling. If you've listened to Zig, you've heard the story of the old water pump or the selling pans door to door. He made his stories come to life. When Simon Sinek speaks, he is always telling stories. Watch his TedTalk on starting with why and you will see a talk filled with stories. Brene' Brown is one of my favorites. Her stories of struggle and success make you fall in love with everything she does. Storytelling allows your audience to get to know you. By the stories you tell, your listeners know what you value, what you believe and how you operate. Friendships are formed through storytelling. Watch these three and others to learn from the best. TRANSPORT YOUR LISTENER One reason storytelling is so powerful is that stories transport your listener to other places. They forget about their problems and struggles for a bit. To take your listeners somewhere else, use visual words. Bring your story to life in the theater of the mind. Use words they can see. Active language helps your story come to life. It is easier to see walking than walked. "He walked into the diner" is harder to envision than "He came walking into the diner." Use all five senses. What did it look like? Describe the smells. What were the sounds? How did you feel? The more descriptive your story, the more it will come to life in your listener's mind. DO I LIKE YOU? Stories will help people decide if they like you. Your listeners need to like you in order to listen to you. They are going to spend 30 minutes or an hour with you in their earbuds. It better be more than info. Pretend they are asking, "Would I enjoy taking a one-hour car ride with this person every week?" That is really the essence of your show. Develop friendships by telling a story to your best friend. Let your listener learn something about you. REVEAL THINGS THROUGH STORYTELLING When I review shows for my clients, I always ask myself, "What do I know about the host that I didn't know before the show started?" Reveal things about yourself to let your listeners get closer to you. During a show review for a client recently, he referenced his Italian in-laws, mentioned the movie Talladega Nights and talked about the R&B group Boyz II Men. Little things like that let us get to know him. When are building your influence and authority, you need to become a powerful personality that attracts people. Storytelling defines your character. This is how people get to know, like and trust you. The Bible has lasted for thousands of years because of the stories around a powerful character. Comic book heroes have been around for decades due to the stories and characters. Zig Ziglar was influential because of his storytelling and powerful personality. To increase your influence and significance, leverage storytelling. STORYTELLING WITH DR. MICHELE GUNDERSON In this episode, we have a fantastic interview with Dr. Michele Gunderson. She is a former university instructor and Iyengar yoga teacher who has transformed into a successful entrepreneur. Dr. Michele possesses a unique talent for helping business owners align their inner and outer worlds through storytelling, which can catapult their businesses to new heights. During my conversation with Dr. Michele, you'll learn how understanding and harnessing the power of story can lead to incredible opportunities, whether you're working to grow your podcast, inspire an audience, or achieve five- or six-figure months in your business. We'll dive into key elements that make stories memorable and compelling, and how they can transform not just your messaging but your entire business strategy. Dr. Michele also provides practical insights into recognizing empowering and disempowering narratives within ourselves and their impact on our business results. Get ready to be inspired as Dr. Michele Gunderson guides us through the art of storytelling and how it connects us deeply with the world around us. It's a conversation filled with fascinating insights and actionable tips on harnessing the undeniable power of story to drive your success. Dr. Michele's free gift is called "7 Quick Tips for Crafting an Inspiring Story That Sells". You can download it at QuickStoryTips.com. HELP WITH YOUR STORYTELLING Let me help you with your storytelling. If you don't have a mentor who can take your hand and walk you every step of the way, go to www.PodcastTalentCoach.com/apply. You can click the button and apply to have a chat with me. We will develop your plan and see how I can help and support you to achieve your podcast goals. Let's get started today.

While Melanie and I cook up something extra special for you, we're highlighting some past episodes that you might have missed. THE DRY is an Outback Noir that we studied back in season 9. We talk about the environment as an antagonist, character archetypes, and a whole lot more. Check it out! - V. For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.To learn to read like a writer, visit Melanie's website.Follow Valerie on Instagram and Threads @valerie_francisFollow Melanie on X, Instagram and Facebook @MelanieHillAuthor

This week, we welcome Gary Hodges (D vs. M) and discuss editing an anthology (5:20) and naming conventions for the volumes of your work (9:15) before we open up the conversation on story structure (17:00), keeping the energy of a rough version in later versions (35:00), the rhythm / music of stories (51:50), and more!

In Orpheus, Buffy/Angel crossover S4 E15, Angelus and Faith battle it out and Willow comes to L.A. to try to restore Angel's soul. Along with the recap, this podcast episode focuses on:  (1) Seemingly separate storylines that converge into one gripping plot; (2) how to use multiple characters as the antagonist and a group as a protagonist; (3) whether Willow is a different character on Angel than she is in Buffy Season 7; and (4) how dramatic irony adds tension and keeps the audience engaged. Get more content, including access to the self-study course How To Plot Your Novel: From Idea To First Draft, by becoming a patron: https://www.patreon.com/lisamlilly  Download free Story Structure worksheets: https://www.lisalilly.com/worksheets Check out FeedSpot's 35 Best Buffy the Vampire Slayer Podcasts You Must Follow in 2025 (Buffy and the Art of Story podcast is No. 7!): https://podcast.feedspot.com/buffy_the_vampire_slayer_podcasts/ About Lisa M. Lilly In addition to hosting the Buffy and the Art of Story podcast, Lisa M. Lilly is the author of the bestselling four-book Awakening supernatural thriller series as well as numerous short stories. She is currently writing the latest novel in her Q.C. Davis mysteries. Her non-fiction includes books on writing craft under L. M. Lilly. She also founded WritingAsASecondCareer.com. Get free books by Lisa M. Lilly: https://lisalilly.com/free/

Bob Moesta, co-creator of the Jobs to Be Done framework, recently published a new book, Job Moves. Drawing from interviews with over 1,000 people about their career transitions, it offers a practical playbook for career development. In our conversation, we discuss:• The four different “quests” that drive career changes• Why job features (salary, title) matter less than experiences• How to identify what gives you energy vs. drains you• The power of taking a “jobcation”• A template for crafting your career story• Tips for hiring and retaining great talent• The importance of prototyping potential careers• Much more—Brought to you by:• Eppo—Run reliable, impactful experiments• Vanta—Automate compliance. Simplify security• OneSchema—Import CSV data 10x faster—Find the transcript at: https://www.lennysnewsletter.com/p/how-to-find-work-you-love-bob-moesta—Where to find Bob Moesta:• X: https://x.com/bmoesta• LinkedIn: https://www.linkedin.com/in/bobmoesta/• Website: https://www.jobmoves.com/• Podcast: https://pca.st/gg6goo1n—Where to find Lenny:• Newsletter: https://www.lennysnewsletter.com• X: https://twitter.com/lennysan• LinkedIn: https://www.linkedin.com/in/lennyrachitsky/—In this episode, we cover:(00:00) Bob's background(05:10) Bob's new book, Job Moves(09:31) Job features vs. job experiences(11:16) Four reasons people leave jobs(17:20) Energy drivers and energy drains(31:05) Prototyping your next job(34:32) Pushes and pulls(40:01) Understanding that no job is perfect(43:18) Taking a jobcation(51:22) Finding the right next step(55:18) Navigating job applications and interviews(58:28) How to craft your career story(01:04:04) Strengths and weaknesses: leveraging your superpowers(01:06:21) Hiring and writing job descriptions(01:11:20) Self-awareness and founding a startup(01:21:24) Conclusion and final thoughts—Referenced:• The ultimate guide to JTBD | Bob Moesta (co-creator of the framework): https://www.lennysnewsletter.com/p/the-ultimate-guide-to-jtbd-bob-moesta• Ethan S. Bernstein on LinkedIn: https://www.linkedin.com/in/ethanbernstein/• National Geographic: https://www.nationalgeographic.com/• Radical Candor: From theory to practice with author Kim Scott: https://www.lennysnewsletter.com/p/radical-candor-from-theory-to-practice• Building a long and meaningful career | Nikhyl Singhal (Meta, Google): https://www.lennysnewsletter.com/p/building-a-long-and-meaningful-career• The Story Spine (also known as Pixar's Story Structure): https://www.storyprompt.com/blog/the-story-spine-also-known-as-pixars-story-structure• Tobi Lütke on LinkedIn: https://www.linkedin.com/in/tobiaslutke• Job Moves resources: https://www.jobmoves.com/resources• Why Employees Quit: https://hbr.org/2024/11/why-employees-quit—Recommended book:• Job Moves: 9 Steps for Making Progress in Your Career: https://www.amazon.com/Job-Moves-Making-Progress-Career/dp/0063283581—Production and marketing by https://penname.co/. For inquiries about sponsoring the podcast, email podcast@lennyrachitsky.com.—Lenny may be an investor in the companies discussed. Get full access to Lenny's Newsletter at www.lennysnewsletter.com/subscribe

In Release, Angel crossover S4 E14, Faith and Angelus battle, Fred has a crisis, and Cordelia implores Connor to keep their secret. Along with the recap, this podcast episode focuses on:  (1) how the writers draw on backstory from both Buffy and Angel; (2) true vs. false conflict; (3) many storylines – but is there a main plot? and (4) cliffhanger or gamechanger and when it matters. Get more content, including access to the self-study course How To Plot Your Novel: From Idea To First Draft, by becoming a patron: https://www.patreon.com/lisamlilly  Download free Story Structure worksheets: https://www.lisalilly.com/worksheets Buffy and the Art of Story podcast is No. 7 on FeedSpot's List: 35 Best Buffy the Vampire Slayer Podcasts You Must Follow in 2025 About Lisa M. Lilly In addition to hosting the Buffy and the Art of Story podcast, Lisa M. Lilly is the author of the bestselling four-book Awakening supernatural thriller series as well as numerous short stories. She is currently writing the latest novel in her Q.C. Davis mysteries. Her non-fiction includes books on writing craft under L. M. Lilly. She also founded WritingAsASecondCareer.com. Get free books by Lisa M. Lilly:   

Download the Understanding Story Structure and Character Arcs PDF GUIDE.Learn the art of crafting positive character arcs and tackling the realities of time management.I kick things off by sharing some eye-opening insights inspired by Oliver Burkman's 4,000 Weeks, Time Management for Mortals, a must-read for anyone rethinking how to make the most of their time (spoiler: it's not about doing more). Then, we shift gears to break down the magic behind positive character arcs—focusing on the growth and redemption subtypes. Using beloved examples like Harry Potter and A Christmas Carol, you'll learn how to craft a positive character arc your readers will love!Plus, I've got a handy PDF guide to help you visualize story structure and character arcs—it's free to download!Stick around for a sneak peek at what's coming next: a deep dive into negative character arcs and an inspiring chat with romance writer Trisha Jenn Loehr about crafting romances.Episode Breakdown:00:00 Let's Talk Positive Character Arcs00:15 Welcome to the Write it Scared Podcast01:33 Balancing Craft and Mindset02:02 The Truth About Time Management (Inspired by 4,000 Weeks)08:26 Breaking Down Positive Character Arcs10:55 Growth Arcs: What They Are and How to Write Them14:25 Redemption Arcs: Creating Powerful Transformations16:46 Structuring Positive Character Arcs Step-by-Step22:54 Recap + Free Resources for Your Writing Journey24:36 What's Coming Next: Negative Arcs and a Romantic TwistDon't forget to grab your PDF guide to visualize and understand story structure and character arcs, and subscribe to the podcast so you never miss an episode. Let's keep building brave, brilliant stories together!Have a comment or idea about the show? Send me a direct text! Love to hear from you.Support the show To become a supporter of the show, click here!To get in touch with Stacy: Email: Stacy@writeitscared.co https://www.writeitscared.co/ https://www.instagram.com/writeitscared/ Take advantage of these Free Resources From Write It Scared: Download Your Free Novel Planning and Drafting Quick Start Guide Download Your Free Guide to Remove Creative Blocks and Work Through Fears

Alexa Bigwarfe chats with award-winning writer and writing coach Alida Winternheimer about the essentials of story craft. They explore the three-act structure, including how to craft a compelling Act 1 with hooks, stakes, and inciting incidents, and how Act 1 reflects the entire story. Alida shares insights on balancing showing vs. telling, navigating feedback, and transitioning between genres like nonfiction, literary fiction, and romantic comedies. With actionable writing tips, advice on working with editors or coaches, and a focus on developing your craft, this episode is perfect for aspiring and experienced authors alike.

Frustration follows flaws! Can you create tension and conflict if the 4 Story questions haven't been answered? The simple answer is “no”. I desperately wanted to love this movie because I'm writing a short story based on selkies. This is a sweet movie. It lacks some storytelling basics, which results in minimal tension and conflict. I know I've said it before, but learning from stories that don't work is more valuable when you're learning to write.  -M"Conflict relies on tension to make readers want to know what happens." Janice HardyRelated Story Nerd EpisodesSeason 5Calendar Girls (Season 13, Episode 1) For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.To learn to read like a writer, visit Melanie's website.Follow Valerie on Instagram and Threads @valerie_francisFollow Melanie on X, Instagram and Facebook @MelanieHillAuthor

Scooter bakes a Story Mud Pie as Mr. Harmon helps us discover the secrets of structure, musical theatre, and nothing itself.This is an older episode from the archives. The language is somewhere between PG and PG-13, and the last 20 minutes feature a lot of Big Farm talk. If you want to learn about fascinating moments in history in the most relaxing way possible, then try Calm History. You'll learn about famous explorers, inventions, civilizations and ancient wonders, all told in a calm, relaxing voice to help you fall asleep. Just search your podcast player for Calm History, or go to calmhistory.comStart a 7 day FREE trial of Sleep With Me Plus- The ultimate way to listen to show, based on how YOU listen! Are you looking for Story Only versions or two more nights of Sleep With Me a week? Then check out Bedtime Stories from Sleep With MeGet your Sleep With Me SleepPhones. Use "sleepwithme" for $5 off!!Show Artwork by Emily TatGoing through a hard time? You can find support at the Crisis Textline and see more global helplines here.HELIX SLEEP - Take the 2-minute sleep quiz and they'll match you to a customized mattress that'll give you the best sleep of your life. Visit helixsleep.com/sleep for up to 27% off and 2 free pillows!ZOCDOC helps search for local doctors who take your insurance, read verified patient reviews and book an appointment, in-person or video chat. Download the Zocdoc app to sign-up for FREE at zocdoc.com/sleep PROGRESSIVE - With the Name Your Price tool, you tell Progressive how much you want to pay for car insurance, and they'll show you coverage options that fit your budget. Get your quote today at progressive.comANKER SOUNDCORE's A20Earbuds monitor your sleep status and deliver visual reports to help you understand your sleep patterns and optimize rest. And they block noise for a quieter sleep! Go to Soundcore.com and use code "SLEEP" (all caps) for $30 off.DAVE'S KILLER BREAD is kicking off their inaugural Rock Your Reset! Throughout January, SMS subscribers can win epic sweepstakes prizes like VIP concert prize packs! To enter, text RESET to 73876. Head to DavesKillerBread.com/reset to learn more.ACORNS - Acorns makes it easy to start automatically saving and investing so your money has a chance to grow for you, your kids, and your retirement. Acorns will recommend a diversified portfolio that fits you and your money goals, and you can get started with even just your spare change! Head to acorns.com/sleep to learn more. (Paid non-client endorsement. Compensation provides incentive to positively promote Acorns. Tier 1 compensation provided.Investing involves risk. Acorns Advisers, LLC, an SEC-registered investment adviser. View important disclosures at acorns.com/sleep) Learn about your ad choices: dovetail.prx.org/ad-choices

Free Download: Understand Story Structure and Character ArcsToday, we're diving deep into the magic of character arcs and how they intertwine with story structure and plot.I'll share insights on developing authentic characters so readers will empathize with them and want to know more.We'll chat about different character arcs—positive, negative, and flat—and how understanding these can enrich your storytelling. Plus, I'll debunk myths about story structure being formulaic and show you how it's essential for guiding your characters' emotional journeys. By the end of this episode, you'll have practical tips to develop compelling characters and a story your readers will love!00:00 Introduction to Character Arcs02:29 Exploring Story Structure06:27 Diving into Character Arcs09:19 Understanding Character Development19:31 Practical Tips for Writers20:36 Conclusion and ResourcesHave a comment or idea about the show? Send me a direct text! Love to hear from you.Support the show To become a supporter of the show, click here!To get in touch with Stacy: Email: Stacy@writeitscared.co https://www.writeitscared.co/ https://www.instagram.com/writeitscared/ Take advantage of these Free Resources From Write It Scared: Download Your Free Novel Planning and Drafting Quick Start Guide Download Your Free Guide to Remove Creative Blocks and Work Through Fears

In Salvage (Angel crossover S4 E13), Angelus meets The Beast (a powerful demon terrorizing L.A.) and Wesley persuades to Faith break out of prison. Along with the recap, this podcast episode focuses on:  (1) showing internal conflict (Wesley's) through imagined dialogue; (2) who the protagonist is in a group with the same goal and two leaders (Wesley and Faith); (3) the challenges and pluses of a  conflict engine character  (Connor); and (4) subplots that resolve issues or raise stakes in the main plot. Get more content, including access to the self-study course How To Plot Your Novel: From Idea To First Draft, by becoming a patron: https://www.patreon.com/lisamlilly  Download free Story Structure worksheets: https://www.writingasasecondcareer.com/worksheets Looking for a winter read? Try The Charming Man, where lawyer/private investigator Quille C. Davis hunts for a killer while trapped in a high rise during a blizzard: https://www.amazon.com/gp/product/B07L7PSDNK About Lisa M. Lilly In addition to hosting the Buffy and the Art of Story podcast, Lisa M. Lilly is the author of the bestselling four-book Awakening supernatural thriller series as well as numerous short stories. She is currently writing the latest novel in her Q.C. Davis mysteries. Her non-fiction includes books on writing craft under L. M. Lilly. She also founded WritingAsASecondCareer.com. Get free books by Lisa M. Lilly:  https://lisalilly.com/free/

I love it when Valerie and I study different theories and come to different conclusions about the movie. Crazy, Stupid, Love has great examples of slow/low tension and high/intense tension - it's a great movie demonstrating how tension works. However, it doesn't work so well when the 4 Story Questions are applied. Why? Because a multi-point-of-view story needs answers for all POV characters! Which POVs work and which don't…dive into this episode and find out. -M"Having your characters make stupid decisions is a great way to increase tension." -Melanie HillRelated Story Nerd Episodes:The Accidental Tourist (Season 5, Episode 503) For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.To learn to read like a writer, visit Melanie's website.Follow Valerie on Instagram and Threads @valerie_francisFollow Melanie on X, Instagram and Facebook @MelanieHillAuthor

Bio  Brian McDonald, an award-winning author, filmmaker, graphic novelist, and podcaster, is a sought-after instructor and consultant. He has taught his story seminar and consulted for various companies, including Pixar, Microsoft, and Cirque du Soleil.  Interview Highlights 01:30 The Story Spine 04:00 Proposal, argument, conclusion 07:40 Video games – noodles are not cake 11:30 Armature 16:25 Stories in speeches 21:25 Finding your armature 23:00 Tools and weapons go together 25:30 The first act 27:00 Angels 28:00 Brian's memoir 28:45 Paying attention   Connect  ·       Brian McDonald (writeinvisibleink.com) ·       @BeeMacDee1950 on X ·       @beemacdee on Instagram ·       Brian McDonald on LinkedIn   Books and references  ·       Land of the Dead: Lessons from the Underworld on Storytelling and Living, Brian McDonald ·       Invisible Ink: Building Stories from the Inside Out, Brian McDonald ·       The Golden Theme: How to Make Your Writing Appeal to the Highest Common Denominator, Brian McDonald ·       Old Souls, Brian McDonald ·       Ink Spots: Collected Writings on Story Structure, Filmmaking and Craftmanship, Brian McDonald ·       Brian's podcast 'You are a Storyteller'  Episode Transcript Ula Ojiaku Hello and welcome to the Agile Innovation Leaders podcast. I'm Ula Ojiaku. On this podcast I speak with world-class leaders and doers about themselves and a variety of topics spanning Agile, Lean Innovation, Business, Leadership and much more – with actionable takeaways for you the listener. Welcome back to the Agile Innovation Leaders podcast, this is Part 2 of my conversation with Brian McDonald. In Part 1 we discussed defining a story, why we tell stories, among other things, and in this second part, Brian shares more of his insights around the storytelling formula, Brian's upcoming memoir, and building a story's armature. It's been such an honour to speak with Brian and I hope you find Part 2 of our conversation as insightful as I have. Everyone is a storyteller, everyone has a story to tell, and we knowing how to structure it is key to making it impactful and helping people to get information that heals, that helps them survive, that helps them navigate the conflicts of this world. So, you, in your book, Invisible Ink, you gave us a storytelling formula, do you mind sharing that with us? Brian McDonald So the story spine are seven steps that you need to create a story. So they use it at Pixar, I've worked with them quite a bit so we speak similar language, but they use this too, and I think we basically learned it from the same source. So, they are once upon a time, and every day, until one day, and because of this, and because of this, until finally, and ever since that day. So they are once upon a time, and every day, until one day, and because of this, and because of this, until finally, and ever since that day. And you set up the status quo, this is what happened, this is who this person is, this is what they want, whatever it is, and then something changes. Now you're into the ‘until one day', and the second act, now that would be the first act, the second act would be the body of the story. It's really what people say the story is about, so that's the longest part. That's why it's sort of split in two in a way because of this and because of this. There are some people who will add more because of this, but I don't, and some people don't like that I'm so rigid about it, but what I find is that the hardest thing I teach people is how to simplify. That's the hardest thing. So, adding more details is easy, simplifying is hard, right, and so that's why I stick with the seven and the because of this and because of this. And then, until finally, now you're into the third act, and ever since that day, because the third act is all about the conclusion or the resolution, but the conclusion, but the way I like to think about the three acts is this, and I had been thinking about it this way, and this is something that I don't know where Hitchcock got it, but Alfred Hitchcock talked about it, but I've never heard it anywhere else. So it's proposal, argument, conclusion. That's the way stories work, and those are the three acts. Proposal, argument, conclusion. Now, it's the way people talk. That's why it works. So the proposal is, let's say, I say Saturday I went to the best party I've ever been to in my life. That's my proposal. Everybody knows what comes next. My proof, this happened, that happened, this star was there, this blah blah blah, whatever it is, whatever my argument is, that this is the best party in the world, right? And then the conclusion, often stories are circular, so you'll come back around to the beginning again. So, that's the best party I've ever been to, then I talk about it, and then I say, oh, what a great party, oh, that was the best party I've ever been to, whatever it is, it's the way we speak, that's why it works in stories, because it's natural. It's the way a legal argument is constructed. Your honour, my client is innocent. Then the trial, which is all proof, and then the conclusion as you can see, my client is innocent, that's the conclusion of that argument, but the resolution is, do they go to jail or not? And that may or may not matter to your story, depending on the story you're telling. So therapists say, well, we tell ourselves the story that I'm not good enough, we tell ourselves the story that I'm not attractive enough or whatever it is, and that's not a story, that's a conclusion that you have derived from stories, it's not a story, that's a conclusion. The conclusion is I'm not worthy, I'm not smart, whatever it is, but there are stories that made you think that or feel that, that's where the stories are, and so the problem is if you have different definitions for stories, I found this when I'm collaborating, if I'm working for a studio or a video game company or something, if we have a different definition for story, then we are miscommunicating from the very beginning of the conversation.  So they maybe will say, well, we should do this, and I say, well, that doesn't fit the story, well, I think it does, oh, well, we're not talking about the same thing. So the thing is, people can take my definition or leave it, that doesn't matter to me, but they ought to have a definition, and it ought to get results consistently, and then you can make sure everybody's on the same page. Ula Ojiaku What I'm hearing you say is it's important to take time to define the terms being used because that makes things easier when you're collaborating with people. So how do you then approach it? Brian McDonald It depends. Sometimes I come in and my job is to lecture, and that is to give them that shared definition and understanding of story. So sometimes that's my job. If I come in on a specific project to help on a specific project, that's usually because either they've heard me lecture before, or they've read my books and we already have a shared definition. So that's usually how it works, most of the time. Ula Ojiaku What would you advise when you're getting into a new collaboration with people, would you say, take the time to define the terms and what exactly generally would you say? Brian McDonald Yeah, if we're talking specifically about story, I think I would give them the definition. I would probably let them struggle with the definition of story first, because I think that's an important part of the process, because people have to know they were given something, because it sounds obvious when you say it. So we will fool ourselves and think, oh, I knew that, so the struggle is really important, so I would let them struggle, make sure they understood that they got something, oh, now I have a definition, and sometimes just having a definition elevates what you're able to do. Just having the definition. So, then I would break down story, I would break down armature, which I haven't done yet I don't believe in the concept of interactive stories, I think that's a misnomer, because once you interact with the story, it becomes a game. I don't think they can occupy the same space. Now, the word story comes from the word history, where it comes from, comes from the word history. A story has happened. So for instance, if you and I were somewhere and we had some crazy adventure, as it's happening, it is not a story. It's only a story when we're done and we tell people about it. A video game is happening in the moment, the same way as any other experience. It's an experience, but it's not a story till it's done, and you're telling people that, and so I just don't think they occupy the same space. Now they have a lot of the same ingredients, and that's what fools people. So for instance, it's sort of like, I would say you can use eggs and flour to make noodles or cake, but noodles are not cake, and so because you can have characters and settings and scenes and a lot of the same ingredients as a story, I think people think they're the same thing, but they are not, and that's what's interesting to me is that video game people desperately want their thing to be story, and I don't know why. It's like, no, you have your own thing. They have scenarios. In the old silent movie days, they didn't have screenplays, they didn't write screenplays. So, Buster Keaton would say, get me a fire truck and I'll make a movie, and he would then make it up, Chaplin did the same thing, he would make it up, they didn't write them down. Sometimes Chaplin would shoot and then say, okay, everybody has a week off while I figure out what happens next. He didn't know, so the reason they started writing screenplays, one of them was to budget. Well, what do you want? I'm going to need a truck, I'm going to need this, I'm going to need that. Okay. So they knew how much it was going to cost to make it, that's one of the reasons they started doing it. So you'll see on old silent movies scenario by, so it would be like, what if a guy robs a bank and this happens so that's the scenario. Video games have a scenario, and anything can happen in that scenario because the player has some agency, and that's like being in real life. Being in real life is not a story, it's just not, it's a story later, but I think that when we are experiencing a story, it feels like the present, and so I think it's confusing, and people will argue with me and they'll say, but have you played this video game or that video game or this one? And I'm like, you're not actually arguing. There's a little bit of story, and that stops and then there's gameplay, they don't occupy the same space, they're just close to each other. You have to switch from one to the other, I just don't believe they can occupy the same space, and I think technology has fooled us to thinking that that's the case, because you don't need technology. If there is such a thing as interactive stories, you could do that without technology. Choose your own adventure books were that, so you don't need it. Everybody remembers them, but how many people ever tell the story of a choose your own adventure book? You ever heard anybody say that? No one does, because it wasn't really a story, it was a game. There's nothing wrong with it being a game, I think that's totally fine, but I don't study games, I work with game people. There are people that study games and that's their whole thing. I get that, and there's game theory, and there's a bunch of stuff I don't know, but they seldom study story, and I do know that. So when they say, well, this game has a story, I'm telling you, it doesn't, because that's my field of study. And then an armature. So, I used to work in creature shops in Los Angeles. So I moved to LA in the mid 80s, and my roommate was a special effects makeup artist. And so my first jobs in LA were working in creature shops because he could get me these jobs, and this is before CGI and computers and stuff, so things had to be built. My roommate was working on the movie Predator when I moved there, I remember, it was called Hunter, I still have the script, it was called Hunter at the time, and so they were doing some reshoots. They had gone on location and shot the movie without having a design for the creature. So they came back and they were doing some shoots in studio and stuff with this creature, I remember that vividly. Anyway, but they had to build these things, and so I would work on these movies, I worked on a zombie movie and a movie called Night of the Creeps and all, but you had to make things, and I would watch these sculptors, amazing sculptors, sculpt these little mock cats of whatever the creature was, and they were, I'd never seen in real life, somebody really able to sculpt something that was so amazing, and I was 21 years old, it was amazing to see, and they would make though this wireframe skeleton before they sculpted the clay, and I asked why, I didn't know, and they said, well, we have to make a skeleton, an armature. In fact, the wire is called armature wire. We have to make this armature because clay can't support its own weight, and so after a little while, could be a day or two days or sometimes a few hours, it'll collapse upon itself. So you need to make this skeleton, and I thought, oh, that's really interesting. It's something I'd never thought about, and then when I thought about it in terms of story, I realised that a story has an armature. It holds everything up. Everything is built around this armature. It ends up being one of the most important parts, like with the clay, but it's not anything anybody notices, except when it is in there, it's the thing that makes it work, it's the thing that makes it stable, and the armature for a story is your point. What are you trying to say? What's the survival information you're trying to convey? So, some people would call it a theme, it's a mushy word, people don't quite know what it means. So I usually start with armature, then I use theme interchangeably, but I start with armature because it's a visual idea that people can sort of wrap their brain around, where theme is, I think, almost too intellectual. And the way I like to think of it is this, that a story doesn't have a theme. This is what you always, you hear this, stories have a theme, this story has to have a theme. Stories don't have a theme, stories are a theme, stories are a manifestation of the theme. If you are telling the story of King Midas and you're saying some things are more important than gold, then the story is a manifestation of the illustration of that theme. Ula Ojiaku So if a story is a manifestation of a theme and an armature is your point you're trying to make, so what is a theme then? Brian McDonald Well, theme and armature are the same. It's just that theme takes a long time for people to wrap their brains around, it's too intellectual. I think a lot of terms for storytelling and writing and all of that were made up by people who weren't practitioners, but observers, and so their words are often not very helpful. So it's like, well, theme's not a helpful word. I struggled with the idea of theme for a long time, even though I knew what a theme was, I was lucky because of the things that influenced me would always have a strong theme, and so I knew instinctually how to do it. It was a while before I understood what I was doing, and the word theme completely confused me because it was something I thought I had to put in my story, I had to fit it in there, but it's not that way. Ula Ojiaku So if I said a theme is the point you're trying to make, or a theme is the message you're trying to pass across would that be wrong? Brian McDonald You know, the interesting thing about having a point, is that when we talk, we have no problem with the concept, and in fact, when somebody's talking to you, and it's clear they don't have a point, you lose interest fast, you also don't know what to listen for. So one of the things that often comes up is people will talk about I think mood, for instance, is a trick of literature. So, because you can paint pretty pictures with words and you can do these things, I think that's a trick and has nothing to do with storytelling. It's almost a special thing, and so sometimes people will say, well, what about mood, because you're so into story, what about mood? I go, well, here's the thing, nobody talks in real life about mood. So if I say to you, hey Ula, I have something to tell you, a clear blue sky, seagulls in the distance, the sun beating down on me, salt air coming off the ocean. Okay, I'll see you later. You'd be like, I didn't tell you anything, but if I just add one sentence, if I say my trip to Mexico was amazing, clear blue sky, now you know why you're listening. That changes everything. Armature does the same thing. If you know why you're telling the story, it will all fall together in a different way, and people know they're in good hands, they feel it, they won't know why, but they'll understand why they're listening. Ula Ojiaku People in other disciplines have to give presentations and already is an established case that storytelling helps with engaging people, and when you know the point you're trying to pass across, it's a great starting point to know what message you're trying to pass across to the audience. What advice would you give to leaders? What can they bear in mind to about weaving in stories so that it's engaging without losing the message? Brian McDonald I've helped people write speeches and I've had to give speeches on different things that were not necessarily story related. And in fact, when I was at the creative agency I was at, we would often be asked to help people write speeches, and all the writers would follow basically the rules that I laid down about how that should happen, and we could do it really quickly and the CEOs were always amazed at how quickly we could do it, but they usually have a story, they just don't recognise it. Most people don't recognise the stories that they have to tell because they take them for granted, and so often we would pull that out of them and say, that's your thing, but I once heard an interview, this is pre-pandemic. So pre-pandemic, there were a lot of people, who were against vaccines, even then, and I heard this doctor talking on the radio and the doctor said, because people were afraid, they were like, well, wait, if my kid gets the vaccines, gets immunised, this leads to autism, that's what they thought,  and the doctors were like, all the research from all around the world does not bear that out, that's not true. So, and they kept trying to provide data that showed that this wasn't true, and I remember listening to this going, they're not going to win with data because we're not wired for data. The reason those people believe what they believe is because they have a story. I knew somebody this happened to, I heard of a person this happened to. You can only win with another story, you're not going to win with data. So the thing is, you find a story, a human story about whatever you're talking about, because there is one, and when you find it, that's what people will latch on to. We're not wired for all that other stuff, we're not wired for charts and graphs, and that's not the way it works. We're wired for stories and we want to know, hey, how is what you're telling me going to help me, that's what we want to know, and so there is a story there, there always is, they just have to find it. How does this thing connect with me? Steve Jobs was good at this, and I've worked with tech companies making pieces for them, and if they have a product, they often want to give you the stats, like it does it's this, and it does this and it does this and it has this many whatever, but do you remember there was a commercial, at least here I don't know if it was everywhere, but there was a commercial for facetime, and when it first came out, there was a commercial for it and the commercial was just people on the computers, or on their phones, connecting with other people. So there was a guy who obviously was stationed somewhere, a military guy, and he sees his wife and their new baby over the thing, somebody seeing a graduation, I think is one of them, all these things that connected people. Now you got, I've got to have, that because you're giving me emotional information. I don't know anything about technology, so you're not going to impress me with technology, you're going to impress me with how is this going to impact my life for the better. So they told you those little stories, those little vignettes, and it was a powerful commercial. So an armature should be a sentence, so it should be something you can prove or disprove through the story. It has to be a sentence. So a lot of times people go, well, revenge, that's my theme, that's my armature. It's like, it can't be. Revenge is sweet, can be. Revenge harms the avenger, could be. It can't be friendship, friendships are sometimes complicated, friendships are necessary, something like that. So companies can have armatures, they're often looking for their armature. What's interesting is that Nike's armature is if you have a body, you're an athlete, and when you have a strong armature, it tells you what to do. So, if you have a body, you're an athlete, which they sort of contextualised as ‘just do it', but the armature is, so they did an ad with an overweight kid jogging. It's just one shot of him jogging and having a very hard time doing it, but doing it, and that's better than having a star. A lot of times clients used to come to us with the agency and go, we got this star and this song. It's like, yeah, but what are you saying, because it won't matter. That was a very powerful ad, that kid just jogging and just doing it, and you were like, it was more impressive than the most impressive athlete, you had empathy for him, you had admiration. It was amazing, it's an amazing ad, and it's simple, it doesn't cost a lot of money. It doesn't have any special effects. It doesn't have any big stars. What was interesting is that Nike changed ‘just do it' for a while to ‘be like Mike', to be like Michael Jordan, be like Mike. Well, guess what? You can't be like Mike. If you have a body, you're an athlete. I can do that, but I can't be like Mike, so they went back. They had to go back, that went away. If you have a strong armature, it's amazing, what it does is sticking to your armature has a way of making your stuff resonate and be honest in a very specific way and feel polished, and so if somebody is giving a talk and they know their armature. I gave a talk, at the EG conference. I was flattered to be asked because James Cameron had spoken there, Quincy Jones had spoken there, they asked me to be there and they said, well, what do you want to talk about, and I said, well I'm a story person, I want to talk about story. They seemed bored by the whole idea of me talking about story and they said, well, what are you working on? Well, I had just started working on a memoir that's not out yet, but I had just started working on this memoir, and they go, tell us about that, and it was a memoir about my brother's murder, and they said, well we want you to tell us about that, what you're going to talk about in your memoir. So I thought, okay, I didn't want to talk about it really, but I didn't want to pass up this opportunity. It was a high profile talk, there were going to be high profile people in the audience, it was an honour to be asked to do it, so I did it. So when I prepare for a speech, or a lecture or anything, the first thing I do is I try to get into that venue as early as possible when there's no one there, and I walk on and off the stage, over and over again, because one of the things that throws you as a speaker sometimes is not knowing how to get on and off the stage. You might trip, so I just do it a bunch of times so I know how many steps. Then I sit on the stage, I just sit there, because I want it to become my living room, so I just sit there, it could be 20 minutes, just taking it all in. I ask them to turn the lights on the way the lights are going to be on during the talk, because sometimes it throws you when you're like, oh, I can't see anybody, or I can see the first two rows, I'm getting rid of all of those things. Then I go into the audience and I sit in different sections. What can these people see? What can these people see? What can these people see? I do all. So that's the way I prepare, and then I do all the tech stuff. Well, the EG conference didn't really let me do that. I got to go on stage for a couple of minutes, but I really didn't get to spend much time up there. I had my PowerPoint. So I had some slides and I had notes, and they said, okay, this is what time you're going up. I go, I've got to know if this is working, my slides and my notes and they didn't let me do it on stage, we did it backstage and I go, it's going to look like this. Fine, I get out there, the monitor on the stage is different, and I don't have my notes. I don't have my notes. I had seen people at this conference when something went wrong, they would stop their talk, they would go talk to a tech person. It took the air out of the room, it sucked the air out of them. So I was like, I'm not doing that, I'm up here without a net now, I'm just going to do this. Here's what saved me. I knew my proposal and I knew my conclusion, which were the same. All I had to do was prove that proposal. So as I'm up there, I had prepared some things, but I'm essentially making things up, that I know will do the job because I know the armature. Now this is not to brag, this is about how well the technique works. I got an immediate standing ovation. Some of those people, they know what they're looking at, some of those people are pretty big deal people, and so they came up, I'm friends with some of them now, like we've got to hang out, I've got to pick your brain, and I was sort of the celebrity of that thing, and there were people who went to the EG conference every year, and I heard from people that it was either the best speech they'd heard, or in the top five speeches they'd heard at that conference, and some serious people had spoken at that conference before. So, but that was just the technique, it's nothing special about me, I just knew the technique, and everybody can learn it, and when I've taught it to people like a guy I used to work with, Jesse Bryan at the Belief Agency, we helped the CEO write a speech, and he's a shy guy, but we found his armature and we said, this is your armature, this is what you have to do this about, and he did it, and we heard back from people who worked with him. It's the best speech he's ever given, he was comfortable, he knew what he was saying, he knew what he was doing up there and he believed what he was saying, because that's key. It's key to believe what you're saying. So it doesn't matter whether you're writing a story or whatever, it always helps. For instance, a lot of times people will write an email to somebody and in the email, there's like 10 or 15 things to pay attention to, and then when that happens, a lot of things don't get addressed. So if your armature is your subject, and everything is dealing with that, and then if you have more to say, that's another email. This one's just about this, now, all of a sudden, I've told people that, and I know other people I've worked with who've told people that, and all of a sudden, people are responding to their emails differently, things are getting addressed that weren't getting addressed, because they started with their armature. Because there's too much to pay attention to. Is this for me? Is this for somebody else, especially if it's a group email, who's this for? Am I supposed to do this? But if it's one thing, hey, Brian, take care of this thing. Oh, okay.  One thing about point, which is interesting. So I've been teaching this a long time now and I don't usually get new questions, but one day somebody had a question I'd never heard before. So I'm talking about having point, and somebody says, what's a point? And I thought it was pretty self explanatory, but I try to honour the question, and so I answered and I talked about armature, talked about having a point, knowing what you want to say and all of that, and anyway, he got it, but afterwards, I went, what is a point? I have to actually know that. So I looked it up, a point, the definition of a point, one of the definitions is the tapered sharp end of a tool or a weapon, and I'm like, that's exactly what a point is in a story, because you can weaponise. As a matter of fact, I actually don't believe that you can make a tool without also making a weapon. I think that they always go together. When we harness fire, that's a tool, but it's also a weapon. A hammer is a tool that can also be a weapon. Writing is a tool that can also be a weapon. Storytelling is a tool that can also be a weapon. I don't think you can make one without the other. It's just what you decide to do with it. Ula Ojiaku It's like different sides of the same coin, really. Brian McDonald Yeah, the tapered sharp end of a tool or weapon, and that's what a point is. Ula Ojiaku So what led to your updating of the Invisible Ink? Could you tell us a bit about that, please? Brian McDonald Well, it took me six years to get the book published. I wrote it and it took forever to get published, it took a long time. And so, I learned more, and when the book was finally going to get published, I thought, well, I know more now than I did then, when I wrote this book. Do I amend the book? Or do I put it out the way it is? Well, I had been teaching, and that book was essentially what I had been teaching, and I knew it worked for people, and I knew it resonated with people, so I went, well, you know, this is fine. I'll just put this one out and then later I'll know enough new stuff that I can put that in the book, and so that's what I did. I started teaching things that weren't in the book, and there were enough of them that I thought, okay, this is enough new stuff that I can justify a new book, and also I changed some of the language a little bit, there was some gender stuff in Invisible Ink that, as the years went on, rubbed people the wrong way, and I understand that, and so I'm like, let me adjust that. It took me a while to figure out how to adjust it, but once I figured that out, because I wanted to be honest about the things I was observing, but the world moved on and I didn't want to be stuck. Now in another 10 or 20 years, there might be stuff in the book that people go, I can't believe you wrote that, but there's nothing I can do about that, but as long as I'm around to make changes, I'll make those changes. So that was a less of it than really I had more to say and I found ways of being more clear and over the years I've gotten questions, like people didn't know how to build a story using an armature, so I started teaching that more and so that's in the book, and also I talk about first acts more because I think the first act is so important and it's actually getting lost, particularly in Hollywood. I was told by an agent I had not to write a first act, because they want to get right to the action, but the first act in a story, there's a lot of work it's doing, and one of the things it does is it creates a connection between the audience and the protagonist. So the difference is this. If I say there was a terrible car wreck yesterday. Oh, that sounds terrible. Was anybody hurt? Yeah, your best friend was in a terrible car wreck. Ula Ojiaku That changes everything. Brian McDonald Everything. That's what the first act does. Oh, I know this person this is happening to. You eliminate that, you get all the spectacle and all that other stuff, but you don't care. That first act makes people care. So I focused on that a lot, and I talk about how to build a story from that armature, how that helps your first act, and how to build the rest of the story using that armature. So that's why I've changed the subtitle to Building Stories from the Inside Out, because that's more the focus of this book Land of the Dead is my favourite of my books right now, because most of what I teach, in some way or another, used to be taught, a lot of it was common knowledge up till about the 1920s. So all I've done is do a lot of studying and reading and all of that. The Land of the Dead has things in it that I haven't read other places, and I feel like it's my contribution, in a different way, to storytelling. I think I've added some vocabulary to storytelling, broadly speaking and there's one thing in particular in that book, angel characters, I talk about angels, not in a religious sense, but in a story sense and how they operate in stories, and I don't know if anybody's ever talked about it. They may talk about it somewhere, but they don't talk about anything I've read about story, and there's some other things too in The Land of the Dead I think I've added to the vocabulary, so I feel proud of that. I feel like I put my handprint on the cave wall with that book. We'll see, I don't know, people like what they like, I like that book, and The Golden Theme I liked too, but those two, I think those two for me, they're actually in a way, opposite books in a way, that one is about the underworld and the information and the lessons we get from the underworld, but they're both, I think, positive. Some of the reviews with Land of the Dead talk about how it's strangely positive, given what it's about, and I'm proud of that. There's just a lot of things, I'm very proud of that book, and the memoir, which will be out who knows when, it takes a long time, it's graphic, so it's being drawn and that takes a long time, so hopefully it'll be out in another year or so. Ula Ojiaku Looking forward to that. So where can the audience find you if they want to reach out to you? Brian McDonald Well, they can go to my website, writeinvisibleink.com They can do that. They can follow me on Instagram, which is @beemacdee Those are the places where people usually find me and they can write me from the website, and my classes are offered there. So I teach zoom classes. Ula Ojiaku Do you have any final words for the audience? Brian McDonald I would say, to pay attention to the stories around you, pay attention when people talk, if you learn how to do that, you will learn everything you want to know about storytelling, because it's in the natural world. So you'll learn when you're bored, why you're bored, when you're engaged, why you're engaged, and it's hard for people at first, but if they can learn, I say, observe stories in their natural habitat. So, the problem is when people are in a conversation, they're in a conversation and it's hard to observe and be in a conversation, but if you practice it, you can do it, and it's really interesting to hear somebody talk and they'll talk in three acts, they'll have a proposal, they'll have an argument, they'll have a conclusion and you'll hear it, and the reason I think that's important is because until you teach it to yourself, you will think, oh, what did Brian say, or I think Brian's wrong about this, or this is his take. When you observe it yourself, you're teaching it to yourself. You don't have to listen to me at all, teach it to yourself. It'll prove itself to you, and then that comes from a different place when you start using it. You're not following my rules and quotes, and so I think that's really important that people have ownership over it and that they know that it's theirs, and they're not painting by numbers. Ula Ojiaku Thank you, Brian. Pay attention to the stories around you. This has been an amazing conversation and my heart is full, and I want to say thank you so much for the generosity with which you've shared your wisdom, your experience, your knowledge. Thank you. Brian McDonald Thank you. Thanks for having me. Ula Ojiaku My pleasure. That's all we have for now. Thanks for listening. If you liked this show, do subscribe at www.agileinnovationleaders.com or your favourite podcast provider. Also share with friends and do leave a review on iTunes. This would help others find this show. I'd also love to hear from you, so please drop me an email at ula@agileinnovationleaders.com Take care and God bless!     

This podcast episode covers the Top 5 and Bottom 5 Buffy episodes ever, plus some Honorable Mentions. See if you agree. Happy Holidays and best wishes for the New Year!  Get more content, including access to the self-study course How To Plot Your Novel: From Idea To First Draft, by becoming a patron: https://www.patreon.com/lisamlilly  Download free Story Structure worksheets: https://www.writingasasecondcareer.com/worksheets Looking for a winter read? Try The Charming Man, where lawyer/private investigator Quille C. Davis hunts for a killer while trapped in a high rise during a blizzard: https://www.amazon.com/gp/product/B07L7PSDNK About Lisa M. Lilly In addition to hosting the Buffy and the Art of Story podcast, Lisa M. Lilly is the author of the bestselling four-book Awakening supernatural thriller series as well as numerous short stories. She is currently writing the latest novel in her Q.C. Davis mysteries. Her non-fiction includes books on writing craft under L. M. Lilly. She also founded WritingAsASecondCareer.com. Get free books by Lisa M. Lilly:  https://lisalilly.com/free/

While I'm teaching my kids to surf during our summer beach holiday, and Valerie is shovelling out from a winter storm, we're bringing you a throwback episode from season 6 where we studied stakes and empathy. Based on Shakespeare's "The Taming of the Shrew", "10 Things I Hate About You" is packed with lessons about what not to do. We'll be back with a brand new episode on January 8. Until then, Merry Christmas and Happy Holidays story nerds! - M."Stakes equals object of desire plus consequences." Melanie Hill For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.To learn to read like a writer, visit Melanie's website.Follow Valerie on Instagram and Threads @valerie_francisFollow Melanie on X, Instagram and Facebook @MelanieHillAuthor

The Nightmare Before Christmas is a favourite with both our families, and given that this is a Tim Burton film we expected that the storytelling would be rock solid. This is a great example of writers using the storytelling tools at their disposal to maximum effect. Ah, but since filmmakers have access to different tools than novelists, when you strip away the "spectacle" of stop-motion and musical numbers, how strong is the story itself? The answer may surprise you.This is our last new episode before the holiday season. For the next two weeks we've selected two of our most favourite back episodes, and we'll be back with you in the new year. Happy Holidays everyone!! -V&M."If you cannot answer the four story questions... you are very likely wasting your time." Valerie FrancisRelated Story Nerd Episodes:Coraline (Season 4, Episode 2)Calendar Girls (Season 13, Episode 1) For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.To learn to read like a writer, visit Melanie's website.Follow Valerie on Instagram and Threads @valerie_francisFollow Melanie on X, Instagram and Facebook @MelanieHillAuthor

We have official Scream 7 announcements! This week Ryan covers the new cast of Scream 7, including Isabel May, McKenna Grace, and more, in addition to the potential story structure of the latest sequel. Then, as part of turning the page for good on the year-long toxicity and controversy in the fandom, Ryan addresses the comments made by Melissa Barrera about the “morality” about seeing Scream 7 and the comparisons she made to Woody Allen, R Kelly, and Michael Jackson.  Subscribe on Patreon.com/screamwithrcs Introduction Opening Scream 7 Thoughts New York Trip Isabel May as Sidney's Daughter The Story Structure & Kevin's Power  The New Cast Melissa Barrera's “Morality” Comments Turning the Page on Toxicity   Find us on Twitter, Instagram, and Facebook. Host: @ScreamWithRCS  Editor: @albertmpadilla  Consultants: @britneyvinyl @homohorror @joevallese @TVTweets2024 @happyhorrortime @jacobthefool

In Lies My Parents Told Me (Buffy the Vampire Slayer S7 E17), Robin Wood aims to kill Spike and Giles is in on the plan. Along with the recap, this podcast episode focuses on:  interweaving three plots – Robin v. Spike, Giles v. Buffy, Spike v. himself; whether Giles's choices fit his character; how William becomes Spike; point of view and protagonists; and a (hopefully) unintended episode theme. Get more content, including access to the self-study course How To Plot Your Novel: From Idea To First Draft, by becoming a patron: https://www.patreon.com/lisamlilly  Download free Story Structure worksheets: https://www.writingasasecondcareer.com/worksheets Looking for a winter read? Try The Charming Man, where lawyer/private investigator Quille C. Davis hunts for a killer while trapped in a high rise during a blizzard: https://www.amazon.com/gp/product/B07L7PSDNK About Lisa M. Lilly In addition to hosting the Buffy and the Art of Story podcast, Lisa M. Lilly is the author of the bestselling four-book Awakening supernatural thriller series as well as numerous short stories. She is currently writing the latest novel in her Q.C. Davis mysteries. Her non-fiction includes books on writing craft under L. M. Lilly. She also founded WritingAsASecondCareer.com. Get free books by Lisa M. Lilly:  https://lisalilly.com/free/

The tension starts with the title of this week's movie - The Banshees of Inisherin. Banshees cry right before someone dies. That's tension right there - who will it be? The anticipation about who is going to die is high because the outcome is unknown. Tension thrives with uncertainty. I also explore the idea of high and low tension in a story. Valerie is powering on with her study of the 4 Story Questions and showing why they are so important. If you don't want to waste years writing in circles, this episode will help you hold the story banshees at bay. -M"Tension is nested just like the units of story." - Melanie HillRelated Story Nerd EpisodesCalendar GirlsSeasons 1, 3, 5, 7, 8, 12 For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.To learn to read like a writer, visit Melanie's website.Follow Valerie on Instagram and Threads @valerie_francisFollow Melanie on X, Instagram and Facebook @MelanieHillAuthor

Welcome to a brand new season! This time around I'm studying the 4 Story Questions and Melanie is focused on tension. This week we're looking at CALENDAR GIRLS. We love these actresses (I mean, honestly, what's not to love?) but the storyline threw us for a loop because when it felt like it was coming to a natural conclusion, we realized there was still another hour to go. What happened? And was that a good thing or not? Tune in to find out! -V."Making a sale or getting an agent hinges on your ability to describe your story to somebody else." Valerie FrancisRelated Story Nerd Episodes:Late Night (Season 1, Episode 1)Season 6 (empathy and stakes)Season 7 (dimensional characters and worldbuilding)Season 8 (cast design and conflict)Season 12 (exposition and character arcs) BLACK FRIDAY SALE! The Art of the Query online course is 89% off until December 2, 2024. Grab it now! It's just $27.For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.To learn to read like a writer, visit Melanie's website.Follow Valerie on Instagram and Threads @valerie_francisFollow Melanie on X, Instagram and Facebook @MelanieHillAuthor

In Storyteller (S7 E16 of Buffy the Vampire Slayer), Andrew annoys everyone by videotaping them and is forced to reckon with his past. Along with the recap of Storyteller, this podcast episode focuses on:  (1) whose story is it - Buffy's or Andrew's? (2) whether Buffy's and Andrew's goals conflict; (3) what happens when writers fall in love with a character (Andrew); (4) how characterization relates to humor; and (5) flashbacks that tell their own story and move the main plot. Get more content, including access to the self-study course How To Plot Your Novel: From Idea To First Draft, by becoming a patron: https://www.patreon.com/lisamlilly  Download free Story Structure worksheets: https://www.writingasasecondcareer.com/worksheets About Lisa M. Lilly In addition to hosting the Buffy and the Art of Story podcast, Lisa M. Lilly is the author of the bestselling four-book Awakening supernatural thriller series as well as numerous short stories. She is currently writing the latest novel in her Q.C. Davis mysteries. Her non-fiction includes books on writing craft under L. M. Lilly. She also founded WritingAsASecondCareer.com. Get free books by Lisa M. Lilly:  https://lisalilly.com/free/

Become a Faster Smarter Supporter by joining TFTS Premium.Make your audience a part of the story.Great storytellers don't just relay information — they create experiences. As magicians, TikTok influencers, and stand-up comedians, these masters of engagement know that true connection happens when you make your audience a part of the story.In part two of this special series on storytelling, host Matt Abrahams explores the art of audience connection with an extraordinary lineup. For magician Alex Moffat, it's about immersive performance. “How can I get the audience to not [just] sit there watching? They've got to be able to feel it too,” he says. As TikTok's head of creator marketing, Kudzi Chikumbu says authenticity is everything. "Be your authentic self. Show yourself in a way that other people don't." And for standup comedian Orlando Leyba, it's about leveraging presence and responsiveness to transform a performance into a genuine conversation.In this episode of Think Fast, Talk Smart, discover how these engagement experts create stories that don't just inform or entertain — they forge genuine connections with every audience member.Episode Reference Links:Alex MoffatKudzi ChikumbuOrlando Leyba Ep.168 How Story Can Change Everything in Your CareerEp.50 Telling Good Stories: How to Use the Elements of Narrative to Keep Listeners Engaged Connect:Premium Signup >>> Think Fast Talk Smart PremiumEmail Questions & Feedback >>> hello@fastersmarter.ioEpisode Transcripts >>> Think Fast Talk Smart WebsiteNewsletter Signup + English Language Learning >>> FasterSmarter.ioThink Fast Talk Smart >>> LinkedIn, Instagram, YouTubeMatt Abrahams >>> LinkedInChapters:(00:00) - Introduction (01:39) - Linear vs. Nonlinear Storytelling (05:30) - Tools for Engaging an Audience (08:55) - Key Ingredients of a Good Story (10:44) - Authenticity in Storytelling (11:53) - Description in Storytelling (12:20) - Positivity in Storytelling (15:53) - Engaging Through Presence (17:30) - Conclusion

In Get It Done (S7 E15 of Buffy the Vampire Slayer), Buffy risks it all to learn the origin of the First Slayer while Robin Wood learns a whole about Sunnydale – and Spike. Along with the recap of Get It Done, this podcast episode focuses on:  (1) what links Andrew, Willow, Anya, and Spike; (2) how each character's story arc explores the nature of power; (3) building small steps to why Buffy, Spike, and Willow make the major choices they do; and (4) reasons to love Dawn and hate Kennedy. Last Episode: First Date Next Episode: Storyteller Get more content, including access to the self-study course How To Plot Your Novel: From Idea To First Draft, by becoming a patron: https://www.patreon.com/lisamlilly  Get Creating Compelling Characters From The Inside Out: https://lisalilly.com/creating-compelling-characters-inside Download free Story Structure worksheets: https://www.writingasasecondcareer.com/worksheets About Lisa M. Lilly In addition to hosting the Buffy and the Art of Story podcast, Lisa M. Lilly is the author of the bestselling four-book Awakening supernatural thriller series as well as numerous short stories. She is currently writing the latest novel in her Q.C. Davis mysteries. Her non-fiction includes books on writing craft under L. M. Lilly. She also founded WritingAsASecondCareer.com. Get free books by Lisa M. Lilly: https://lisalilly.com/free/  

Marissa chats with Alyssa Colman about her Gilded Magic middle grade fantasy duology and her upcoming WHERE ONLY STORMS GROW in this jam-packed middle grade focused episode. Also discussed: the hallmarks of middle grade (themes, tone, voice), word counts, heavy and difficult themes in middle grade books, voice, humor, creating sympathetic characters, how middle grade characters defeat their villains, magic systems, standing out in a crowded market, and so much more!Jennifer Laughran's post about word counts: https://literaticat.blogspot.com/2011/05/wordcount-dracula.htmlLisa Cron's Story Genius: https://bookshop.org/a/11756/9781607748892Jessica Brody's Save the Cat! Writes a Novel: https://bookshop.org/a/11756/9780399579745Dan Wells on Story Structure: https://youtu.be/KcmiqQ9NpPE?si=jVamtqLH3YPFYBub The Happy Writer at Bookshop.orgPurchasing your books through our webstore at Bookshop.org supports independent bookstores. Amplify MarketersOur mission is to help your message rise above the noise so it can be heard loud & clear.Red Herrings SocietyUse the code HappyWriter at RedHerringWriters.com to try the first month for free.Disclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Order The Happy Writer: Get More Ideas, Write More Words, and Find More Joy from First Draft to Publication and Beyond https://bookshop.org/a/11756/9781250362377 Find out more and follow The Happy Writer on social media: https://www.marissameyer.com/podcast/

In First Date (S7 E14 of Buffy the Vampire Slayer), Buffy and Xander embark on romantic encounters (or are about to be hijacked by demonic forces) and The First tries to re-recruit Andrew. Along with the recap of First Date, this podcast episode focuses on:  (1) why humor that feels true to a character works best; (2) plot turns that force Buffy, Xander, and Giles to grow and change; and (3) how this somewhat lighthearted episode sets up the rest of the season and the end of the series. Last Episode: The Killer In Me  Next Episode: Get It Done Get more content, including access to the self-study course How To Plot Your Novel: From Idea To First Draft, by becoming a patron: https://www.patreon.com/lisamlilly  New Release by Lisa M. Lilly: The Skeptical Man (A Q.C. Davis Mystery): https://lisalilly.com/skeptical/ Download free Story Structure worksheets: https://www.writingasasecondcareer.com/worksheets About Lisa M. Lilly In addition to hosting the Buffy and the Art of Story podcast, Lisa M. Lilly is the author of the bestselling four-book Awakening supernatural thriller series as well as numerous short stories. She is currently writing the latest novel in her Q.C. Davis mysteries. Her non-fiction includes books on writing craft under L. M. Lilly. She also founded WritingAsASecondCareer.com. Get free books by Lisa M. Lilly: https://lisalilly.com/free/  

Grief in the Buffyverse asks how grief affects the characters we love in Buffy the Vampire Slayer from Season 1 on. With Tyffany D. Neiheiser, Author of Not Dead Enough. Topics include:  (1) what motivates Buffy's choice to face death (and the Master) in Season 1; (2) what Willow needs from her friends when facing loss; (3) why Buffy withdraws and tries to go it alone; and (4) how the need to deal with their grief affects the Potentials, Willow, and Xander in S7 Empty Places. Last Episode: The Killer in Me Next Episode: First Date Halloween Read: The Tower Formerly Known As Sears And Two Other Tales Of Urban Horror by Lisa M. Lilly New Release by Lisa M. Lilly: The Skeptical Man (A Q.C. Davis Mystery) Download free Story Structure worksheets Get Super Simple Story Structure: A Quick Guide to Plotting And Writing Your Novel (ebook, audiobook, or workbook) Get The One-Year Novelist: A Week-By-Week Guide To Writing Your Novel In One Year (ebook, audiobook, or workbook Learn more about author Tyffany D. Neiheiser and Not Dead Enough at https://tyffanydneiheiser.com/books/ As an Amazon Associate I earn from qualifying purchases made through this site, but that doesn't change the purchase price to you or influence my love of Buffy the Vampire Slayer. About Lisa M. Lilly In addition to hosting the Buffy and the Art of Story podcast, Lisa M. Lilly is the author of the bestselling four-book Awakening supernatural thriller series as well as numerous short stories. She is currently writing the latest novel in her Q.C. Davis mysteries. Her non-fiction includes books on writing craft under L. M. Lilly. She also founded WritingAsASecondCareer.com. Click here for free books by Lisa M. Lilly 

Discover the importance of the Resolution in storytelling. Learn how to bring closure to your story and leave readers with a final emotion.

Crafting the perfect Climax for your novel is essential. Learn how to create tension, suspense, and unforgettable moments for your readers.

Today on the show we have Emmanuel Oberg. Emmanuel is a screenwriter, author and script consultant with more than twenty years of experience in the Film and TV industry. After selling his first project to Warner Bros as a co-writer, he went on to be commissioned by StudioCanal and Gold Circle before writing solo for Working Title / Universal and Film4.He has also designed an internationally acclaimed 3-day Advanced Development Workshop - based on the Story-Type Method® - which he delivers with passion to filmmakers all over the world. Emmanuel lives in the UK with his wife and their two daughters. His film agent is Rachel Holroyd at Casarotto in London. He is also the writer of Screenwriting Unchained: Reclaim Your Creative Freedom and Master Story Structure (With The Story-Type Method).In Screenwriting Unchained, Emmanuel Oberg busts many myths and sets out an innovative methodThis practical, no-nonsense guide leaves behind one-size-fits-all story theories and offers a modern approach to story structure, making it a precious resource for anyone involved creatively in the Film and TV industry (or aspiring to be): writers, directors, producers, development execs, showrunners and, more generally, storytellers keen to reach a wide audience at home and abroad.Having identified three main story-types - plot-led, character-led, theme-led - Oberg reveals in a clear, conversational style how each of these impacts on the structure of any screenplay, and how we can use a single set of tools to develop any movie, from an independent crossover to a studio blockbuster.This leads to a powerful yet flexible way to handle the script development process: the Story-Type Method®. A new framework that doesn't tell you what to write and when, but focuses instead on why some tools and principles have stood the test of time and how to use them in the 21st century.According to readers (see reviews below), Oberg's new approach is a game-changer.Here are some of the easy-to-understand concepts explored in Screenwriting Unchained that will help you improve any screenplay:How to identify the story-type of your project to make its development faster, easier and solve most story structure problems.How to leave behind the prescriptive, logistical three-act structure based on page numbers or minutes and replace it with a flexible, dramatic three-act structure that will help you design a rock-solid screenplay.How focusing on emotion, character development and managing information will allow you to go beyond the "protagonist-goal-obstacles-conflict" basic chain of drama.How to use the fractal aspect of structure to design not only the whole story but also its parts in order to avoid the dreaded "sagging middle" syndrome and breathe new life into your script.How to clarify what's at stake and increase your chances of getting the project made with a new take on Maslow's Hierarchy of Needs.How to use subgoals to Sequence the Action and psychological/emotional steps to Sequence the Evolution of your characters.How to keep the audience engaged using tools like dramatic irony, surprise, mystery, and suspense, adding a third dimension to your story.How to master these tools and principles in scenes through practical exercises before using them in a short film, a feature film, a TV episode or a whole series following hands-on tips and advice.How to design an attention-grabbing opening and a satisfying ending.How to deal with hybrids and exceptions, as story structure isn't about forcing all narratives into a single formulaic paradigm.The Rewrite Stuff: 12 Ways to a Stronger Screenplay, how to approach a new draft creatively and efficiently.How to make the difference between selling documents - used to raise development or production finance - and story design tools.Once you've developed a killer script, how to best pitch your project according to its story-type and get enthusiastic partners on board....and much, much more!Using many case studies including films as diverse as Gravity, Silver Linings Playbook, Crash, Billy Elliot, The Intouchables, Birdman, Alien, Groundhog Day, Misery, Edge of Tomorrow, The Secret in Their Eyes, Cloud Atlas, L.A. Confidential and The Lives of Others, Screenwriting Unchainedwill transform the way you write, read, pitch, design, assess and develop screenplays.Enjoy my conversation with Emmanuel Oberg.Become a supporter of this podcast: https://www.spreaker.com/podcast/indie-film-hustle-a-filmmaking-podcast--2664729/support.

Learn why the Third Plot Point is a vital turning point in your story structure. Understand how to set it up for a powerful ending.

Tasha is traveling the world and doing press, so we're reposting our episode on 8 sequence structure. When she's back, we'll tackle all things Tomb Raider - craft, process, pitching, episodes, etc. If you have any questions, please email acttwowriters@gmail.com. October is going to be an amazing month!   Tomb Raiders comes to Netflix on October 10th. 

Explore how to write an exciting and satisfying Third Act. Learn how to build an epic finale as your plot reaches its thrilling conclusion.

Unleash the second half of the Second Act in your story. Explore how characters' decisions and inner growth drive the narrative.

Uncover the power of the Midpoint in storytelling. Explore how this pivotal moment in the Second Act changes the paradigm of the story.

Discover how to tackle the first half of the Second Act in your story with confidence. Learn valuable tips on structure and character.

Uncover the power of the First Plot Point in storytelling. Learn how this seismic shift sets the stage for escalating tension and conflict.

Rowling is a master at weaving the external plot with Harry's internal character arc—and using the external plot events to help Harry grow and change.In this episode, you'll hear Abigail K. Perry and I talk through the big-picture plot structure of Harry Potter and the Sorcerer's Stone using the Story Grid's Five Commandments of Storytelling. We'll also discuss how this story fits in the Action Genre Framework and how Rowling adapted that framework to suit a middle-grade audience.⭐ Rate + Review + Follow on Apple Podcasts"I love the Fiction Writing Made Easy podcast!" ← If that sounds like you, please consider rating and reviewing this show! Your rating and review will help other writers find this podcast, and they're also super fun for me to read. Just click here, scroll all the way to the bottom, tap five stars to rate the show, and then select "Write a Review." Be sure to let me know your favorite episodes, too! Also, if you haven't done so already, make sure you're following the podcast! I'll be adding a bunch of bonus episodes to the feed, and if you're not following the show, there's a good chance you'll miss them. Click here to follow now!