Listen to learn the emotional impact of revealing secrets vs discovering them.

In this episode Stu, Chas and Mel apply the Landmark–Hidden–Secret framework (from DZ-126) across two very different genres: the thriller SIDE EFFECTS (2013) and the tragicomic pilot of SHRINKING.

SIDE EFFECTS is a film of two genres. The first half plays as a drama about depression and over-medication; the second half is a 90s thriller. We talk about how every time Dr Jonathan Banks uncovers a new piece of information, it puts him in danger — and that danger motivates him to uncover more.

In SHRINKING, we see a different use of the framework. "What are psychologists but detectives of the mind?" Rather than the cost of finding secrets, it's about the cost of sharing them. Chas also comes out of this with a paradigm he's been building toward (but we're keeping what that is secret until you listen!)

And inevitably we go on some tangents: whether SIDE EFFECTS should even have been an erotic thriller!

As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

→ Read the transcript for this episode.

———

"Every time Dr Jonathan Banks uncovers a new piece of information, it puts him in danger -- and that danger motivates him to uncover more." — Chas Fisher @ 00:26:04

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CHAPTERS

FILMS

SHOWS

SCRIPTS

LINKS

EPISODES IN THE SECRETS AND CLUES SERIES

RELATED EPISODES

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More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2026/dz-127/

Download episode: DZ-127.mp3

Listen if you want to understand how hidden information drives character motivation and plot structure!

“Getting information puts your character in danger. And danger rewards your character with information." — One of three ideas we steal from game design in this episode. In this two part series, we talk about how secrets, clues and hidden information motivate characters and may (or may not) help you plot from a character perspective. Part One (this episode) looks at WAKE UP DEAD MAN; while Part Two looks at SIDE EFFECTS, and the pilot episode of SHRINKING.

The other two (related) ideas are:

To that end, in this episode Stu, Chas and Mel start with the murder mystery (ostensibly the easier deep-dive): Rian Johnson’s WAKE UP DEAD MAN. But this is a complex film made even more complex by being a dual-protagonist film. Uhuh. Benoit Blanc is pulled through the story by his need to solve the case; Father Judd pushed through, against his will, to prove his innocence. Breaking down how that plays out — and why it matters for the kind of escalation each character can sustain — is the heart of the episode.

And inevitably we go on some tangents: pointers, plants, and underpinnings (from our Everything Everywhere All At Once episode) fair play in locked-room mysteries, Narrative POV (as always) and node-based plotting and what dungeon-crawl game design has to do with writing a web of clues.

As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

→ Read the transcript for this episode.

———

"Information puts players in danger and danger rewards characters with information, right? That's kind of the loop with like thriller game design." — Stu Willis @ 00:05:40

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CHAPTERS

FILMS

SCRIPTS

LINKS

EPISODES IN THE SECRETS AND CLUES SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2026/dz-126/

Listen if you want to understand how narrative POV, screenplay format, and dialogue craft can elevate a contained biopic into an Oscar-nominated film

BLUE MOON is a talky, period-drama that film about an obscure songer-writer in the 1940s. Yet, it attracted world-class talent AND Academy Award nominations, including for it's script. Join Chas & Mel as they explore how narrative POV, interweaving relationships, hooky dialogue, and even the screenplay format itself make the script for BLUE MOON so great.

While Stu is still on show and we are between the 2026 Oscar nominations and the actual ceremony, our patreons selected BLUE MOON for this one-shot and boy are Mel and Chas glad they did. They dive into many lessons learned in previous episodes, like our character-driven episode… or analysis of French scenes in Adolescence… or the story-telling power that comes from the audience knowing the ending from biopics.

As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

→ Read the transcript for this episode.

———

"When I say rules, I mean the prescriptive rules of when someone posts something on screenwriting and everyone goes *Oh, you broke all the rules*. I'm saying this is good. I'm saying most of those rules are suggestions or most of those rules are given to you when you are learning how to write for a reason." — Mel Killingsworth @ 00:38:42

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CHAPTERS

FILMS

LINKS

RELATED EPISODES

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More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2026/dz-125/

Listen if you need audiences to root for characters who do terrible things

Mel and Chas continue to explore what Noir (the genre) can teach writers of all other genres. In particular:

In finding the common craft tools of Noir over 100 years, this Part 2 looks at two modern noirs – DEVIL IN A BLUE DRESS (1995) and WOMAN OF THE HOUR (2024) – after Part 1 looked at the classic DOUBLE INDEMNITY and THE LONG GOODBYE.

Despite Chas claiming to have edited this episode it was, in fact, Chris Walker who saved the day and got this done. Thanks Chris.

As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.

LIKE THIS EPISODE?

Thanks to our Patrons, especially Khrob, Theis, Sandra, Jesse, Randy, Paulo, Thomas, Jennifer, Malay, Alexandre and Lily.

→ Read the transcript for this episode.

———

"I think these films have got really strong control over the questions and that's how they get us to follow, compelling us to follow characters who are doing terrible things." — Chas Fisher @ 01:06:08

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CHAPTERS

FILMS

LINKS

EPISODES IN THE NOIR SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2026/dz-124/

Listen if you want to write morally compromised characters without endorsing their choices.

In this two part series, Mel and Chas use Noir (the genre) as a lens to interrogate flawed characters. How can characters doing reprehensible things still engage audiences? How can you ensure representation isn’t endorsement? And whether these characters undergo transformative arcs, or simply reveal their true natures?

Part 1 (DZ-123) focuses on two (now classic) noirs: DOUBLE INDEMNITY and THE LONG GOODBYE.

While Part 2 (DZ-124) looks at two more contemporary examples DEVIL IN A BLUE DRESS and WOMAN OF THE HOUR.

Despite Chas claiming to have edited this episode it was, in fact, Chris Walker who saved the day and got this done by the end of 2025. Thanks Chris.

As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for this episode.

———

"This is the philosophical question, right? When you get drunk, do you change what you do or do you simply allow your inhibitions to fall and do what you would normally want to do?" — Mel Killingsworth @ 00:42:04

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CHAPTERS

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

EPISODES IN THE NOIR SERIES

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More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2025/dz-123/

What happens when a group of filmmakers play a ragtag group of filmmakers in a gritty sci-fi horror?

"Ignite the fire within and explore unknown territory" - Werner Herzog.

This episode is unusual, even by Draft Zero standards. It's an "Actual Play Podcast" where Chas, Stu, & Mel are joined by Kim Ho and Luke Clark to play MOTHERSHIP, the sci-fi horror game we talked about in episodes DZ-121 and DZ-122. Stu is the GM while everyone else is a ragtag crew of freelance filmmakers. We debrief the experience (so far) at the end of the episode)

Mel plays Zara, the glamorous face of the operation. Chas plays Winston, the cynical and egoistical "photojournalist". Kim is Cal, the scrappy scrounger and sound recordists, while Luke is Tarsos the steadfast producer of the group. The crew are enlisted to record a sensationalist report on a missing corporate president before the mercenary retrieval team arrives.

And yeah, this means we're soft-launching yet another project that's called 1dZ, which looks at how we can use tools from ttrpgs in screenwriting… and vice versa.

To get future episodes go to: http://www.1d-zero.com/

CHAPTERS

• 00:00:11 - Intro for DZ Listeners
• 00:01:51 - Meet the Snortin' Betsy
• 00:06:22 - A Mansion Most Vile (Ep 1)
• 01:52:32 - Debrief through TOMBS

RELATED EPISODES

• DZ-121: Escalating Antagonism 1: Sinners
• DZ-122: Escalating Antagonism 2: Rebel Ridge + Meet the Parents

LINKS

• Tuesday Knight Games
• Joshua Kramer: A Mansion Most Vile
• Alewood Games: Arkyvr
• Nobody Wake the Bugbear
• Campaign Supplies

More Draft Zero is brought to you more often by our awesome Patreons. Especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis, and Khrob.

Please considering rating or subscribing to us on Apple Podcasts or sharing us on the Social Medias! We like finding new listeners.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

SUBSCRIBE TO SHOT ZERO via Substack

SUBSCRIBE TO 1DZERO via Substack

ACKNOWLEDGES via our website: https://draft-zero.com/2025/1dz-01/

Listen to learn how thinking of your hero as the horror (for your villains) makes your script dynamic.

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

While Part 1 looked at the horror film SINNERS, in Part 2 we venture into genres beyond horror with the action-thriller REBEL RIDGE, and the comedy classic MEET THE PARENTS.

To both these films we apply the generative story framework TOMBS (Transgression – Omens – Manifestation – Banishment – Slumber) and are surprised at just how well it maps. TOMBS comes from the MOTHERSHIP sci-fi horror table-top role-playing game. Which we love.

We explore how TOMBS, and thinking about antagonism in general, allows writers to deepen their understanding of their characters, their relationship of the heroes with the antagonists, and generate story fuel in a way that escalates the story.

We discuss how thinking of your hero as the horror for your villains helps everything become more dynamic.

Oh, and we talk about launching an actual play podcast. Which is happening. Stay tuned!

As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for this episode.

———

"There's a great line from Don Johnson later where he says, the deal was fair. The issue is that you felt that you were allowed to offer it. He tells him that he has transgressed against the rules of the laws or the rules of this system of this world." — Chas Fisher @ 00:12:09

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CHAPTERS

FILMS

LINKS

EPISODES IN THE ESCALATING ANTAGONISM SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2025/dz-122/

Listen to strengthen your story by focusing on the antagonistic forces in your script.

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

In this episode, Chas and Stu are joined by professional screenwriter and playwright Kim Ho to explore how a generative story cycle (from tabletop role-playing game MOTHERSHIP) can be used to develop stories, not just write them better. This cycle is TOMBS: Transgression – Omens – Manifestation – Banishment – Slumber. Kim also contrasts this cycle with the Onset, Discovery, Confirmation, Confrontation cycle identified by horror philosopher Noel Carroll, as well as the philosophy of the FINAL DESTINATION franchise as analysed by The Morbid Zoo.

By applying the TOMBS cycle to Ryan Coogler’s amazing 2025 original feature SINNERS, we discover how focusing on the rising power of the various sources of antagonism can generate narrative fuel (and make your second Act sing); force your protagonists to Survive, Solve or Save (pick one); and how this escalation in antagonism can be mapped quite separately from your protagonists’ character arcs.

To prove that TOMBS does not just work for horror stories, we polled our patreons for which other genres to explore. Stay turned for the next episode (DZ-122) where we apply the TOMBS cycle to thriller REBEL RIDGE and comedy classic MEET THE PARENTS.

As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for this episode.

———

"when you use those structures that are out there, they tend to be around plot and they tend to think primarily from the protagonist's point of view. And using this system, we can actually look at the forces of antagonism in a story." — Chas Fisher @ 00:06:31

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CHAPTERS

FILMS

SCRIPTS

LINKS

EPISODES IN THE ESCALATING ANTAGONISM SERIES

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2025/dz-121/

Listen if you're struggling to write subtext without it feeling forced!

Or, how focusing on good drama will result in good subtext. We often hear how subtext is important for good screenwriting. We're here to tell you it isn't. Good subtext is a result of good drama, and your focus should be on creating that good drama. But how?

In this episode, Chas Fisher and Stu Willis are joined by screenwriter and teacher Tom Vaughn (Winchester) to delve into the world of subtext.

We kick off the discussion by talking through Tom's article "Why Subtext is Overrated" and break down his core idea that subtext is a byproduct of character goals, tactics and fears.

We explore this further through close examination of "the other way" scene from MICHAEL CLAYTON, "the strudel" scene from INGLOURIOUS BASTERDS (both known for their subtext) and the "new years" sequence from THE SUBSTANCE.

Inevitably discussion also turns to the relationship of subtext to emotional truth, theme, symbolism, dramatic irony and filmmaker's subtext.

As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and Khrob.

→ Read the transcript for this episode.

———

"You can't market subtext, man." — Tom Vaughn @ 00:36:51

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CHAPTERS

FILMS

SCRIPTS

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2025/dz-120/

Listen if you want to understand how to better dramatise a character's internal journey

In this episode, Stu and Chas focus solely on the final choices made by protagonists and how that reflects their character journey and successfully, or not, dramatises the internal.

We compare and contrast different uses of narrative POV in respect to these final choices. And in particular whether and when the audience is made aware of the options available to the character, the act of making the choice, and the consequences of the choice.

We breakdown examples from DUNGEONS & DRAGONS: HONOR AMONG THIEVES, FINDING NEMO, MICHAEL CLAYTON, PROMISING YOUNG WOMAN and TALK TO ME.

As always: SPOILERS ABOUND and all copyright material used under fair use for educational purposes.

LIKE THIS EPISODE?

Thanks to our Patrons, especially Lily, Paulo, Alexandre, Malay, Jennifer, Thomas, Randy, Jesse, Sandra, Theis and and Khrob.

→ Read the transcript for this episode.

———

"A character has to make the most difficult decision of their life, and it becomes the crisis because each alternative poses a loss as well as a gain. And so, therefore, characters have to weigh what really matters most to them." — Stu Willis @ 00:23:48

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CHAPTERS

FILMS

SCRIPTS

SHOT ZERO DEEP DIVES

LINKS

RELATED EPISODES

———

More Draft Zero is brought to you by our awesome Patreons.

If you enjoy the show, please leave a review on Apple Podcasts, a rating on Spotify, or a review on Podchaser.

We are @stuwillis, @mehlsbells and @chasffisher on Twitter. You can find @draft_zero and @_shotzero on Instagram and Twitter.

Full show notes at: https://draft-zero.com/2025/dz-119/