We breakdown the pilot to BREAKING BAD to examine the elements necessary for a pilot for a long-form series. Royalty free music from Bensound. Logo design by the Proxy Guy.

0-30 – ‘Premise’ – Introducing the premise of the episode.

6-40 – ‘Synopsis’ – Breaking down the major story beats of the BREAKING BAD pilot.

14-30 – ‘Pilot’- Discussing the purpose of a pilot episode and the elements you need to address as a writer including; Dramatic Question, Empathy and Exposition.

36-45 – ‘Example’ – Analysing the pilot episode of BREAKING BAD and how it uses all these elements to hook the audience.

1-03-20 – ‘Counterpoint’ – Referencing examples of shows that failed to address each of the elements.

1-21-45 – ‘Research’ – Discussing a useful research tool the writer of a pilot can use.

1-24-15 – ‘Summary’ – Summarising the key writing techniques discussed.

We use THE SOPRANOS cast design to talk about creating an institution within your cast to ground their relationship dynamics. Royalty free music from Bensound. Logo design by the Proxy Guy.

1-50 – ‘Institutionalizing’ – Defining the process of Institutionalizing your cast.

24-00 – ‘Synopsis’ – Breaking down the major story beats of The Sopranos.

29-10 – ‘Example’ – Analysing THE SOPRANOS and how it uses the institutions of The Mob and Family.

1-00-30 – ‘Comparison’ – Analysing the social politics-centric institution of GUARDIANS OF THE GALAXY versus the lack of one in SUICIDE SQUAD.

1-14-00 – ‘Summary’ – Summarising how we can use the techniques discussed in our own writing.

The Elements of Institutionalizing Your Cast

Creating Subtext

Polarizing/Dimensionalizing

Creating Imagery

Generating Turns

Hiding Exposition

Generating Tactics

We use THE SOPRANOS cast design to talk about creating an institution within your cast to ground their relationship dynamics. Royalty free music from Bensound. Logo design by the Proxy Guy.

1-50 – ‘Institutionalizing’ – Defining the process of Institutionalizing your cast.

24-00 – ‘Synopsis’ – Breaking down the major story beats of The Sopranos.

29-10 – ‘Example’ – Analysing THE SOPRANOS and how it uses the institutions of The Mob and Family.

1-00-30 – ‘Comparison’ – Analysing the social politics-centric institution of GUARDIANS OF THE GALAXY versus the lack of one in SUICIDE SQUAD.

1-14-00 – ‘Summary’ – Summarising how we can use the techniques discussed in our own writing.

The Elements of Institutionalizing Your Cast

Creating Subtext

Polarizing/Dimensionalizing

Creating Imagery

Generating Turns

Hiding Exposition

Generating Tactics

We talk about how image systems express the controlling idea of a work in Alan Moore's comic series, WATCHMEN. Royalty free music from Bensound. Logo design by the Proxy Guy.

1-25 – ‘Synopsis’ – Breaking down the major story beats of WATCHMEN.

9-30 – ‘Definitions’ – Clarifying the terminology of ‘Image Systems’ and ‘Controlling Idea’.

14-10 – ‘Controlling Idea’ – Analysing the WATCHMEN Controlling Idea and how it is expressed in the story.

28-15 – ‘Image System’ – Analysing the two Image Systems in the story centered around the idea of ‘futility’.

40-15 – ‘Counterpoint’ – Considering Art movies as an example of stories that use images beautifully, but not Image Systems.

49-15 – ‘Adaptation’ – Discussing the failings of Zak Snyder’s movie adaptation.

54-40 – ‘Summary’ – Summarising how we can use the techniques discussed in our own writing.

We talk about how image systems express the controlling idea of a work in Alan Moore's comic series, WATCHMEN. Royalty free music from Bensound. Logo design by the Proxy Guy.

1-25 – ‘Synopsis’ – Breaking down the major story beats of WATCHMEN.

9-30 – ‘Definitions’ – Clarifying the terminology of ‘Image Systems’ and ‘Controlling Idea’.

14-10 – ‘Controlling Idea’ – Analysing the WATCHMEN Controlling Idea and how it is expressed in the story.

28-15 – ‘Image System’ – Analysing the two Image Systems in the story centered around the idea of ‘futility’.

40-15 – ‘Counterpoint’ – Considering Art movies as an example of stories that use images beautifully, but not Image Systems.

49-15 – ‘Adaptation’ – Discussing the failings of Zak Snyder’s movie adaptation.

54-40 – ‘Summary’ – Summarising how we can use the techniques discussed in our own writing.

Author Adam Maxwell asks us to take a look at the Heist genre, so we look at it through the lens of the Clooney-remake of OCEAN'S ELEVEN. Royalty free music from Bensound. Logo design by the Proxy Guy.

3-30 – ‘Synopsis’ – Breaking down the major story beats of OCEAN’S ELEVEN.

12-20 – ‘Roles’ – Outlining the character roles of a Crime story; Criminal, Victim and Detective.

17-00 – ‘Definition’ – Defining the heist story and how it fits within the Crime genre.

27-00 – ‘Mark and Score’ – Analysing the function of the mark and the score within the heist story.

34-40 – ‘The Plan’ – Analysing the function of the planning stages of the heist.

41-00 – ‘The Heist’ – Analysing the function, and fun, of the heist section of the story.

47-35 – ‘Exposure’ – Analysing the core event of exposing your criminal to the world of your story.

52-45 – ‘Double Bluff’ – Discussing the unique way in which Danny Ocean gets away with the crime.

1-10-45 – ‘Clueing’ – Considering different ways of using clue your Crime story and how this is done from the criminal’s point of view.

1-15-45 – ‘Summary’ – Summarising how we can use the techniques discussed in our own writing.

Author Adam Maxwell asks us to take a look at the Heist genre, so we look at it through the lens of the Clooney-remake of OCEAN'S ELEVEN. Royalty free music from Bensound. Logo design by the Proxy Guy.

3-30 – ‘Synopsis’ – Breaking down the major story beats of OCEAN’S ELEVEN.

12-20 – ‘Roles’ – Outlining the character roles of a Crime story; Criminal, Victim and Detective.

17-00 – ‘Definition’ – Defining the heist story and how it fits within the Crime genre.

27-00 – ‘Mark and Score’ – Analysing the function of the mark and the score within the heist story.

34-40 – ‘The Plan’ – Analysing the function of the planning stages of the heist.

41-00 – ‘The Heist’ – Analysing the function, and fun, of the heist section of the story.

47-35 – ‘Exposure’ – Analysing the core event of exposing your criminal to the world of your story.

52-45 – ‘Double Bluff’ – Discussing the unique way in which Danny Ocean gets away with the crime.

1-10-45 – ‘Clueing’ – Considering different ways of using clue your Crime story and how this is done from the criminal’s point of view.

1-15-45 – ‘Summary’ – Summarising how we can use the techniques discussed in our own writing.

One of our listeners asked about writing sequences, so we breakdown the sequences of DIE HARD. Royalty free music from Bensound. Logo design by the Proxy Guy.

1-00 – ‘Listener Question‘ – Introducing the question from a listener.

3-15 – ‘Synopsis‘ – Breaking down the Sequences, or major story beats, of DIE HARD.

9-45 – ‘Acts‘ – Outlining the Act breakdown of DIE HARD.

13-00 – ‘Sequence‘ – Analysing the ‘McClane Takes The Gun’ Sequence, scene by scene.

19-50 – ‘Problems‘ – Discussing the problems inherent in consciously thinking about Sequences as you write.

30-20 – ‘Purpose‘ – Discussing the positives of having the know how and vocabulary to think about Sequences. We compare DIE HARD with two other key examples.

49-50 – ‘Practice‘ – Outlining the balance needed between Intuitive and Analytical writing.

57-20 – ‘Summary‘ – Summing up how we can use what we’ve discussed in our own writing.

ACT BREAKDOWN

ACT I – Hans Takes The Plaza

ACT II – The Police Get Involved

ACT III – The FBI Opens The Vault

ACT IV – Yippee Kay-Ay

SEQUENCE BREAKDOWN

1 – Hans Takes The Plaza

2 – McClane Takes The Gun

3 – The Police Get Involved

4 – Gruber vs The Police

5 – Ellis

6 – Hans Tricks Mclane

7 – Gruber Gets The Detonators

8 – The FBI Opens The Vault

9 – Gruber Kidnaps Holly

10 – Gruber Blows The Roof

11 – Climax – Yipee Kay-Ay

McCLANE TAKES THE GUN – SEQUENCE BREAKDOWN

1 – Finds an empty floor

2 – Hans gets Takagi

3 – McClane gets trapped

4 – Gruber kills Takagi

5 – Gruber has a plan

6 – McClane pulls a fire alarm

7 – McClane kills a terrorist

8 – Theo cracks the code

9 – McClane takes the gun

One of our listeners asked about writing sequences, so we breakdown the sequences of DIE HARD. Royalty free music from Bensound. Logo design by the Proxy Guy.

1-00 – ‘Listener Question‘ – Introducing the question from a listener.

3-15 – ‘Synopsis‘ – Breaking down the Sequences, or major story beats, of DIE HARD.

9-45 – ‘Acts‘ – Outlining the Act breakdown of DIE HARD.

13-00 – ‘Sequence‘ – Analysing the ‘McClane Takes The Gun’ Sequence, scene by scene.

19-50 – ‘Problems‘ – Discussing the problems inherent in consciously thinking about Sequences as you write.

30-20 – ‘Purpose‘ – Discussing the positives of having the know how and vocabulary to think about Sequences. We compare DIE HARD with two other key examples.

49-50 – ‘Practice‘ – Outlining the balance needed between Intuitive and Analytical writing.

57-20 – ‘Summary‘ – Summing up how we can use what we’ve discussed in our own writing.

ACT BREAKDOWN

ACT I – Hans Takes The Plaza

ACT II – The Police Get Involved

ACT III – The FBI Opens The Vault

ACT IV – Yippee Kay-Ay

SEQUENCE BREAKDOWN

1 – Hans Takes The Plaza

2 – McClane Takes The Gun

3 – The Police Get Involved

4 – Gruber vs The Police

5 – Ellis

6 – Hans Tricks Mclane

7 – Gruber Gets The Detonators

8 – The FBI Opens The Vault

9 – Gruber Kidnaps Holly

10 – Gruber Blows The Roof

11 – Climax – Yipee Kay-Ay

McCLANE TAKES THE GUN – SEQUENCE BREAKDOWN

1 – Finds an empty floor

2 – Hans gets Takagi

3 – McClane gets trapped

4 – Gruber kills Takagi

5 – Gruber has a plan

6 – McClane pulls a fire alarm

7 – McClane kills a terrorist

8 – Theo cracks the code

9 – McClane takes the gun

We show how M Night Shyamalan's films display incredible stylistic skill, but ultimately, lack any substance of merit, as shown in UNBREAKABLE. Royalty free music from Bensound. Logo design by the Proxy Guy.

1-00 – ‘Listener Question‘ – Introducing the topic suggested by a listener.

4-15 – ‘Synopsis‘ – Breaking down the major story beats of UNBREAKABLE.

12-30 – ‘Style‘ – Outlining the many qualities of Shyamalan’s directorial Style.

20-00 – ‘Substance‘ – Analysing why Shyamalan’s writing is lacking in Substance, focusing on the Image System, Subtext and lack of Depth.

37-00 – ‘Movies‘ – Highlighting the key storytelling faults in his other movies such as SIXTH SENSE, SIGNS and THE HAPPENING.

50-15 – ‘Taste‘ – Understanding the difference between Taste and Quality.

60-30 – ‘Summary‘ – A very brief summation.