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It's that time again! We've reached the end of the season and that means Melanie and I are wrapping up all our a-ha moments and lessons learned about writing exposition and creating character arcs. Plus we've got a special surprise coming for you and we talk about it in this episode to be sure to listen all the way to the end! - V.
"The closer a scene and its exposition are to real life, the easier it is to make it invisible." - Melanie Hill
Related Story Nerd Episodes
Season 12: Exposition + Character Arcs
For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.
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Up In The Air, boring or not, is this week’s question. Why do I find this movie interesting, and why does Valerie find it boring? Could the answer lie in Ryan Bingam’s character arc (and does he have one)? Could it lie in the small amount of exposition? Or could it be that George Clooney movies are boring? One thing is certain: this episode is the opposite of boring. -M
"Is this story interesting, entertaining and worthwhile if the protagonist doesn't have an internal worldview shift?" -Melanie Hill
Related Story Nerd Episodes:
The Social Network: Season 12, Episode 1
I, Tonya: Season 12, Episode 3
Gone Baby, Gone: Season 12, Episode 6
For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.
To learn to read like a writer, visit Melanie's website.
Follow Valerie on X, Instagram and Threads @valerie_francis
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This movie is almost entirely exposition, and while this isn't an approach I'd recommend for novelists, I can't imagine telling this particular story any other way. You might say that ALL THE PRESIDENT'S MEN is the exception that proves the rule. Master storyteller, William Goldman, pulls it off and that means there's a whole lot we can learn about how and when to use exposition when writing a story. When it comes to character arcs (Melanie's topic this season), neither of the protagonists change in this story but they change the world around them and what that reveals about how stories work is nothing short of fascinating. -V.
"It's almost exclusively exposition. If you have ever wondered whether exposition was a thing or whether it was important, seriously watch this movie." - Valerie Francis
For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.
To learn to read like a writer, visit Melanie's website.
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Most stories are about change. However, there is also a place for stories when the protagonist doesn’t change. The outcomes can still be positive - just watch James Bond and Erin Brockovich! There are also stories where the protagonist doesn’t change, and the outcome is ambiguous. This movie combines an ethical dilemma with a constant character to create a haunting outcome. The movie also has buckets of exposition. Is this a case of too much is way too much? Never fear, Valerie groups and summarises all the exposition into four key types. -M.
"Patrick's constant character with an ambivalent arc means that his internal state doesn't change." - 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 X, Instagram and Threads @valerie_francis
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As Melanie and I prepared for this episode one question kept coming up ... Who is the protagonist? Melanie argues that the entire family is the protagonist, but I think that Olive (who is the Little Miss Sunshine contestant) is the protagonist. It's an interesting question and our discussion about it is even more interesting. If you're writing a multi-POV story, be sure to check out this episode! -V.
"Exposition is all about the facts that we need to convey to the reader so that they can follow a story without getting confused." Valerie Francis
Related Story Nerd Episodes
Season 7
Season 8
Nashville (Season 5, Episode 505)
For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.
To learn to read like a writer, visit Melanie's website.
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This season, I am focused on stories with negative or neutral character arcs. Sometimes, finding out what a character doesn’t want is the first step to discovery. On the surface, Cathy Whitaker has a perfect life. However, it’s a shallow life. Cathy’s choices are symbolically represented by her husband, Frank, and her gardener, Raymond. The two male characters are interesting external representations of Cathy’s internal choices. There’s a small amount of exposition in Far From Heaven, but when it features, it’s done straightforwardly and with simplicity. -M
“The interesting events in Cathy’s arc happen side by side in the movie. She shows an interest in Raymond at the same time, she discovers Frank with another man. While Cathy is trying to maintain one life, she’s also growing in another part of her life.” - Melanie Hill
Related Story Nerd Episodes
The Accidental Tourist (Season 5, Episode 3)
For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.
To learn to read like a writer, visit Melanie's website.
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Wowzers! I, TONYA is absolutely chock-full of exposition. It's a documentary-style film so at first blush it doesn't seem to offer up many story lessons for novelists. However, DAISY JONES & THE SIX is a documentary-style novel so this is an episode you might want to pay attention to — not just for their handling of exposition, but also for their portrayal of the character of Tonya Harding. -V.
"Introducing characters can only be done via exposition." -Valerie Francis
Related Story Nerd Episodes:
The Social Network (Season 12, Episode 1)
Dorian Gray (Season 12, Episode 2)
For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.
To learn to read like a writer, visit Melanie's website.
Follow Valerie on X, Instagram and Threads @valerie_francis
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The Rolling Stone’s song ‘You Can’t Always Get What You Want,’ is my earworm this season. This week, I started to pick apart how wants, needs and arcs are connected. Dorian Gray is a classic cautionary tale about selling your soul. Dorian arrives in London as a beautiful but naive young man and dies with a rotten and decrepit soul - he is unredeemable. Dorian gets what he wants, but he doesn’t get what he needs because there are no consequences for his actions. Understanding how wants, needs and character arcs is an essential story tool. Good exposition is invisible. Valerie highlights how exposition is masterfully delivered and where it fails. Exposition is all about information management - the what and the how. -M
“Understanding wants and needs is important for story arcs because they determine the protagonist’s motivations and actions.” Melanie Hill
Related Story Nerd Episodes
The Woman King (Season 8 Episode 2)
The Social Network (Season 12 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 X, Instagram and Threads @valerie_francis
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It's a brand new season and this time Melanie is studying character arcs through 5 key questions: Where do the characters start, where do they finish, what do they want, what decisions do they make along the way that get them to the end, and do they get what they want or need?
Meanwhile, I do a deep dive into exposition. You've heard about "show, don't tell" right? Well, that's not always true. Sometimes telling your reader information through exposition is exactly the thing you need to do. -V.
"When exposition is done properly, you as the audience member or the reader, you don't even notice it." -Valerie Francis
For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.
To learn to read like a writer, visit Melanie's website.
Follow Valerie on X, Instagram and Threads @valerie_francis
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Whoa. This season has been a heavy season. Narrative Drive and Conflict Triangles are two major concepts that can - and will - transform your writing. In this episode, Melanie and I summarize everything we learned this season. -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 X, Instagram and Threads @valerie_francis
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Eye in the Sky reminds me of the ‘greater good’ questions I discussed in class during high school - there’s no right or wrong answer but there are always consequences. This movie is an excellent example of how tension and escalating stakes combine with conflict triangles and narrative drive to create a compelling story. This isn’t an action movie but I couldn’t take my eyes off the screen for fear of missing something. Join us this week to discover how to craft stories that linger after the cover is closed. -M
“Eye in the Sky creates a fascinating amount of tension. It does this by setting up a situation at the beginning that has multiple courses of action and outcomes, and then it delays the decision until the last possible moment.” Melanie Hill
Related Story Nerd Episodes
The Woman King (Season 8 Episode 2)
Our Best Advice (Season 8 Episode 11)
The Help (Season 11 Episode 5)
For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.
To learn to read like a writer, visit Melanie's website.
Follow Valerie on X, Instagram and Threads @valerie_francis
Follow Melanie on X, Instagram and Facebook @MelanieHillAuthor
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Your reader doesn't have to like the protagonist but she does have to empathize with him because if empathy is absent, your story is in trouble. In this episode Melanie and I study conflict triangles and narrative drive, but we also have an interesting side conversation about empathy and likeability. If you're writing an unlikeable character, or if you're writing a quiet, character-driven story, this episode is for you. -V
"The protagonist does not have to be likable, but you've got to be careful that you don't place the reader's empathy on another character." - Valerie Francis
For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.
To learn to read like a writer, visit Melanie's website.
Follow Valerie on X, Instagram and Threads @valerie_francis
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Holy moly, this is a good movie! It's an especially good movie to study for anyone writing a quiet, character-driven story. THE WIFE originally aired as Episode 4 of Season 6 when Melanie was studying stakes and I was studying empathy. But honestly, this is one of those rare films that novelists (and memoirists!) can study to learn just about any storytelling principle. -V.
*Programming Note: In next week's episode we review the movie NYAD, not GONE BABY GONE as indicated in the intro.
For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.
To learn to read like a writer, visit Melanie's website.
Follow Valerie on X, Instagram and Threads @valerie_francis
Follow Melanie on X, Instagram and Facebook @MelanieHillAuthor
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This movie is a masterclass on characters, character development, cast design and the relationships between characters. It honestly doesn't get any better than this. So no matter what kind of story you're writing, grab your notepad and dive in! -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 X, Instagram and Threads @valerie_francis
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Melanie chose Lego Batman from the vault because, in addition to being a really well-written story, it made her laugh. And that, imo, is the mark of superior writing. This episode originally aired in Season 5 when Melanie was studying resonance. If you're curious about what that is, and how it can truly enhance your storytelling, be sure to give this episode a listen. - V.
For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.
To learn to read like a writer, visit Melanie's website.
Follow Valerie on X, Instagram and Threads @valerie_francis
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Melanie and I are taking a short mid-winter/mid-summer break, so while we recharge our batteries we're reposting some of our favourite episodes starting this week with THE GODFATHER. Wow, there just aren't too many movies with this level of storytelling craft in them. I had a whole lot to say about this classic film and I know that no matter which genre you're writing in, there's something in this episode to help you. Enjoy! - V.
For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.
To learn to read like a writer, visit Melanie's website.
Follow Valerie on X, Instagram and Threads @valerie_francis
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We visit the joys of multiplot stories this week. Valerie discovers (again) the issues with multiplot stories in movies, and I investigate how the different timelines impact the narrative drive. We both learnt what happens to a story when conflict triangles and curiosity and concern are absent - a cautionary tale for writers. -M
“A character can’t un-know something or completely ignore something that is right in front of them.” Melanie Hill.
RELATED STORY NERD EPISODES
Nashville Season 5, Episode 5
As Good as it Gets Season 6, Episode 5 (Empathy)
For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.
To learn to read like a writer, visit Melanie's website.
Follow Valerie on X, Instagram and Threads @valerie_francis
Follow Melanie on X, Instagram and Facebook @MelanieHillAuthor
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If you're writing a story with multiple protagonists/POVs, or if you're tackling a big social issue in your story, then you'll want to study The Help. As it happens, it's also a cracking example of Conflict Triangles and Narrative Drive - and that's what Melanie and I talk about in this week's episode. - V.
"The bigger the scope of the issue, the smaller the scope of your story." Valerie Francis
For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.
To learn to read like a writer, visit Melanie's website.
Follow Valerie on X, Instagram and Threads @valerie_francis
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This week one of mystery writing’s deadly sins makes a guest appearance. Valerie and I discuss if the appearance is welcome or not. A Simple Favour has good examples of how Narrative Drive works - great for my topic. However, it wasn’t so good for Valerie’s study of Conflict Triangles, so we see how superficial a story can be when the conflict isn’t complex. -M.
"After studying this movie, I understand that multiple narrative drive devices can be used simultaneously." Melanie Hill
Related Story Nerd Episodes
Knives Out (Season 1, Episode 107)
The Gentlemen (Season 8, Episode 806)
The Good Liar (Season 9, Episode 906)
For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.
To learn to read like a writer, visit Melanie's website.
Follow Valerie on X, Instagram and Threads @valerie_francis
Follow Melanie on X, Instagram and Facebook @MelanieHillAuthor
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In BELFAST, Kenneth Branagh does something that most, if not all, new writers do. In a movie, it's kind of hard to spot because filmmakers have access to tools (like costume design, cinematography, and a musical score) that obscure it. In a novel, it's obvious —stark even — because all we have is black text on a white page. It's laid bare for all readers to see, and readers don't like it. Here it is ... in BELFAST the protagonist is passive. He's observing the action but not part of the action (and he's not a narrator either). So what can we do about it? Tune in to this week's episode to find out. - V.
"I felt like I should have liked it. I felt like that there was like, if I didn't like it, then there was something wrong with me." - Melanie Hill
For access to writing templates and worksheets, and more than 70 hours of training (all for free), subscribe to Valerie's Inner Circle.
To learn to read like a writer, visit Melanie's website.
Follow Valerie on X, Instagram and Threads @valerie_francis
Follow Melanie on X, Instagram and Facebook @MelanieHillAuthor
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