Calling historical fiction writers, memoirists, and anyone writing a "David and Goliath" style story! In this episode, I do a deep dive into the Speech in Praise of the Villain and I show how the filmmakers expertly (and seamlessly) used exposition to let the viewing audience know just how formidable the antagonist is. (The level of craft here is truly next-level stuff!) And Melanie explains how, yet again, we have a story where the protagonist is a constant character...he doesn't have an arc, but the story sure does!

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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.

HEADS-UP! Amour is beautiful but heavy (have the tissue ready!).

Do you want to write gritty stories that leave readers grief struck long after they read THE END and close the book? Amour is a fantastic template for a complex moral problem that will never be resolved. This is another example of how a story can have an arc when the protagonist is constant. And Valerie does a stellar job of working out who or what the force of antagonism is and how the speech in praise of the villain applies when the antagonist isn't obvious. -M.

Acquire the power to write a bestselling story at storynerd.ca/courses

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.

HEADS-UP! Amour is beautiful but heavy (have the tissue ready!).

Do you want to write gritty stories that leave readers grief struck long after they read THE END and close the book? Amour is a fantastic template for a complex moral problem that will never be resolved. This is another example of how a story can have an arc when the protagonist is constant. And Valerie does a stellar job of working out who or what the force of antagonism is and how the speech in praise of the villain applies when the antagonist isn't obvious. -M.

Acquire the power to write a bestselling story at storynerd.ca/courses

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.

Stories need both characters and a plot. That sounds obvious, I know...but you'd be surprised. In this week's episode, Melanie and I examine a film that, sadly, forgot to include a plot. No, really! INVITATION TO A MURDER has unfortunately fallen prey to a very common storytelling trap but the fix is super easy! To find out the problem (so you can avoid it), and the solution (if you've already erred), tune into this week's episode. Enjoy! - V.

Acquire the power to write a bestselling story at storynerd.ca/courses

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.

This season I'm blowing the idea that ‘characters need arcs’ out of the water. Erin Brockovich is a constant character and she’s an underdog. With the odds against her, she does not change instead, she bends the world to suit herself. This is no mean feat, because the villain is powerful and wealthy. In underdog movies the speech in praise of the villain is essential. It's through this speech that we understand how powerful and how unlikely it is for our protagonist to come out on top. Join us as we unpack how a constant character and speeches in praise of the villain work together to deliver a deeply satisfying story. - M.

Acquire the power to write a bestselling story at storynerd.ca/courses

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.

On the list of films that haven't aged too well, THE MAN WHO KNEW TOO MUCH is near the top. Because it's Hitchcock I'll get flack for saying that, but watch it first and then decide. In terms of study topics this season, I'm looking at The Speech in Praise of the Villain and Melanie is examining Constant Characters. Its portrayal of women and parenting aside, this movie offers up interesting insights on bits of story theory. Enjoy! -V.

Acquire the power to write a bestselling story at storynerd.ca/courses

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.

Using a framing story in your novel? Maybe you're writing multiple plot lines. Or perhaps you want to know what truly masterful storytelling looks like. This week, we take a deep dive into THE PRINCESS BRIDE. Melanie and I were spoiled for choice in this What Went Right episode because, when you're dealing with a William Goldman story, pretty much everything is going right. Enjoy! -V.

Acquire the power to write a bestselling story at storynerd.ca/courses

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.

If you’re wondering what NOT to do when adapting your novel, there are great tips in this episode. We've all experienced the feeling of walking out of a cinema and saying, the book was better. That's definitely the case for The Golden Compass. I’ve read the book and thoroughly enjoyed it plus the book won the Carnegie Medal which means it's excellent. So how did such a good children story go so wrong when it was adapted for film? That is the question we answer in this episode.

Acquire the power to write a bestselling story at storynerd.ca/courses

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.