Story Nerd Melanie Hill, Valerie Francis

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.

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.

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.

Sometimes we learn more from our mistakes than our successes - that’s my story and I’m sticking to it this week! Narrative drive is an important storytelling principle to learn and this week’s movie is an example of poor story structure resulting in terrible narrative drive. A mystery writer should have control of the information. Valerie’s study of conflict triangles was more fruitful than my area of study this week. The conflict triangle is present and clear to see. -M

It's a brand new season and that means Melanie and I are studying two new topics: narrative drive and conflict triangles. Conflict and page-turners are usually associated with action stories, thrillers and the like. But DOUBT is a quiet, character-driven film that is so expertly crafted it grabs the viewer's attention immediately and holds it right to the bitter end. Seriously, there's so much for novelists in here. -V.

We've reached the end of another season and so we're wrapping up our best advice and a-ha moments just for you. Tune in to hear what we have to say about writing female characters and using female archetypes. We also share why it's crucial for you to use the first half of your story to set up everything that happens in the second half. (Hint: it all about brain science!) - V.