The villain isn’t a stand in for the hero’s shadow. The villain is a warning to the hero if the hero doesn't learn to integrate their shadow. The Incredibles is storytelling gold and a very clear example of the role of the villain and hero plus their relationship to the hero’s shadow. Of course, every good superhero movie needs a hero’s monologue and The Incredibles delivers. This week is a great week for both our topics, so join us as we don our capes and wear our undies on the outside! -M.

If you're writing a dual protagonist story, a story with multiple plot lines or a romance, this episode is for you! After the spookiness of last week's episode, I thought we are all due for a feel-good, positive juju kinda movie. What better choice than THE PROPOSAL? Enjoy! -V.

You need to read stories you don’t like. Yep, it’s true. This week I put my body on the line and I forced myself (and Valerie - so sorry, please forgive me) to watch The Substance. I don’t read, watch, or listen to horror, but there are times when I need to go outside my comfort zone to learn more about the craft. My topic this season is The Shadow, so it would be remiss of me to ignore a genre that relies on The Shadow. You don’t need to watch The Substance because I summarise it for you (minus the gore). There’s a lot to learn from this movie about The Shadow and I’ll talk you through my takeaways. -M.

How does your reader know why your protagonist does what she does? This seemingly minor detail is one of the most important parts of your story and the way you let the reader know about it is through the hero's monologue. What aspect of your protagonist is hidden from her, from your reader, or both? If you want to create a main character with dimension and an arc, then understanding her shadow is key. The hero's monologue and the shadow are our study topics in this brand new season of the podcast. Enjoy! - V.

I think I missed the mark with my choice for What When Right this Season. I went with The Outrun because it scored well on ratings sites. Why did this movie get such good ratings when both Valerie and I had trouble staying engaged? It’s a story that has great performances and it handles addiction without judgement. There’s also some parallel story telling in the shape of traditional Orkney fairy tales, which assists the viewer with navigating Rona’s view of the world. This is a puzzling movie but it has some good elements. -M.

Today is a fantastic day for the Story Nerd Podcast. We are celebrating the launch of Melanie’s new middle-grade novel, Jett Cooper, by sharing a behind the veil look at how she put theory into practice. Join us for this special episode and learn more about Melanie, what inspired her to write this novel, and why it took her so long. Valerie also shares her reaction to reading the completed novel for the first time with Melanie. If you’ve ever wondered why Valerie and Melanie started the Story Nerd podcast then join us for this exclusive Story Nerd episode. If you want to see whether Melanie and Valerie know what they're talking about, now you can get their books and read for yourself. The proof is in the pages! For more details about where you can get Jett Cooper, go to melaniehill.au

STAYIN' ALIVE has a 0% rating on Rotten Tomatoes (I didn't even know that was possible!) so Melanie and I wanted to see if we could figure out where the storytelling in this movie went wrong. And boy, did it give us the giggles. In this episode, we cover everything from missing empathy to missing pants. So come join us, and be sure to let us know what you think of our analysis. -V.

We've come to the end of another season and that means it's time for our best advice about the villain's monologue (what it is, and why it's essential you have one in your story) and turning points (those unexpected events that create opportunities for you to reveal character). -V.

I think BLACK BAG misses the mark but it's one of Melanie's favourites. So what happens when we disagree on whether, from a craft perspective, a story is working or not? Well, you'll have to tune in to this week's episode to find out. One thing I'll say is that this might be a film that is meant for super fans of the spy genre (i.e., Melanie) because it seems to assume a level of knowledge about the world of espionage that the average viewer (i.e., me) simply doesn't have. Enjoy! -V.

Primal Fear is a superb film. The novel, by William Diehl, is even better. This is a story to add to your short list of go-to stories to study for absolutely any aspect of the craft. Enjoy! - V.

This week we're throwing it back to season 2. Valerie is studying The Hero's Gift Expressed and Melanie is studying Forces of Antagonism. Legally Blonde is a beautiful example of both!

In this week's episode, Melanie introduces the concept of conflict triangles and honestly, if you use them in your work, your story will improve immediately. In terms of cast design, while usually the plot supports the development of the characters in this case, the characters support the development of the plot. If you don't know which option best serves your story, you'd better tune in.

In this episode, Melanie is studying female characters and how women are presented in modern stories (her work in this episode is reeeeally interesting!), and I investigate something I learned from Steven Pressfield, which is that we shouldn't introduce anything new after Act 2.

Whatever kind of story you're writing, if you want a reader to stick with you all the way to the end, you've got to build tension! Believe it or not, The Bourne Identity is a terrific example to study - even for a love story or coming of age story.

Puzzled about what it takes to write a great mystery? Then grab your notebook because this episode is chock-full of tips. No red herrings in this show, we promise!

Ummm … I don’t know what to say to introduce this week’s episode. Perhaps I should start with a simple question, ‘What makes a story un-watchable/un-readable?’ Part of the answer is chickens. If you’d like to know the rest of the answer, then buckle-up and dive in. -M

THE MIRACLE CLUB is a multiple protagonist, miniplot, story. That means that each protagonist is also an antagonist. Sounds cool, right? But how the heck do you pull it off? Well one of the ways is to give each POV character her own villain's monologue. This film misses on one character and you just have to hear what happens to the story because of it! Melanie continues her study of turning points and this week, she shows us how they impact a story's pacing. Don't miss out! -V.

Valerie’s focus on the villain’s monologue in She Said was always going to be risky because we’d have to hear Harvey Weinstein's justification but justification requires the villain owning his stuff! What’s interesting is not what’s said but who says it. There’s also differences between the turning points in this movie and the others we’ve watched, and it has a big impact on the story. -M

The antagonist drives the middle of a story, so what happens when the antagonist is a really weak character? Well, if you're a filmmaker and can cast Emilio Estevez. you might get away with it. If you're a novelist, you're in trouble. This week, Melanie and I take a look at The Mighty Ducks where the story is thin but the ice is thick. While this movie doesn't offer up the best example of the villain's monologue, thankfully, it's got lots to teach us about turning points. -V.

Melanie and I have both had to do page-one rewrites (actually, I've done TWO!!!), and they're not fun. Not fun at all. We want to keep you from suffering the same fate, so in this episode, we explain where we went wrong and what you can do to make sure you never ever have to start your novel from scratch. -V.