Ozark pt 1: Theme, Engine, and Secondary Structure
Jacob Krueger analyzes the pilot of Ozark and shows the link between theme, hook, engine and secondary structure.
Comic Book Writing: An Interview with Ron Marz
In his second podcast about the film Parasite, Jacob Krueger discusses how thematic exploration not only informs the tone and structure of your screenwriting, but allows your story to unfold more naturally and take your audience on a powerful journey that can help them see others through more understanding eyes.
13th: Structure, Theme and Writing For Social Change
Jacob Krueger analyzes 13th and how to use theme to focus the political power of your script.
Tiger King PART 2: Genre, Structure, Hook and Engine
Jacob Krueger analyzes the structure of Joe Exotic’s journey in Tiger King to demonstrate the concepts of structure, genre, hook, and engine in screenwriting and TV writing.
Tiger King PART 1: What Gets You Hot?
Jacob Krueger analyzes both the ethical shortcomings of Tiger King and the valuable lessons the structure of Tiger King holds for writers of all genres. Learn what made the ethically complicated Joe Exotic such a likable main character, and how to use the concept of genre to make an audience fall in love with your screenplay.
DEADPOOL 2: Where Tone Meets Genre in Screenwriting
DEADPOOL 2: Where Tone Meets Genre in Screenwriting This week, we are going to be looking at Deadpool 2 by Rhett Reese, Paul Wernick, and a new addition to the writing team, Ryan Reynolds. If you missed my podcast on the original Deadpool, you might want to check that out as well, because one of the […]
Got an issue with Robert McKee? Me too.
Don’t throw away the baby with the bath-water. As with any screenwriting book, there are some good things to be discovered in Robert McKee’s “Story”. But there’s also a lot that can be misleading, confusing or even just plain wrong. And for young writers who take his words as gospel, McKee can pose a real danger to finding your voice, truly understanding your character, and discovering the organic structure of your screenplay.
I believe that a big part of that is because McKee teaches screenwriting from a critic’s perspective, rather than that of a writer…