Story Nerd

Genre is a funny topic in our business because nobody can seem to agree on it. That makes querying agents a particularly tricky situation ... what if the agent has a different perspective of your story's genre than you do? What happens then? In today's Hook Your Reader episode, we offer our take on a horror story with fantasy elements that may, or may not, actually be an action story or a haunted house story or even a global internal genre story. -V.

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In this episode we share our lessons learned and a-ha moments about the 4 Types of Protagonists and the Premise statement. The ability to summarize your story in one sentence is an absolute must and over the course of the season, Melanie explored several different methods for doing just that. Which one was her favourite and why? This week, she reveals all. And for my part, I explored the 4 different types of protagonists and was happily surprised to have found three such different examples of the anti-hero — a protagonist type that, I think, is both misunderstood and under used. What do...

Steven Spielberg listens to Story Nerd. My proof? In a recent interview with The New York Times, he said, "The first thing I look for [in a story] is a very compelling premise. The second thing is a character we can hitch our wagons to." THIS is exactly what Melanie and I have been discussing all season. So yeah, he MUST be listening to us, right? ;-) Seriously though, you want to tune into this episode to hear why Spielberg thinks these two things — premise and character — are so important. -V.

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Serenity is the follow-on movie from Joss Whedon’s series, Firefly. While the movie had a guaranteed audience, the story suffers because the main protagonist doesn’t have a clear object of desire, however, the antagonist’s OOD is super clear and it saves the movie. Valerie’s exceptional study of the four types of protagonist moves up a notch again, as she explores the ‘lost soul’ theory for the anti-hero. - M

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Querying agents can be a daunting task but there's a way to do it effectively! Agents want to love your book but you have to know how to present it to them. Query letters aren't simply cover letters. They're sales letters and their job is to convince an agent to ask for more. Putting a query package together is a skill, and if you want to get an agent, it's a skill you must master! The Query Starter Kit available at learn.storynerd.ca now. -V.

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What's the key to choosing comp (comparative) titles that pique an agent's curiosity? Should you use films or tv shows? What about huge bestsellers — would those make good comps, and if so, in which circumstances? In today's episode, Kathleen and I discuss an upmarket speculative thriller and discuss comp title choices, killer opening lines and, you guessed it ... exposition! And if you want to read the query letters and first 10 pages writing samples we discuss in these Hook Your Reader episodes, be sure to subscribe to my mailing list. -V.

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How do you create an emotional connection between a reader and an unlikeable character? That's one of the most common questions we get as editors. The answer lies in understanding the anti-hero protagonist and Birds of Prey offers up a whole group of them to study. And where there are multiple protagonists, there are multiple plotlines. And each of those plotlines needs its own premise statement. It's a full episode this week! Enjoy! -V.

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Nothing is what it seems in this mercenary mystery. I discovered a way to use two premises to create mystery and a twist - a great find for everyone writing mysteries or spy stories. Valerie works out what type of protagonist Sam is, and it’s not what I thought! -M

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What kind of story are you writing? That question is actually much trickier to answer than it seems, and that's because writers and agents look at genre differently. What happens if, after reading the query letter, an agent isn't clear on your story's genre? What role do comp titles play in explaining genre? We answer these questions and many more in today's Hook Your Reader episode. Enjoy! -V.

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Well, well, well ... this has to be THE most interesting presentation of an underdog protagonist that I've ever come across. Not only have the filmmakers gone above and beyond with respect to their audience's expectations, but they've innovated the heck out of the underdog. This you've got to see! And if you're not sure whether you've written a logline or a premise statement for your story (or why you'd need both and when you'd use them) then Melanie's got your back because in this episode, she explains it all. Enjoy! -V.

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This week I practised writing a premise for each of the characters in Notting Hill and I experimented with the ending to see if this tool helps writers evaluate writing ideas. Valerie studied the value of the “everyman” punching above his weight in a romance - a winning formula if ever there was one! - M.

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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.

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What happens when a story is pitched in the query letter as a mystery, but doesn't read like one in the opening pages? Where did the confusion creep in and how can you avoid a genre mismatch? We discuss this and much more (including writing unnamed protagonists and passive characters) in today's Hook Your Reader episode. Enjoy! -V.

Submit your query letter and first 10 pages writing sample at storynerd.ca.

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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Of all the types of protagonists, audiences/readers love the underdog the most, and our discussion of this beloved archetype led us down all kinds of interesting story theory roads including tension, stakes, objects of desire, the use of consequences as plot devices, suspension of disbelief and the Disneyfication of fairy tales! Meanwhile, Melanie continues her study of the premise statement and logline — what the difference between them is, how to formulate them, why they're important and, of course, when a writer would use them. This episode is jam-packed! Enjoy! -V.

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Sicario presented us with a few surprises this week. Valerie thought she’d be analysing a hero, but Kate is an underdog. She’s not presented as a typical underdog, nor does she have the typical underdog resolution. On my end, the logline for the movie misses some essential information. I try a new method of creating a premise that clarifies the conflict and story climax, and it delivers a surprising discovery about the real antagonist. -M

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Can you write a killer opening line? Can you define what a killer opening line is? In this week's episode, we give our professional advice on the opening pages of a story described as upmarket with suspense elements, starting with a debate about the opening line. Don't get me wrong ... the first 10 pages are quite good, but we've got suggestions for how to make them great! Don't miss this episode! -V.

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What type of protagonist does your story feature? There are 4 types, each of them can be a constant character or a change character, and each one evokes a different emotion from your reader/viewer. And that's exactly what I'm studying this season starting with the hero which could be a literal superhero, or it could be a little old lady. And Melanie is studying the story premise and how to articulate a story in one sentence (because it's a skill EVERY writer needs!). There's loads of great stuff coming up this season, starting with this episode all about Murder...

Poles apart - and not the dancing kind!

Anora won the 2024 Palme d’Or at Cannes and five out of six categories at the 2025 Academy awards including Best Original Screen Play and Best Film. Plus, it was nominated for a multitude of other awards and won its fair share. On Rotten Tomatoes it has an aggregated rating of 93%. That’s impressive. 

However, we disagree about What Went Right. I saw how the writer director crafted a pessimistic story arc combined with a negative character arc. Valerie believes that nothing went right in this movie because of th...

It's AMA time! When is the best time to query an agent? When is the best time to go out on submission? How on earth does a writer choose comp titles? Literary agent, Kathleen Foxx, answers these questions and more on today's Hook Your Reader episode. If you want our feedback on your query letter and first 10 pages writing sample, visit storynerd.ca for details on how to submit. We look forward to reading your work! -V.

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I'm convinced that the screenplay for this film was generated by AI. Of course, I have no proof for that, but 80 for Brady is so completely bizarre that if AI wasn't involved, I'd like to know what the filmmakers were smoking. It misses the mark at every turn and has so neglected (ignored? forgotten?) the fundamentals of storytelling that not even four legends of stage and screen can save it. This just might be the worst movie ever made. Oy with the poodles already! - V.

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In the season roundup, we share all our best advice about the speech in praise of the villain (what it is, how to craft it, and why it's important), and constant characters (they're waaaaaay more common than you think!). -V.

Submit your query letter and first 10 pages writing sample at storynerd.ca.

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 is the first episode of our brand new HOOK YOUR READER series! In these episodes, literary editor Kathleen Foxx and I review query letters and first ten pages writing samples from you, our listeners! While we're getting this off the ground, and to give you time to prepare your work, we've devoted this week's show to answering your questions about AI, writing and publishing. It's a good one! And, to find out how you can send in your work for review, be sure to stick around to the end of the episode. -V.

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What if you could get professional advice on your query letter and first ten pages writing sample BEFORE you started to send it off to agents? Well my friends, you're going to love this! Starting tomorrow, literary agent Kathleen Foxx and I are going to do just that (and it's free). For all the details about how you can get our feedback on your work, visit storynerd.ca. -V.

Submit your query letter and first 10 pages writing sample at storynerd.ca.

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In a twist that no one saw coming, not even us, the villains in this movie are Val and Mel! 

Despite this, I thought Thunderbolts would be better. :( However, the constant characters in this movie support a protagonist with a change arc, and fill archetypal roles in the movie. In another surprising twist - switching the villain in the end of the movie has a big impact on the effectiveness of the speech in praise of the villain. This episode has more twists and and turns than the MCU - and that is saying something! -M

Season 5 kicks off with Men in Black. Valerie is studying plot structure, and Melanie is studying resonance. Now, admittedly, plot structure doesn't sound very sexy but it's one of the first decisions a writer must make. If you haven't chosen a structure for your novel, how will you know if what you've written is working? Do you know what the structure options are? Resonance is the ability to evoke or suggest images, emotions, and memories, and all successful writers use it to draw on their readers' experiences. So, how are you putting it to use in your own WIP...

Sometimes, studying a story that you love can be a bit scary. What if it turns out that the story is rubbish, and what you really like is the soundtrack, or the actor, or the costumes? Well, you can cast those worries aside this week because The Devil Wears Prada is solid. In terms of structure, it isn't fancy. It doesn't waver from the Hero's Journey/Archplot form, and that's okay. In fact it's more than okay because it teaches us what can happen when we focus on the fundamentals.-V.

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Does the nickname "baby" bother us? Why yes, yes it does. But we've got to admit, Dirty Dancing is an excellent example of the heroine's journey, as well as female archetypes and how women are presented in stories. It also happens to be, structurally, an excellent film. It's not a complex story, but it's well told. -V.

Submit your query letter and first 10 pages writing sample at storynerd.ca.

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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Wowzers! This is a terrific movie. If you're writing a thriller (any sub-genre), or a story with nuanced and complex characters, this episode is for you. In fact, CONCLAVE is one of the movies we recommend you put on your short list of films to study because, seriously, you can learn about almost any aspect of storytelling from it. It's so good that I'm not even angry that the bad guy turns out to be a Canadian - lol! -V.

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What does a literary agent look for in the sample writing pages of a query? In this special bonus episode, I speak with agent Kathleen Foxx (The Rights Factory) about the 4 criteria she uses to evaluate a submission, her 21-point checklist (which you can get for free), and the importance (or not) of a novel's opening line. This is an episode you're going to want to bookmark and share with your writer friends!

https://kathleenfoxxagent.com/

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Valerie asked me, “How are you going to explain this?” 

Trippy. 

It’s David Lynch and it’s trippy. 

It’s also an antiplot story with characters who have two identities. Where is the speech in praise of the villain and what arc does the story and protagonist have? Well…it’s a mix of pessimistic, dreamy, constant, whoa, what is going on, and none. 

Pick and choose. Close your eyes and we’ll see you in the void. -M 

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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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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.<...

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.<...

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.

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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 pra...

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.

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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.

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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.

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We're wrapping up Season 16 with our best advice, lessons learned and a-ha moments about The Shadow and The Hero's Monologue. If you didn't get a chance to listen to all the episodes this season, you'll definitely want to tune in and maybe even bookmark this episode! - V.

Submit your query letter and first 10 pages writing sample at storynerd.ca.

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.

You control the shadows in your characters. This week we reveal how a negative shadow looms large despite being dead. Daphne du Maurier’s ‘Rebecca’ crushed everyone she came into contact with, even her allies. With our study of The Shadow drawing to a close, it’s time to look at how suppressed emotions break free and cause chaos. The Hero’s monologue is also treated differently in this film. See if you can pick where it is!

"The shadow isn't always bad character traits." - Melanie Hill

Related Story Nerd Episodes

Genre is enigmatic (at best). Writers, agents, readers, and editors, all have different perspectives, and sometimes they lead to heated debates. In this episode, which originally aired in Season 2, Melanie and I totally disagree on the genre. She thinks it's a horror, I think it's a thriller. Which of us is right? Tune in to find out. We'll be back next week with a brand new episode. Until then, Happy New Year! - V.

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