[Script Info]
Title: 
[Events]
Format: Layer, Start, End, Style, Name, MarginL, MarginR, MarginV, Effect, Text
Dialogue: 0,0:00:00.23,0:00:04.59,Default,,0000,0000,0000,,I've done it, Watson! I've put the pieces\Ntogether at last! This video was sponsored
Dialogue: 0,0:00:04.59,0:00:08.09,Default,,0000,0000,0000,,by Campfire Blaze!
Dialogue: 0,0:00:08.09,0:00:12.30,Default,,0000,0000,0000,,You know, most of the time when I read books\Nor watch shows I kinda can’t stop myself
Dialogue: 0,0:00:12.30,0:00:15.58,Default,,0000,0000,0000,,from overthinking them. I think it’s just\Na side effect of the critical analysis stuff
Dialogue: 0,0:00:15.58,0:00:19.58,Default,,0000,0000,0000,,plus approaching art and media from my weird\Npseudo-professional angle - I usually can’t
Dialogue: 0,0:00:19.58,0:00:21.44,Default,,0000,0000,0000,,really engage with a story without trying\Nto pick
Dialogue: 0,0:00:21.44,0:00:23.66,Default,,0000,0000,0000,,it apart and see how it works. You know, like,
Dialogue: 0,0:00:23.66,0:00:26.73,Default,,0000,0000,0000,,I’ll… listen for how an actor’s doing\Ntheir performance or clock what trope we’re
Dialogue: 0,0:00:26.73,0:00:28.38,Default,,0000,0000,0000,,doing and judge the plot from there, stuff\Nlike that.
Dialogue: 0,0:00:28.38,0:00:32.38,Default,,0000,0000,0000,,The one genre that breaks this rule for me,\Nfunnily enough, is mysteries. The one story
Dialogue: 0,0:00:32.38,0:00:36.22,Default,,0000,0000,0000,,format the audience is supposed to critically\Nengage with - I don’t. More accurately I
Dialogue: 0,0:00:36.22,0:00:40.04,Default,,0000,0000,0000,,can’t. It might just be that I’m really\Nbad at noticing stuff in general so I skim
Dialogue: 0,0:00:40.04,0:00:43.47,Default,,0000,0000,0000,,over the sneaky clues, it might be that I’m\Nreally bad with names so I can’t keep the
Dialogue: 0,0:00:43.47,0:00:47.57,Default,,0000,0000,0000,,suspects straight anyway. But honestly, even\Nthe really well-written mysteries that differentiate
Dialogue: 0,0:00:47.57,0:00:51.20,Default,,0000,0000,0000,,the characters and give the audience enough\Nclues to theoretically crack the case don’t
Dialogue: 0,0:00:51.20,0:00:53.17,Default,,0000,0000,0000,,grab me - I have a higher success rate just\Nguessing
Dialogue: 0,0:00:53.17,0:00:54.75,Default,,0000,0000,0000,,from the tropes. Like if it’s an Agatha
Dialogue: 0,0:00:54.75,0:00:56.36,Default,,0000,0000,0000,,Christie number, even odds the killer’s\Ngonna be
Dialogue: 0,0:00:56.36,0:00:58.25,Default,,0000,0000,0000,,the most eligible bachelor in the cast. I’ll
Dialogue: 0,0:00:58.25,0:01:01.98,Default,,0000,0000,0000,,still read ‘em and enjoy ‘em, but most\Nof the time the ending will totally blindside
Dialogue: 0,0:01:01.98,0:01:04.51,Default,,0000,0000,0000,,me. I’m not good at putting the pieces together\Nfor myself.
Dialogue: 0,0:01:04.51,0:01:08.48,Default,,0000,0000,0000,,Which is why I love and appreciate the character\Narchetype central and foundational to the
Dialogue: 0,0:01:08.48,0:01:12.54,Default,,0000,0000,0000,,mystery format - the detective. The one character\Ntasked with putting all the pieces together
Dialogue: 0,0:01:12.54,0:01:16.16,Default,,0000,0000,0000,,and revealing to the audience what the actual\Nplot is. Without the detective, people like
Dialogue: 0,0:01:16.16,0:01:20.16,Default,,0000,0000,0000,,me - the watsons of the world - wouldn’t\Nget anything out of mystery stories.
Dialogue: 0,0:01:20.16,0:01:22.49,Default,,0000,0000,0000,,Now detectives aren’t exclusively found\Nin mystery
Dialogue: 0,0:01:22.49,0:01:24.17,Default,,0000,0000,0000,,stories, but they are pretty inextricably
Dialogue: 0,0:01:24.17,0:01:27.97,Default,,0000,0000,0000,,linked with the genre. Detectives investigate\Nsituations and solve puzzles - mysteries are
Dialogue: 0,0:01:27.97,0:01:31.45,Default,,0000,0000,0000,,centered on the process of solving that puzzle,\Nbut mysteries and mystery-adjacent plots are
Dialogue: 0,0:01:31.45,0:01:35.03,Default,,0000,0000,0000,,present in stories of all stripes, which means\Nthe detective archetype can be organically
Dialogue: 0,0:01:35.03,0:01:38.64,Default,,0000,0000,0000,,integrated into almost any genre and narrative\Nstructure. If there’s a puzzle of any kind
Dialogue: 0,0:01:38.64,0:01:40.99,Default,,0000,0000,0000,,happening in the plot, you can have a detective\Nin the plot too.
Dialogue: 0,0:01:40.99,0:01:44.97,Default,,0000,0000,0000,,Now “detective” is a job and a narrative\Nrole, not a character type, so theoretically
Dialogue: 0,0:01:44.97,0:01:48.28,Default,,0000,0000,0000,,any character archetype can fill the role\Nof a detective - but there are some majorly
Dialogue: 0,0:01:48.28,0:01:51.93,Default,,0000,0000,0000,,popular subtypes that are essentially stock\Ncharacters. The “Hard-Boiled Noir
Dialogue: 0,0:01:51.93,0:01:53.68,Default,,0000,0000,0000,,Detective” type is typically a tortured
Dialogue: 0,0:01:53.68,0:01:57.50,Default,,0000,0000,0000,,alcoholic or general addict with a constantly\Nrunning inner monologue, a jaded and world-weary
Dialogue: 0,0:01:57.50,0:02:01.10,Default,,0000,0000,0000,,perspective on life and a disproportionate\Nnumber of morally questionable dames slinking
Dialogue: 0,0:02:01.10,0:02:03.98,Default,,0000,0000,0000,,into their office for shenanigans - which\Nis funny, because while this archetype is
Dialogue: 0,0:02:03.98,0:02:08.04,Default,,0000,0000,0000,,very well-known, classic noir detectives have\Nalmost nothing in common with the tropes they
Dialogue: 0,0:02:08.04,0:02:12.22,Default,,0000,0000,0000,,spawned. Sam Spade, the detective in the Maltese\NFalcon, the most iconic noir ever - has almost
Dialogue: 0,0:02:12.22,0:02:16.19,Default,,0000,0000,0000,,no personality, no tragic or tortured tendencies,\Nand he doesn’t even react to the death of
Dialogue: 0,0:02:16.19,0:02:17.19,Default,,0000,0000,0000,,his
Dialogue: 0,0:02:17.19,0:02:19.93,Default,,0000,0000,0000,,partner with much more than mild frustration.\NThe Hardboiled Noir Detective archetype has
Dialogue: 0,0:02:19.93,0:02:24.37,Default,,0000,0000,0000,,more in common with Dick Tracy than any proper\Nnoir protagonist. Then there’s the Gentleman
Dialogue: 0,0:02:24.37,0:02:27.61,Default,,0000,0000,0000,,Detective, almost the polar opposite of the\NHardboiled Detective, a classy and frequently
Dialogue: 0,0:02:27.61,0:02:31.60,Default,,0000,0000,0000,,aristocratic adventurer type, unilaterally\Nwell-educated and almost always British, frequently
Dialogue: 0,0:02:31.60,0:02:35.38,Default,,0000,0000,0000,,butting heads with a bumbling police department\Ncoincidentally full of lower-class people.
Dialogue: 0,0:02:35.38,0:02:38.56,Default,,0000,0000,0000,,Sherlock Holmes, the most popular detective\Never written, kinda spawned off a whole set
Dialogue: 0,0:02:38.56,0:02:42.87,Default,,0000,0000,0000,,of Sherlockalikes - all eccentric, brilliant,\Nusually mostly focused on a forensic investigative
Dialogue: 0,0:02:42.87,0:02:46.93,Default,,0000,0000,0000,,approach, and generally accompanied by a long-suffering\Nguy friend who narrates the actual adventures.
Dialogue: 0,0:02:46.93,0:02:49.33,Default,,0000,0000,0000,,That third-person narration angle isn’t\Na Holmes exclusive
Dialogue: 0,0:02:49.33,0:02:51.35,Default,,0000,0000,0000,,- in fact, it’s one of only a few ways to
Dialogue: 0,0:02:51.35,0:02:54.55,Default,,0000,0000,0000,,present a mystery to an audience.\NSee, the problem with a mystery is the audience
Dialogue: 0,0:02:54.55,0:02:56.35,Default,,0000,0000,0000,,isn’t really allowed to know everything\Nthat’s
Dialogue: 0,0:02:56.35,0:02:57.90,Default,,0000,0000,0000,,happening in the plot until the end. There
Dialogue: 0,0:02:57.90,0:03:01.16,Default,,0000,0000,0000,,always has to be something hidden for the\Nreveal. This means the audience can’t have
Dialogue: 0,0:03:01.16,0:03:05.35,Default,,0000,0000,0000,,a third-person omniscient perspective but\Nthey also usually can’t have a full first-person
Dialogue: 0,0:03:05.35,0:03:08.59,Default,,0000,0000,0000,,perspective on the detective, because almost\Nall mysteries have a denouement at the end
Dialogue: 0,0:03:08.59,0:03:12.15,Default,,0000,0000,0000,,where the big twist is revealed and everything\Nfalls into place. This denouement starts when
Dialogue: 0,0:03:12.15,0:03:15.91,Default,,0000,0000,0000,,the detective reveals what’s going on, not\Nwhen the detective figures out what’s going
Dialogue: 0,0:03:15.91,0:03:19.81,Default,,0000,0000,0000,,on, so if the audience is already in the detective's\Nhead, we get that information too early. Some
Dialogue: 0,0:03:19.81,0:03:22.06,Default,,0000,0000,0000,,stories will kinda fudge this by giving us\Nthe
Dialogue: 0,0:03:22.06,0:03:23.33,Default,,0000,0000,0000,,detective’s perspective and having them
Dialogue: 0,0:03:23.33,0:03:26.57,Default,,0000,0000,0000,,think stuff like “of course! that must be\Nit! everything makes sense now!” and then
Dialogue: 0,0:03:26.57,0:03:29.30,Default,,0000,0000,0000,,reveal the actual information they figured\Nout during the denouement
Dialogue: 0,0:03:29.30,0:03:31.08,Default,,0000,0000,0000,,proper. Failing that, most detective stories
Dialogue: 0,0:03:31.08,0:03:34.96,Default,,0000,0000,0000,,will take a third person perspective, either\Nfrom a less-than-omniscient vague third-person
Dialogue: 0,0:03:34.96,0:03:38.14,Default,,0000,0000,0000,,narrator or from the perspective of another\Ncharacter who isn’t the detective and serves
Dialogue: 0,0:03:38.14,0:03:40.85,Default,,0000,0000,0000,,as an audience surrogate.\NThis isn’t a hard-and-fast rule, though.
Dialogue: 0,0:03:40.85,0:03:44.20,Default,,0000,0000,0000,,There’s kind of a gradient here that sort\Nof determines what kind of story - and what
Dialogue: 0,0:03:44.20,0:03:47.37,Default,,0000,0000,0000,,kind of detective - we’re going to get.\NOn the high end of the scale, some mysteries
Dialogue: 0,0:03:47.37,0:03:51.36,Default,,0000,0000,0000,,show the audience almost everything. This\Nis pretty rare, and it’s arguable that stories
Dialogue: 0,0:03:51.36,0:03:55.20,Default,,0000,0000,0000,,of this type aren’t exactly mysteries at\Nall. Probably the most iconic example of this
Dialogue: 0,0:03:55.20,0:03:56.20,Default,,0000,0000,0000,,format is Columbo,
Dialogue: 0,0:03:56.20,0:04:00.27,Default,,0000,0000,0000,,a very popular detective show from the 70s\Nwhere every episode begins with a full, comprehensive
Dialogue: 0,0:04:00.27,0:04:04.14,Default,,0000,0000,0000,,view of the murder. We know who did it, how\Nthey did it, how they covered it up and usually
Dialogue: 0,0:04:04.14,0:04:08.32,Default,,0000,0000,0000,,even why they did it. The “mystery” element\Nis not who did the crime, but how is Lieutenant
Dialogue: 0,0:04:08.32,0:04:12.06,Default,,0000,0000,0000,,Columbo going to catch them. In true mystery\Nform the episodes all have an ending reveal
Dialogue: 0,0:04:12.06,0:04:16.22,Default,,0000,0000,0000,,of various kinds, but they’re usually revealing\Nsomething Columbo did or discovered offscreen
Dialogue: 0,0:04:16.22,0:04:20.14,Default,,0000,0000,0000,,- the twist isn’t in the crime, but in the\Nsolving of the crime. This is also not uncommon
Dialogue: 0,0:04:20.14,0:04:23.79,Default,,0000,0000,0000,,in stories where the detective character is\Ntechnically the antagonist and the protagonist
Dialogue: 0,0:04:23.79,0:04:26.76,Default,,0000,0000,0000,,whose POV we’re following is the actual\Ncriminal they’re trying to catch - these
Dialogue: 0,0:04:26.76,0:04:28.73,Default,,0000,0000,0000,,stories will often turn into battles of wits\Nwhere
Dialogue: 0,0:04:28.73,0:04:30.36,Default,,0000,0000,0000,,the audience has more knowledge than any of
Dialogue: 0,0:04:30.36,0:04:33.64,Default,,0000,0000,0000,,the individual characters. Even some Sherlock\NHolmes stories technically fall into this
Dialogue: 0,0:04:33.64,0:04:37.16,Default,,0000,0000,0000,,category - there’s no mystery in A Scandal\NIn Bohemia, the surprise reveal at the end
Dialogue: 0,0:04:37.16,0:04:41.23,Default,,0000,0000,0000,,is that Irene Adler fully saw through Sherlock\NHolmes’s sneaky disguise and totally outmaneuvered
Dialogue: 0,0:04:41.23,0:04:43.95,Default,,0000,0000,0000,,him to leave the country with her new husband\Nand the photo he wanted.
Dialogue: 0,0:04:43.95,0:04:47.87,Default,,0000,0000,0000,,It’s more common for a mystery to give the\Naudience something like 70-80% of the relevant
Dialogue: 0,0:04:47.87,0:04:51.08,Default,,0000,0000,0000,,information. We typically don’t know who\Ndid it and we don’t necessarily know the
Dialogue: 0,0:04:51.08,0:04:54.00,Default,,0000,0000,0000,,motive - so in order to keep those vague during\Nthe investigative process,
Dialogue: 0,0:04:54.00,0:04:55.58,Default,,0000,0000,0000,,the suspect’s character backstories will
Dialogue: 0,0:04:55.58,0:04:59.54,Default,,0000,0000,0000,,usually be somewhat muddled or obscured, since\Notherwise it’d be too easy to eliminate
Dialogue: 0,0:04:59.54,0:05:00.85,Default,,0000,0000,0000,,people and narrow it down.
Dialogue: 0,0:05:00.85,0:05:04.15,Default,,0000,0000,0000,,These mysteries will usually give us something\Nof the method - like if someone was poisoned,
Dialogue: 0,0:05:04.15,0:05:07.91,Default,,0000,0000,0000,,a forensic report will say what poison it\Nwas - and a large pool of suspects to identify
Dialogue: 0,0:05:07.91,0:05:12.01,Default,,0000,0000,0000,,the criminal from. The reveal of the criminal\Nalmost always involves a reveal of some hitherto-unknown
Dialogue: 0,0:05:12.01,0:05:15.29,Default,,0000,0000,0000,,element of their backstory or characterization\Nthat the detective has worked out without
Dialogue: 0,0:05:15.29,0:05:18.64,Default,,0000,0000,0000,,the audience’s knowledge. In these stories,\Nthe detective character is usually digging
Dialogue: 0,0:05:18.64,0:05:22.14,Default,,0000,0000,0000,,up clues about the crime to piece together\Nan empty profile of who the criminal is, and
Dialogue: 0,0:05:22.14,0:05:25.98,Default,,0000,0000,0000,,then finding out who in the cast fits that\Nprofile. How they do that depends on the individual
Dialogue: 0,0:05:25.98,0:05:29.37,Default,,0000,0000,0000,,detective and their personality.\NBut before we get into that, I wanna touch
Dialogue: 0,0:05:29.37,0:05:30.37,Default,,0000,0000,0000,,on
Dialogue: 0,0:05:30.37,0:05:32.26,Default,,0000,0000,0000,,the last category - because some mysteries\Ngive the
Dialogue: 0,0:05:32.26,0:05:34.28,Default,,0000,0000,0000,,audience very little information. And this
Dialogue: 0,0:05:34.28,0:05:39.01,Default,,0000,0000,0000,,is… usually bad. Like, actually bad writing,\Nand I don’t say that lightly. Hiding too
Dialogue: 0,0:05:39.01,0:05:42.37,Default,,0000,0000,0000,,much information from the audience can be\Nseen as a sign of bad faith on the part of
Dialogue: 0,0:05:42.37,0:05:46.09,Default,,0000,0000,0000,,the author. If the audience couldn’t reasonably\Nguess the solution from the information given,
Dialogue: 0,0:05:46.09,0:05:50.16,Default,,0000,0000,0000,,it’s a violation of mystery convention.\NFor instance, if the killer is a hitherto-unmentioned
Dialogue: 0,0:05:50.16,0:05:53.36,Default,,0000,0000,0000,,character who just happened to be in the area,\Nthat’s completely plausible and it might
Dialogue: 0,0:05:53.36,0:05:54.36,Default,,0000,0000,0000,,even make more sense
Dialogue: 0,0:05:54.36,0:05:57.57,Default,,0000,0000,0000,,in context than any of the main cast doing\Nit, but it’s not a fair conclusion
Dialogue: 0,0:05:57.57,0:05:59.09,Default,,0000,0000,0000,,to a mystery that’s supposed to be fair
Dialogue: 0,0:05:59.09,0:06:02.99,Default,,0000,0000,0000,,to the audience. All these things\Nserve to undercut the integrity of the mystery
Dialogue: 0,0:06:02.99,0:06:03.99,Default,,0000,0000,0000,,plot.
Dialogue: 0,0:06:03.99,0:06:07.79,Default,,0000,0000,0000,,These stories feel worse for the audience\Nto engage with. They also sometimes don’t
Dialogue: 0,0:06:07.79,0:06:10.95,Default,,0000,0000,0000,,make much sense in hindsight, since without\Nenough information in the story to piece it
Dialogue: 0,0:06:10.95,0:06:15.37,Default,,0000,0000,0000,,together, it might not actually hold together.\NWriting a mystery is hard - you usually have
Dialogue: 0,0:06:15.37,0:06:18.64,Default,,0000,0000,0000,,to do it backwards from the way it’s presented\Nin the plot, starting from the crime and working
Dialogue: 0,0:06:18.64,0:06:22.14,Default,,0000,0000,0000,,through what clues and hints that crime would\Nleave, rather than starting from the mystery
Dialogue: 0,0:06:22.14,0:06:25.37,Default,,0000,0000,0000,,and figuring out who’d make the best criminal\Nas you go. If the writer sets up a mystery
Dialogue: 0,0:06:25.37,0:06:26.37,Default,,0000,0000,0000,,without
Dialogue: 0,0:06:26.37,0:06:28.18,Default,,0000,0000,0000,,actually knowing the solution beforehand,\Nthe story’s
Dialogue: 0,0:06:28.18,0:06:30.97,Default,,0000,0000,0000,,not going to hold together as well. And if\Nthe writer DOES know the mystery going into
Dialogue: 0,0:06:30.97,0:06:35.20,Default,,0000,0000,0000,,it but drops, like, tiny tiny clues that don't\Nactually combine to form the bigger picture,
Dialogue: 0,0:06:35.20,0:06:38.61,Default,,0000,0000,0000,,that kind of has the same problem where the\Naudience can't really engage with the mystery
Dialogue: 0,0:06:38.61,0:06:40.53,Default,,0000,0000,0000,,because they don't have enough information.\NThis brushes
Dialogue: 0,0:06:40.53,0:06:43.68,Default,,0000,0000,0000,,up against the same problem I talked about\Nin the plot twists video - twists for the
Dialogue: 0,0:06:43.68,0:06:47.62,Default,,0000,0000,0000,,sake of shocking and surprising your audience\Nare good if you, the writer, like feeling
Dialogue: 0,0:06:47.62,0:06:51.06,Default,,0000,0000,0000,,smart, but bad if you, the writer, want your\Naudience to actually critically engage with
Dialogue: 0,0:06:51.06,0:06:54.79,Default,,0000,0000,0000,,your work. The audience needs to be able to\Nfollow along, and since the audience can’t
Dialogue: 0,0:06:54.79,0:06:55.79,Default,,0000,0000,0000,,know
Dialogue: 0,0:06:55.79,0:06:58.63,Default,,0000,0000,0000,,more than the author, at the bare minimum,\Nthe author needs to know the solution before
Dialogue: 0,0:06:58.63,0:07:02.74,Default,,0000,0000,0000,,they start constructing the clues what audience\Ngets. And ideally they also need to give the
Dialogue: 0,0:07:02.74,0:07:07.30,Default,,0000,0000,0000,,audience enough clues that they could theoretically\Nextrapolate the actual solution in kind of
Dialogue: 0,0:07:07.30,0:07:09.59,Default,,0000,0000,0000,,the same way the detective is theoretically\Nsupposed to.
Dialogue: 0,0:07:09.59,0:07:11.64,Default,,0000,0000,0000,,In the\Nideal mystery format, the audience is only
Dialogue: 0,0:07:11.64,0:07:12.64,Default,,0000,0000,0000,,missing
Dialogue: 0,0:07:12.64,0:07:15.63,Default,,0000,0000,0000,,one key piece of information by the end of\Nthe story, so when the detective does the
Dialogue: 0,0:07:15.63,0:07:20.09,Default,,0000,0000,0000,,reveal of that one key piece it makes everything\Nelse fall into place. But frankly it’s easier
Dialogue: 0,0:07:20.09,0:07:23.47,Default,,0000,0000,0000,,to write a mystery where the crime leaves\Nalmost no clues and the detective figures
Dialogue: 0,0:07:23.47,0:07:27.14,Default,,0000,0000,0000,,out the solution by……… knowing what\Nthe author needs them to know and being right
Dialogue: 0,0:07:27.14,0:07:29.11,Default,,0000,0000,0000,,because the author said they were. That way\Nthere’s
Dialogue: 0,0:07:29.11,0:07:30.46,Default,,0000,0000,0000,,no chance of the audience figuring it out
Dialogue: 0,0:07:30.46,0:07:34.79,Default,,0000,0000,0000,,before your detective does and thus undercutting\Nyour detective's incredible super geniusness.
Dialogue: 0,0:07:34.79,0:07:36.93,Default,,0000,0000,0000,,For instance,\Nwhile Original Sherlock Holmes definitely
Dialogue: 0,0:07:36.93,0:07:40.93,Default,,0000,0000,0000,,had some pretty outrageous deductive leaps,\Nextrapolating whole character backstories
Dialogue: 0,0:07:40.93,0:07:44.88,Default,,0000,0000,0000,,from ink stains and muddy boots, some of the\Nadaptions take this a step further. Like when
Dialogue: 0,0:07:44.88,0:07:49.22,Default,,0000,0000,0000,,BBC’s Sherlock adapted A Scandal in Bohemia\Ninto A Scandal in Belgravia, it added in this
Dialogue: 0,0:07:49.22,0:07:52.87,Default,,0000,0000,0000,,little background mystery because the closest\Nthing the main plot of that episode has to
Dialogue: 0,0:07:52.87,0:07:58.26,Default,,0000,0000,0000,,a mystery is what is Irene Adler’s Phone\NPassword, which isn’t… you know… interesting.
Dialogue: 0,0:07:58.26,0:08:00.89,Default,,0000,0000,0000,,And it’s the first half of Sherlock’s\Nname because she’s in love with him now,
Dialogue: 0,0:08:00.89,0:08:04.40,Default,,0000,0000,0000,,and that’s the kind of basic-ass romantic\Nsubplot nonsense the audience could see coming
Dialogue: 0,0:08:04.40,0:08:07.82,Default,,0000,0000,0000,,a mile away, so that doesn't really scratch\Nthe "my detective needs to be smarter than
Dialogue: 0,0:08:07.82,0:08:10.07,Default,,0000,0000,0000,,the audience" itch. But the mystery sideplot\Ncenters
Dialogue: 0,0:08:10.07,0:08:12.01,Default,,0000,0000,0000,,on the unexplained death of a tourist by blunt
Dialogue: 0,0:08:12.01,0:08:15.20,Default,,0000,0000,0000,,force trauma to the back of the head with\Nno apparent weapon and no sign of the killer
Dialogue: 0,0:08:15.20,0:08:18.42,Default,,0000,0000,0000,,in the middle of an empty field. Sherlock\Nbrushes this off immediately, claiming that
Dialogue: 0,0:08:18.42,0:08:21.06,Default,,0000,0000,0000,,he’s figured out the answer just from the\Nposition of a car that backfired relative
Dialogue: 0,0:08:21.06,0:08:23.99,Default,,0000,0000,0000,,to the tourist and from the fact that the\Ntourist was killed by a blow to the back of
Dialogue: 0,0:08:23.99,0:08:26.66,Default,,0000,0000,0000,,the head. This is the last we really hear\Nof it for a while until Adler
Dialogue: 0,0:08:26.66,0:08:30.40,Default,,0000,0000,0000,,reveals to Sherlock that she has also solved\Nit, and explains that the tourist was killed
Dialogue: 0,0:08:30.40,0:08:34.94,Default,,0000,0000,0000,,accidentally by his own boomerang. Does this\Nmake sense from the information given? K-uh…
Dialogue: 0,0:08:34.94,0:08:35.94,Default,,0000,0000,0000,,…kinda.
Dialogue: 0,0:08:35.94,0:08:39.79,Default,,0000,0000,0000,,It theoretically fits the lack of any killer\Nor murder weapon, since the boomerang flew
Dialogue: 0,0:08:39.79,0:08:43.31,Default,,0000,0000,0000,,merrily away after clocking the dude, although\Nit is a little questionable if the boomerang
Dialogue: 0,0:08:43.31,0:08:47.06,Default,,0000,0000,0000,,could've done that kind of killing impact\Nand then flown like a hundred feet away and
Dialogue: 0,0:08:47.06,0:08:49.63,Default,,0000,0000,0000,,landed in the nearby creek, but that's okay.\NIs that
Dialogue: 0,0:08:49.63,0:08:51.30,Default,,0000,0000,0000,,something the audience could’ve been expected
Dialogue: 0,0:08:51.30,0:08:55.06,Default,,0000,0000,0000,,to guess from “the position of the car relative\Nto the hiker at the time of the backfire”
Dialogue: 0,0:08:55.06,0:08:59.46,Default,,0000,0000,0000,,and “a single blow to the back of the head”?\NAbsolutely the f*ck not, come on. It’d be
Dialogue: 0,0:08:59.46,0:09:03.36,Default,,0000,0000,0000,,just as valid to assume (and probably easier\Nto believe) that he got hit by a very
Dialogue: 0,0:09:03.36,0:09:05.74,Default,,0000,0000,0000,,small meteor. What were the odds? I dunno!
Dialogue: 0,0:09:05.74,0:09:09.34,Default,,0000,0000,0000,,This mystery isn't fun to solve or see solved\Nbecause the audience doesn't even get a chance
Dialogue: 0,0:09:09.34,0:09:10.39,Default,,0000,0000,0000,,to think about it.
Dialogue: 0,0:09:10.39,0:09:13.70,Default,,0000,0000,0000,,When a mystery gives the audience too much\Ninformation, there’s not much of a mystery,
Dialogue: 0,0:09:13.70,0:09:16.35,Default,,0000,0000,0000,,since there’s nothing to figure out - but\Nif a mystery gives the audience too little
Dialogue: 0,0:09:16.35,0:09:19.75,Default,,0000,0000,0000,,to go on, it’s not gonna keep them guessing\N- it’s going to lose their engagement. It’s
Dialogue: 0,0:09:19.75,0:09:22.97,Default,,0000,0000,0000,,like, you need to give them enough pieces\Nof the puzzle that they can guess what the
Dialogue: 0,0:09:22.97,0:09:26.34,Default,,0000,0000,0000,,final picture is gonna look like - not all\Nof them, or they’d know for sure, and not
Dialogue: 0,0:09:26.34,0:09:30.16,Default,,0000,0000,0000,,just a few edge pieces or the monochrome sky\Nbackground, because that’s not interesting
Dialogue: 0,0:09:30.16,0:09:33.88,Default,,0000,0000,0000,,for the audience to engage with. At its worst\Nit actively discourages the audience from
Dialogue: 0,0:09:33.88,0:09:36.95,Default,,0000,0000,0000,,trying to solve the mystery. It’s a tricky\Nbalance to strike.
Dialogue: 0,0:09:36.95,0:09:40.78,Default,,0000,0000,0000,,But at the heart of the mystery story is the\Ndetective. As the character at the center
Dialogue: 0,0:09:40.78,0:09:44.50,Default,,0000,0000,0000,,of unraveling the mystery, or, more broadly,\Nrevealing the plot, the detective is, in some
Dialogue: 0,0:09:44.50,0:09:48.02,Default,,0000,0000,0000,,ways, the center of the mystery and the narrative\Noverall. And how they navigate that mystery
Dialogue: 0,0:09:48.02,0:09:51.76,Default,,0000,0000,0000,,depends a lot on their individual character.\NThe first place we tend to look to understand
Dialogue: 0,0:09:51.76,0:09:53.20,Default,,0000,0000,0000,,a character is their character
Dialogue: 0,0:09:53.20,0:09:56.68,Default,,0000,0000,0000,,motive. Most characters have a clear reason\Nfor doing what they do - but that’s not
Dialogue: 0,0:09:56.68,0:10:00.16,Default,,0000,0000,0000,,always true for detectives. While some are\Nmotivated by a general goodness or a sense
Dialogue: 0,0:10:00.16,0:10:04.50,Default,,0000,0000,0000,,of duty or a general intellectual curiosity,\Nsome detectives have next to no personal investment
Dialogue: 0,0:10:04.50,0:10:07.67,Default,,0000,0000,0000,,in solving crimes or mysteries - it’s just\Ntheir job. The more jaded ones might even
Dialogue: 0,0:10:07.67,0:10:08.67,Default,,0000,0000,0000,,complain
Dialogue: 0,0:10:08.67,0:10:11.64,Default,,0000,0000,0000,,about it. Ironically, for a detective, motive\Nis one of the least important facets of their
Dialogue: 0,0:10:11.64,0:10:13.99,Default,,0000,0000,0000,,character.\NInstead, there are three important aspects
Dialogue: 0,0:10:13.99,0:10:17.34,Default,,0000,0000,0000,,of the detective’s character, and they mirror\Nthe narrative structure of the mystery. First,
Dialogue: 0,0:10:17.34,0:10:20.70,Default,,0000,0000,0000,,there’s their investigative method. How\Na detective gathers clues and information
Dialogue: 0,0:10:20.70,0:10:24.91,Default,,0000,0000,0000,,depends almost entirely on their character,\Npersonality and skillset. For instance, Sherlock
Dialogue: 0,0:10:24.91,0:10:28.52,Default,,0000,0000,0000,,Holmes takes a forensic focus, observing and\Ngathering trace physical evidence to paint
Dialogue: 0,0:10:28.52,0:10:31.88,Default,,0000,0000,0000,,a picture of the crime. Then he often does\Nmore on-the-scene investigating, frequently
Dialogue: 0,0:10:31.88,0:10:35.50,Default,,0000,0000,0000,,in increasingly ridiculous disguises to gather\Ninformation without putting people on-edge.
Dialogue: 0,0:10:35.50,0:10:39.39,Default,,0000,0000,0000,,In contrast, we get detective characters like\NMiss Marple, who’s a purposeful trope subversion
Dialogue: 0,0:10:39.39,0:10:43.35,Default,,0000,0000,0000,,- she looks like a totally different stock\Ncharacter, a pleasant but slightly vague gossipy
Dialogue: 0,0:10:43.35,0:10:47.33,Default,,0000,0000,0000,,old lady who also happens to have an encyclopedic\Nunderstanding of the human psyche, and solves
Dialogue: 0,0:10:47.33,0:10:50.59,Default,,0000,0000,0000,,the crimes she investigates through nothing\Nbut psychological profiling and her general
Dialogue: 0,0:10:50.59,0:10:54.37,Default,,0000,0000,0000,,understanding of how people work, relying\Non other people to do the actual clue-gathering
Dialogue: 0,0:10:54.37,0:10:58.25,Default,,0000,0000,0000,,legwork. In a similar vein, Agatha Christie’s\Nother detective hero, Hercule Poirot, also
Dialogue: 0,0:10:58.25,0:11:02.88,Default,,0000,0000,0000,,focuses more on the psychological angle, though\Nhe does more in-person investigating and clue-gathering.
Dialogue: 0,0:11:02.88,0:11:06.84,Default,,0000,0000,0000,,Instead of broad psychological profiles, Poirot\Nfocuses more on understanding the motive behind
Dialogue: 0,0:11:06.84,0:11:10.58,Default,,0000,0000,0000,,the crime and deducing the criminal from there.\NColumbo is another deliberate subversion - he’s
Dialogue: 0,0:11:10.58,0:11:14.69,Default,,0000,0000,0000,,a proper police detective, but he comes across\Nas a befuddled and disorganized dude, dresses
Dialogue: 0,0:11:14.69,0:11:18.33,Default,,0000,0000,0000,,pretty sloppily and drives a car so old he’s\Nfrequently asked if he’s undercover. He
Dialogue: 0,0:11:18.33,0:11:19.33,Default,,0000,0000,0000,,tends to do
Dialogue: 0,0:11:19.33,0:11:21.85,Default,,0000,0000,0000,,a first pass spotting physical evidence\Nthe forensic guys don’t always catch cuz
Dialogue: 0,0:11:21.85,0:11:23.35,Default,,0000,0000,0000,,they don't realize what they're looking for,\Nbut
Dialogue: 0,0:11:23.35,0:11:26.65,Default,,0000,0000,0000,,the bulk of his investigative method relies\Non interviewing slash pestering the killer
Dialogue: 0,0:11:26.65,0:11:29.84,Default,,0000,0000,0000,,about the problems he’s noticed in their\Nstory in such a good-natured and innocent
Dialogue: 0,0:11:29.84,0:11:31.46,Default,,0000,0000,0000,,way that they get so rattled they end up
Dialogue: 0,0:11:31.46,0:11:35.66,Default,,0000,0000,0000,,incidentally revealing the truth. Other detectives\Nhave other methods - the grittier, more hard-boiled
Dialogue: 0,0:11:35.66,0:11:39.12,Default,,0000,0000,0000,,ones will sometimes threaten or even torture\Npeople for information, the more gentlemanly
Dialogue: 0,0:11:39.12,0:11:42.32,Default,,0000,0000,0000,,ones usually rely on their book-learning and\Nscientific knowledge to piece things together,
Dialogue: 0,0:11:42.32,0:11:46.32,Default,,0000,0000,0000,,etc etc. Since this clue-gathering usually\Ntakes up the bulk of the mystery in one way
Dialogue: 0,0:11:46.32,0:11:49.21,Default,,0000,0000,0000,,or another, this is the side of the detective\Nthat usually reveals the most about their
Dialogue: 0,0:11:49.21,0:11:51.87,Default,,0000,0000,0000,,fundamental character.\NThe second aspect of the detective’s character
Dialogue: 0,0:11:51.87,0:11:55.72,Default,,0000,0000,0000,,is how they put it all together. This is much\Nsubtler than the clue-gathering because most
Dialogue: 0,0:11:55.72,0:11:59.58,Default,,0000,0000,0000,,of the time we don’t actually see how this\Nworks - it’s an internal process wherein
Dialogue: 0,0:11:59.58,0:12:02.80,Default,,0000,0000,0000,,the detective figures out what exactly has\Nbeen going on, and if the audience gets too
Dialogue: 0,0:12:02.80,0:12:06.28,Default,,0000,0000,0000,,clear a look at it, they’re gonna find out\Nthe big reveal too early. But even if it’s
Dialogue: 0,0:12:06.28,0:12:09.68,Default,,0000,0000,0000,,largely invisible, it’s still a fundamental\Nfacet of the detective’s character. Maybe
Dialogue: 0,0:12:09.68,0:12:13.21,Default,,0000,0000,0000,,they put things together in sudden bursts\Nof clarity and inspiration and run off without
Dialogue: 0,0:12:13.21,0:12:16.55,Default,,0000,0000,0000,,explaining anything first, maybe they take\Ncareful and methodical notes and collect the
Dialogue: 0,0:12:16.55,0:12:19.69,Default,,0000,0000,0000,,dots more slowly, maybe they chase down a\Nhunch or two before they hit on the right
Dialogue: 0,0:12:19.69,0:12:23.17,Default,,0000,0000,0000,,angle. If the audience has a more omniscient\Nperspective and already knows what the detective
Dialogue: 0,0:12:23.17,0:12:26.40,Default,,0000,0000,0000,,has to figure out, we’ll sometimes see the\Ndetective putting the pieces together mostly
Dialogue: 0,0:12:26.40,0:12:30.30,Default,,0000,0000,0000,,for the audience’s benefit - spotting a\Nclue we’ve already seen, noticing a discrepancy
Dialogue: 0,0:12:30.30,0:12:33.84,Default,,0000,0000,0000,,we’ve already realized doesn’t work, looking\Nbefuddled for a moment before silently realizing
Dialogue: 0,0:12:33.84,0:12:37.73,Default,,0000,0000,0000,,something, or (in contrast) calmly and immediately\Nfiguring out the information the criminal
Dialogue: 0,0:12:37.73,0:12:41.43,Default,,0000,0000,0000,,has tried very very hard to hide and explaining\Nhow they came to that conclusion so we, the
Dialogue: 0,0:12:41.43,0:12:42.43,Default,,0000,0000,0000,,audience, know
Dialogue: 0,0:12:42.43,0:12:45.34,Default,,0000,0000,0000,,they weren’t cheating - there’s all sorts\Nof ways to play it depending on the detective’s
Dialogue: 0,0:12:45.34,0:12:47.80,Default,,0000,0000,0000,,character.\NAnd finally, the third aspect of the detective’s
Dialogue: 0,0:12:47.80,0:12:50.96,Default,,0000,0000,0000,,character is how they handle the big reveal.\NWhen they finally put the pieces together
Dialogue: 0,0:12:50.96,0:12:54.08,Default,,0000,0000,0000,,and lay it all out for the audience so we\Nget the full story for the first time, how
Dialogue: 0,0:12:54.08,0:12:57.88,Default,,0000,0000,0000,,the detective handles that says a lot about\Nthem. Some are very flamboyant and bombastic,
Dialogue: 0,0:12:57.88,0:13:01.00,Default,,0000,0000,0000,,hitting on the right answer with a big speech\Nand a room full of awed listeners and one
Dialogue: 0,0:13:01.00,0:13:04.21,Default,,0000,0000,0000,,not-so-secret criminal in the throes of a\Nthird-act breakdown. Some are the complete
Dialogue: 0,0:13:04.21,0:13:08.03,Default,,0000,0000,0000,,opposite, entirely subdued and maybe even\Nsad at the whole tragic picture. Some might
Dialogue: 0,0:13:08.03,0:13:11.49,Default,,0000,0000,0000,,be businesslike or methodical, with only the\Nbarest hint of an emotional response peeking
Dialogue: 0,0:13:11.49,0:13:15.04,Default,,0000,0000,0000,,through. Sometimes there’s no triumph and\Nno victory - this is more common with the
Dialogue: 0,0:13:15.04,0:13:18.88,Default,,0000,0000,0000,,hardboiled detectives, who tend to be broadly\Npretty jaded and depressing even on their
Dialogue: 0,0:13:18.88,0:13:21.94,Default,,0000,0000,0000,,best day, but you can also get this with the\Nmore emotionally sensitive detectives when
Dialogue: 0,0:13:21.94,0:13:25.68,Default,,0000,0000,0000,,a particularly depressing case rolls around\N- like if the criminal was a victim of circumstance
Dialogue: 0,0:13:25.68,0:13:29.41,Default,,0000,0000,0000,,or a lovable innocent bystander got hurt or\Nthe situation is generally kinda fucked. Some
Dialogue: 0,0:13:29.41,0:13:33.37,Default,,0000,0000,0000,,detectives will, in rare circumstances, actually\Nlet the criminal off the hook, which can say
Dialogue: 0,0:13:33.37,0:13:36.50,Default,,0000,0000,0000,,a lot about the detective and how much they\Nmight be willing to bend the rules in rare
Dialogue: 0,0:13:36.50,0:13:39.34,Default,,0000,0000,0000,,circumstances.\NBut that said, the greatest asset of the detective
Dialogue: 0,0:13:39.34,0:13:42.39,Default,,0000,0000,0000,,character is also their greatest narrative\Nweakness - they’re inextricable from the
Dialogue: 0,0:13:42.39,0:13:46.81,Default,,0000,0000,0000,,context of the mystery narrative. Some detectives\Ndo have rich, personal lives on the side - for
Dialogue: 0,0:13:46.81,0:13:50.35,Default,,0000,0000,0000,,instance, Dorothy L. Sayers’s detective\Ncharacter Lord Peter Wimsey has a rich inner
Dialogue: 0,0:13:50.35,0:13:54.55,Default,,0000,0000,0000,,life and eventually makes the slow shift from\NGentleman Playboy Detective to Love Interest
Dialogue: 0,0:13:54.55,0:13:58.31,Default,,0000,0000,0000,,For The Author Self-Insert - it’s\Nreally good, I promise, it's just so funny
Dialogue: 0,0:13:58.31,0:13:59.31,Default,,0000,0000,0000,,to me that
Dialogue: 0,0:13:59.31,0:14:02.41,Default,,0000,0000,0000,,that’s very obviously what happened. But\Nmost detectives are kind of nonentities outside
Dialogue: 0,0:14:02.41,0:14:06.27,Default,,0000,0000,0000,,the context of the case. Sherlock Holmes is\Nferociously bored whenever he’s not on a
Dialogue: 0,0:14:06.27,0:14:10.39,Default,,0000,0000,0000,,case and frequently self-medicates with technically\Nlegal drugs, and that’s almost become narrative
Dialogue: 0,0:14:10.39,0:14:13.57,Default,,0000,0000,0000,,tradition with the grittier detectives, who\Nwill often be addicts struggling with current
Dialogue: 0,0:14:13.57,0:14:17.38,Default,,0000,0000,0000,,or former dependencies with very depressing\Nnon-lives outside of work. Sherlock Holmes
Dialogue: 0,0:14:17.38,0:14:19.68,Default,,0000,0000,0000,,and his various\NHolmesalikes also usually have next to no
Dialogue: 0,0:14:19.68,0:14:23.06,Default,,0000,0000,0000,,social life or friends, and they’re often\Nframed as being consumed by their work and
Dialogue: 0,0:14:23.06,0:14:26.29,Default,,0000,0000,0000,,the thrill of the case. That’s not to say\Nit’s impossible to write a detective character
Dialogue: 0,0:14:26.29,0:14:30.11,Default,,0000,0000,0000,,with more to their life than just the mystery\N- but it’s really not necessary most of
Dialogue: 0,0:14:30.11,0:14:33.13,Default,,0000,0000,0000,,the time, so a lot of writers avoid it, since\Nthe only parts of the detective’s character
Dialogue: 0,0:14:33.13,0:14:36.96,Default,,0000,0000,0000,,that come up during the mystery-solving process\Nare the parts that tie into their role as
Dialogue: 0,0:14:36.96,0:14:40.31,Default,,0000,0000,0000,,detective, not the rest of their life. Circling\Nback to Columbo again, we know that he’s
Dialogue: 0,0:14:40.31,0:14:41.31,Default,,0000,0000,0000,,got
Dialogue: 0,0:14:41.31,0:14:44.27,Default,,0000,0000,0000,,a life, and a pretty good one by all estimates.\NFrom his various charming quirks and anecdotes
Dialogue: 0,0:14:44.27,0:14:47.97,Default,,0000,0000,0000,,we know that he’s got a dog he never names,\Na loving wife and a massive nebulous extended
Dialogue: 0,0:14:47.97,0:14:52.02,Default,,0000,0000,0000,,family he’s on good terms with - but, for\Ninstance, we never learn his first
Dialogue: 0,0:14:52.02,0:14:56.19,Default,,0000,0000,0000,,name, and it's a running gag that his wife\Nnever appears onscreen. He has a life outside
Dialogue: 0,0:14:56.19,0:14:58.61,Default,,0000,0000,0000,,of work that we\Ncatch blurry glimpses of, but it never matters
Dialogue: 0,0:14:58.61,0:15:02.07,Default,,0000,0000,0000,,to the story, so glimpses are all we get.\NYou know, it’s funny, when I, uh, originally
Dialogue: 0,0:15:02.07,0:15:06.43,Default,,0000,0000,0000,,sat down to write this script I was trying\Nto focus entirely on detectives and not go
Dialogue: 0,0:15:06.43,0:15:09.29,Default,,0000,0000,0000,,off on mysteries too much.\NBut it wasn’t until I was halfway through
Dialogue: 0,0:15:09.29,0:15:10.29,Default,,0000,0000,0000,,that
Dialogue: 0,0:15:10.29,0:15:13.45,Default,,0000,0000,0000,,I realized you really can’t separate them.\NThe detective is fundamental to the mystery
Dialogue: 0,0:15:13.45,0:15:17.16,Default,,0000,0000,0000,,and the mystery is fundamental to the detective\N- even if the audience perspective changes,
Dialogue: 0,0:15:17.16,0:15:20.53,Default,,0000,0000,0000,,that mutual structure stays constant. The\Nnature of the detective is to engage with
Dialogue: 0,0:15:20.53,0:15:24.49,Default,,0000,0000,0000,,the mystery; they can have basically any character\Noutside of that, but how they engage with
Dialogue: 0,0:15:24.49,0:15:26.95,Default,,0000,0000,0000,,the mystery is really what defines them as\Na detective.
Dialogue: 0,0:15:26.95,0:15:27.95,Default,,0000,0000,0000,,So… yeah.
Dialogue: 0,0:15:27.95,0:15:30.70,Default,,0000,0000,0000,,And thanks again to Campfire Blaze for sponsoring\Nthis video!
Dialogue: 0,0:15:30.70,0:15:34.09,Default,,0000,0000,0000,,As you may know, Campfire Blaze is a browser-based\Ntool suite designed to help writers write
Dialogue: 0,0:15:34.09,0:15:37.63,Default,,0000,0000,0000,,and worldbuild their stories. It’s got all\Nthe classics, like real-time collaboration
Dialogue: 0,0:15:37.63,0:15:40.88,Default,,0000,0000,0000,,with other writers, a manuscript module that\Nlets you write in-browser and saves your work
Dialogue: 0,0:15:40.88,0:15:44.28,Default,,0000,0000,0000,,in the cloud, and an auto-tagging feature\Nso you can easily reference your own worldbuilding
Dialogue: 0,0:15:44.28,0:15:48.25,Default,,0000,0000,0000,,details without digging through your notes.\NCampfire Blaze also has tools for maps, locations,
Dialogue: 0,0:15:48.25,0:15:52.32,Default,,0000,0000,0000,,cultures, species, magic systems and more,\Nfor an overall well-rounded worldbuilding
Dialogue: 0,0:15:52.32,0:15:54.40,Default,,0000,0000,0000,,experience.\NBut beyond those old favorites, Campfire’s
Dialogue: 0,0:15:54.40,0:15:57.89,Default,,0000,0000,0000,,got big news! They’re gonna be releasing\Nthe official Campfire desktop and mobile app
Dialogue: 0,0:15:57.89,0:16:01.62,Default,,0000,0000,0000,,for IOS and Android! The desktop app's coming\Nthis fall and the mobile app's coming sometime
Dialogue: 0,0:16:01.62,0:16:05.26,Default,,0000,0000,0000,,this winter. The desktop app will be available\Non both Windows and Mac and will let users
Dialogue: 0,0:16:05.26,0:16:09.03,Default,,0000,0000,0000,,access Campfire’s tool suite offline - you\Njust gotta pop online once a month to make
Dialogue: 0,0:16:09.03,0:16:12.31,Default,,0000,0000,0000,,sure the subscription is still active. And\Nthe campfire mobile app is gonna be completely
Dialogue: 0,0:16:12.31,0:16:16.31,Default,,0000,0000,0000,,free - users can use all the features they\Nwant as much as they want on mobile for no
Dialogue: 0,0:16:16.31,0:16:19.54,Default,,0000,0000,0000,,cost. So if you feel like writing a novel\Non your phone, now you can!
Dialogue: 0,0:16:19.54,0:16:22.46,Default,,0000,0000,0000,,So look forward to those dropping later this\Nyear. In the meantime, you can check out Campfire
Dialogue: 0,0:16:22.46,0:16:25.50,Default,,0000,0000,0000,,Blaze’s free version, or if you want more,\Nyou can build your own tool suite and only
Dialogue: 0,0:16:25.50,0:16:29.01,Default,,0000,0000,0000,,pay for the modules you need, which run as\Nlow as fifty cents each. You can also unlock
Dialogue: 0,0:16:29.01,0:16:32.31,Default,,0000,0000,0000,,everything for just a few dollars a month\N- with a 30-day return policy if you change
Dialogue: 0,0:16:32.31,0:16:33.99,Default,,0000,0000,0000,,your mind.\NCheck out the link in the description, and
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