1. Self-revelation, need, and desire This is a fairly simple step but important to get right. Failure to secure all three of these will result in not knowing which direction your story is going. 2. Ghost and story world This step in scriptwriting is figuring out ou t the protagonist’s “ghost” and “story world”. The ghost is an issue from the protagnist’s past that still still haunts them, perhaps causing an internal struggle for them. The “story “story world” is then showing showing the audience what an aerage day for our main main character would look like. !. Weakness and need The weakness or problem is the difficulty that the hero has at the start of the story. The need is what our hero needs in order to lie a better life. "n a large amount of stories this is a wife#girlfriend $. Inciting event The inciting eent is generally %uite noticable in the film. "t’s the the action that breaks the hero’s “story world”. For e&le in the film Taken, the kidnapping of his daughter would be the inciting eent. '. Desire This is what dries the story. The plot of the story is generally focused on o n the hero’s desire. (. Ally or allies )sing an ally is a way arious scriptwriters define their protagonist. *llies can come in more or less any form, whether it’s friends, friends, peers or someone that gies adice ad ice to our hero. +. Opponent and/or mystery The opponent is fairly straightforward. The opponent is the person with the ability to attack the hero’s weakness displayed displayed earlier on. The mystery can also be the unseen opponent. oppon ent. "t is also known that detectie stories need a mystery as they hae a lack of an enemy -. ake-ally opponent The fake ally is a charcter in the story that appears to be an ally but ends up being an opponent in the story. For e&le in The Dark Knight Rises Fakeally opponent would be Talia*lhul. Talia*lhul. /. irst revelation and decision! "hanged desire and motive This is often known as the first turning point in the film and is where the hero receies some new information or makes a decision that taken them in a different direction. 10. #lan The plan is the hero’s means of fulfilling his#her desire. The plan doesn’t always hae to go spot on, if it did it would make for a boring film. *n unseen flaw in the plan or an opp onent’s action could change the plan. This change should be intended to shock or surprise the audience Opponent$s plan and main co%nterattack 11. The opponent then comes up with a plan to coun teract the hero’s and stop the hero from fulfilling their desire. Drive 12. The drie is the guideline of the story, the actual steps that the protagonist takes within the plan. "t is ery easy to simply repeat yourself for the drie so it is important to take care not to Attack &y ally 1!. This is also fairly noticable in many films. This is the section where the hero goes awry, steers steers from his orginial motie or tries to shortcut to get to his desire. This is usually the section where the hero receies a slap across a cross the face. Apparent defeat 1$. *pparent defeat is when the hero is about to gie up. hen all hope is lost, there is no way out of their predicament. "t is the low point of the story where the hero is certain that the opponent will come out ictorious.
1'. Second revelation and decision! O&sessive drive, changed desire and motive This is when the hero realises that where they went wrong and decides to gie it another shot. The hero has renewed interest in their desire.Their perspectie o n the desire may hae changed A%dience revelation 1(. This is when the audience sees something that the hero doesn’t and learns a ital piece of information. Thi is typically when the audience learns a piece of information before the protagonist 1+. 'hird revelation and decision This is when our hero learns all they can, making them a more worthy opponent against the opponent and able to beat them. 1-. Gate, ga%ntlet, visit to death This is typically the last sacrifice the hero will hae to make for their desire. The hero may also go through a final test before their battle. 1/. (attle The final battle between the hero and the opponent. This step is in most films made and is a chance for the writer to clearly distinguish what the he ro and opponent are fighting for. This is to show who will come out on top 20. Self-revelation The hero finally learns what they hae been doing wrong and how to do things successfully. "t is something the hero did not understand until that moment 21. )oral decision This is the hero then acting on what they hae ust learned. The hero must make the decision to do the moral thing. This may be the hero dying a noble death 22. *ew e+%ili&ri%m This is finally eerything returning to normal, similar to the “story world” shown at the start.
