The three wants of a character.
Dig deeper into the character's path to genuine change by examining these three wants.
Tom Vaughan
What is the audience rooting for?
If I know the answer to these two questions, I can usually make any decision and work myself out of any corner.
What story are you telling?
There is so much going on in a screenplay, that we often forget the most important thing:
You are telling a story.
Sequence 4 and how to attack it.
The pivot into Sequence 4 is not an independent choice. It is dictated by the needs of the larger choices around it.
The why behind the rule is what matters.
A screenwriting "rule" is something someone repeats when they don't fully understand the WHY behind it.
Does the scene advance the story?
The larger transformation of the story is composed of smaller transformations in each scene. All pushing, pulling, or diverting the transformation to its completion.
The idea matters.
My first screenplays were never going to go anywhere. And not because I was a bad writer, though I was. Those screenplays were doomed because they were bad ideas for screenplays.
Our skill goes where our attention goes.
The world wants your attention. Badly. But your creative energy is as much a limited resource as your time. Treat it as such.
How does the character solve problems?
How a character solves their problems is a defining characteristic that we often forget.
Why are emerging screenwriters obsessed with format?
Format is one of the first and easiest things we learn. So why are we so concerned about doing it right?
Unified choices elevate the whole story.
Unified choices enhance each other. They answer why this character, in this plot, with this concept, and this ending.
The 3-Part Act 1 and the Inciting Incident.
Sometimes the needs of Act 1 do not lend themselves to an early inciting incident. For those unique stories, you have the 3-Part Act 1.