Google story telling apps

Google has released Spotlight Stories, an app that features immersive 360-degree films developed by Motorola before its 2011 acquisition, to iOS. The app has been available on Android for almost two years.

The app is solely intended for entertainment, offering users 3D animations with sound sphere audio and "sensor fusion technology," basically meaning that users can move their phone around to change the perspective inside the animated content. To do this, the phone uses things like the gyroscope and accelerometer.

"Engineers and critically-acclaimed filmmakers are bringing stories to life using the latest advances in mobile technology," says the description for the new app. "Using 3D and 2D animation, 360° spherical cinema-quality video, sound sphere audio, and sensor fusion techniques, the screen is now a window into a story that unfolds all around you. Look anywhere, follow individual characters, watch it over again and again. It's a little different each time. Google Spotlight Stories is your mobile movie theater."

One of the first movies to be featured by Google in the Spotlight Series was called Windy Day, which was developed by ex-Pixar filmmakers and debuted on the original Motorola Moto X phone. This movie, as well as the rest of the Spotlight Stories catalog, will be available in the new iOS app, however, currently, there are four stories available, including Buggy Night, Help, Duet and Windy Day. Help was directed by Justin Lin, who also directed a number of the Fast & Furious films. What's interesting is the fact that this movie is labeled as "free for a limited time," suggesting that Google might be planning on selling the film in the future.

The technology behind the app was originally developed by Motorola's Advanced Technology and Products (ATAP) division, however, after Motorola was sold by Google to Lenovo, Google continued the development of it. Because of the fact that the technology was originally developed for Motorola smartphones, it did not support a wide variety of Android devices once Google took over. Some of the limitations with the technology continue today, with the Google Play Store still saying that the app is not compatible with all devices despite a widespread launch by Google in May. Google is also planning on bringing the short movies to YouTube at some point in the near future.

Of course, Google has put in the effort to develop the technology for iOS, with the new iOS app working on iPhones running iOS 8 or above. The app can be downloaded here.

- See more at: http://www.techtimes.com/articles/71793/20150725/google-launches-immersive-story-telling-app-spotlight-stories-ios.htm#sthash.l3ScurnT.dpuf

Pixar - open source softwares

http://www.cio.com/article/3116489/open-source-tools/why-pixar-open-sourced-its-3d-graphics-technology.html

Pixar Animation Studios has open sourced its Universal Scene Description (USD) technology. USD is an extremely powerful toolset that helps filmmakers in reading, writing, editing, and rapidly previewing 3D scene data.

“USD is the core of Pixar's 3D graphics pipeline, used in every 3D authoring and rendering application, including Pixar's proprietary Presto animation system,” according to Pixar. 

USD is aimed at performance and large-scale collaboration among many artists that makes it ideal for the complex modern pipeline, allowing dozens of creative people working on the same project.

One of the most notable features of USD is Hydra, a high-performance preview renderer capable of interactively displaying large data sets.

Pixar engineers gave a live demo of USD at SIGGRAPH 2016, International Conference and exhibition on Computer Graphics & Interactive Techniques. The demo shows real time rendering capabilities of USD technologies.

The demo was produced on a System76 laptop running Red Hat Enterprise Linux with Gnome desktop environment. System76 is one of the few companies that sell Ubuntu pre-installed machines.

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Why open source USD?

Open source is becoming a norm for software development. There is a growing trend among companies to open source their technologies. Open Source allows companies to attract outside talent; they can benefit from the work of engineers who work for direct competitors. At the same time open source helps in creating a kind of industry standard where different companies collaborate on and adopt the same technology.

Disney, the owner of Pixar says on its open source website:

Open Source Software has a special meaning for Walt Disney Animation Studios (WDAS). Allowing Open Source Software to become a common foundation for many technologies, WDAS has championed the use of and now contributes to such software. In short, we want to contribute back to the community; therefore, we have established this platform. We encourage you to investigate and use the technologies we are sharing. We also very much welcome your collaboration and contribution in these areas.

"We believe that being open with our technology and sharing it with our peers in the industry is how we can best continue to drive innovation,” said Ed Catmull, President, Pixar and Walt Disney Animation Studios. “It's in that spirit that we're happy to be opening up USD.”

Commenting on the larger benefit of open source to the community, Damien Fagnou, Global Head of VFX Operations for MPC Film said, “USD is an amazing opportunity for both software vendors and VFX companies; this type of common open standard drives the industry to greater innovation by focusing development and leveraging a wide community of artists and developers.”

Where is the code?

Pixar has published the source code of USD on its GitHub page. Linux is the only supported platform at the moment. USD has been built and tested on CentOS 7 and RHEL 7. If you are running either of the two platforms, you can easily build and test USD. Pixar is also inviting contributors to the project.

That’s the whole point of open source: collaboration and contribution.

This article is published as part of the IDG Contributor Network. Want to Join?

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What “Finding Nemo” Can Teach Us About Story Action

https://warriorwriters.wordpress.com/2011/05/23/what-finding-nemo-can-teach-us-about-story-action/

From the WONDERFUL movie Finding Nemo

Last week we took a break away from talking about the antagonist because I needed you guys to be able to see how fiction looks when broken down to its fundamental parts. All fiction can be boiled down to cause, effect, cause, effect, cause, effect. But, beyond that, novels are broken into scenes and sequels. For those who missed this post, I highly recommend you go here.

So how do we know when to cut a scene? How do we knew when to begin and end chapters? How do we know what to trash and what to keep? Structure and conflict are like two gears.

Gears cannot turn unless there is another key wheel turning the opposite direction. No opposition, no power, no momentum. Same with a story.

All scenes have action. Action is more than a car chase or a bomb being diffused. Action does not mean a “bad situation.” All stories must have one main story goal, a core problem that must be resolved for the story to end.

Find Nemo.

I love studying children’s movies because they make it very easy to see and understand fundamental story structure.

In the Pixar film, Finding Nemo, what is the story goal for Marlin (the Clown fish father and protagonist)? Find his only son. How do we know when the movie is over? When Marlin and Nemo are reunited and safe at home, right?

Who is the Big Boss Troublemaker in Finding Nemo? The BBT is the character responsible for the story problem. The BBT is Darla the Fish-Killer, who we, the viewer, don’t even see until Act II. Darla is the horrid little niece of a dentist who likes to go diving. The dentist (Minion) collects little Nemo from the ocean as a birthday gift, beginning the adventure of a lifetime for Marlin and Nemo. 

In Normal World, Nemo and Marlin live in a sea anemone. Overprotective father Marlin finally allows little Nemo to go off school (pun intended), even though everything in his life revolves around keeping his son safe. This decision to let Nemo go to school is the inciting incident. If Nemo never went to school then he would never have been taken by the diver dentist.

The turning point into Act One is when Nemo is taken. That gives the clear story goal and the journey of the story is clear—Finding Nemo.

Today we are only going to look at scene antagonists who drive the action.

Obviously Marlin will not find Nemo right away. That would make for very boring fiction. No, there are a series of sub-goals that must be met to find his son.

Marlin takes off after the boat, but then fails to catch up.

He loses the boat and all seems lost, when he runs into another fish, Dori, who says she knows which way the boat went. Marlin follows, renewed in the chase and hopeful he will find Nemo, but then his new ally turns on him wanting to fight. She is unaware why Marlin is following her. Marlin soon realizes the only link to finding his son is a fish ally who suffers short-term memory loss.

Great.

We, the audience, think the journey is over, but then she tells him she does remember where the boat went. Marlin wants to go after his son, but then Bruce the Great White interrupts.

At first Marlin and Dori look doomed, but then Bruce collects them to join him in the Fish are Friends Not Food meeting (think shark AA—Fish Anonymous). So instead of Marlin being able to continue on his journey, he must stop to attend this Shark FA meeting. He has to play along lest he get eaten and not be able to continue his journey. To make matters worse, the FA meetings are held in a sunken sub that is surrounded by mines. So we have outside obstacles—mines—and character obstacles—the Great White addict needing a Fish Friend for his meeting.

Marlin wants to look for his son. Bruce wants a fish friend to attend his FA meeting. This is what Bob Mayer teaches as a conflict lock. Please check out Bob’s books if you want to learn more.

At this point, Bruce is not Marlin’s enemy, but see how he is the antagonist? Bruce’s wants are in direct conflict with Marlin’s. Only one party can get his way. Marlin is held back from achieving his goal.

Through a fun series of events, Bruce ends up losing it and going after Marlin and Dori with the fervor of any addict as his shark buddies try to keep him from totally “falling off the wagon.” Marlin and Dori swim for their lives and while running, Marlin spots the diver’s mask (The diver dentist who took Nemo dropped his mask). The journey, otherwise, would have ended, but a wild twist of fate has renewed the search.

They have a clue and apparently Dori, the Forgetful Fish Ally that Marlin was going to dump at the first opportunity, can READ. He needs her.  But they must escape Bruce and get the mask.

They escape Bruce by detonating all the underwater mines, but then both Marlin and Dori are knocked unconscious. They awaken and realize that they are pinned under the sub, which is now sitting precariously off an undersea trench. The mask and only clue to finding Nemo is wrapped around Dori. As they try to look at the mask, the sub starts to slide and they lose the mask.

Scene goal. Marlin wants to get the clue, but then the submarine sends them fleeing for their lives. Just as they grasp for the mask, it drops down into the deep.

See how Marlin is progressively worse off as the story progresses? He seems farther away from finding his son, when in reality these are the necessary steps to FIND Nemo.

All looks as if it is lost. Marlin goes to give up, but his unlikely ally encourages him to go on and swim down in the deep to find the mask. Marlin has a chance to give up. He could at this point go home and give his son up for lost, but that would make a seriously sucky story. Marlin is a control freak who is ruled by his fears. He has to learn to be the master of his fears in order to rescue his son. Hemust press on in order to find Nemo. He swims down into the abyss as all good heroes should.

Marlin WANTS to find the mask, but then he and Dori soon realize it is nothing but blackness and they cannot see to find the mask. All seems lost. Ah, but then they spot a pretty light in the darkness…which turns out to be an angler fish that wants to eat them both.

Marlin wants to find the clue (mask).

Angler fish wants dinner.

Do you see how every break the protagonist gets comes with a new test? This is why it is so critical for us to at least start out with our story’s log-line. What is our story about? Learn more about log-lines (BIG story goal), here.

If the screenwriters didn’t know that the overall goal was for a neurotic fish father to swim to Sydney, Australia to rescue his son from a dentist’s fish tank before Darla the Fish-Killer’s birthday…this would have been a booger to plot. In ways it still is. How do we get Marlin from the Great Barrier Reef to a dentist’s office in Sydney? This is where setting sub-goals (scenes) makes life easier. When we know the ending, the main goal then it is far easier to plot the course.

Each scene needs a key wheel—an antagonist—to provide the opposition that will drive forward momentum.

Bruce the Great White and fish-addict in recovery is not Darla the Fish-Killer (the BBT), but he does keep Marlin from his journey…finding Nemo, so he IS an antagonist. In retrospect, Bruce’s intervention was fortuitous in that they never would have been in the area of the ocean where the one clue—the mask—was dropped.

Every scene needs an antagonist. Scenes MUST have conflict. No conflict? Not story. No forward momentum. We must always take a good hard look at our scenes and ask the tough questions. Ask, “What is it my protagonist wants? Who is in the way?” If no one is in the way, then who can we put in the way? Conflict can even be as simple as allies disagreeing about a course of action—chase after bad guys or call the police and play it safe? Will the Elves take the Ring of Power to Mount Doom or will the Dwarves?

If everything is happening easily and all our characters are getting along? That’s a formula to bore a reader. Scenes where we have our protag thinking? That isn’t a scene, that’s a sequel. If a character is thinking, it better relate to something that just happened (a scene) and what to do next (next scene).

A “scene” that has characters talking about other characters is contrived information dump, not a scene. We can offload information in dialogue, but that cannot be the only purpose. Scenes are sub-goals—action blocks—that lead to solving the final problem.

I highly recommend reading Bob’s books for more about understanding antagonists and conflict. Then, watch movies and practice. Break apart movies. Who is the BBT? Who are the antagonists for each scene? What purpose does the antagonist serve other than standing in the way of the goal? We will talk more about this next week.

Do you guys have any questions? Insights? Opinions? Have any resources you would like to recommend?

I love hearing from you! And to prove it and show my love, for the month of May, everyone who leaves a comment I will put your name in a hat. If you comment and link back to my blog on your blog, you get your name in the hat twice. If you leave a comment, and link back to my blog, and mention my book We Are Not Alone in your blog…you get your name in the hat THREE times. What do you win? The unvarnished truth from yours truly.

I will pick a winner every week for a critique of your first five pages. At the end of May I will pick a winner for the grand prize. A free critique from me on the first 15 pages of your novel. Good luck!

Last week’s winner ofr 5 page critique is AMY ROMINE. Send your 1250 word document as an attachment to kristen at kristen lamb dot org.

Note: I am keeping all the names for a final GRAND, GRAND PRIZE of 30 Pages (To be announced) OR a blog diagnostic. I look at your blog and give feedback to improve it. For now, I will draw weekly for 5 page edit, monthly for 15 page edit.

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Happy writing!

Until next time….

Screenplay Genre: Animation / Adventure / Comedy

Movie Time: 100 mins

1. INCITING INCIDENT
After an attack by a barracuda, Marlin is left a widower and his entire clutch of eggs has been destroyed. Upon further inspection, he discovers that one egg, Nemo, survived. He promises the little Nemo: “I’ll never let anything happen to you.”  (00:04:31)

2. LOCK IN (End of Act One)

On his first day of school, Nemo is dared by some of his classmates to swim out into open water to touch a boat. Marlin’s father shows up to prevent him from doing so, but Nemo defies his father’s wishes and touches the boat anyway. But just as he’s about to swim back in, he is captured by two divers. Marlin has no choice but to frantically swim after the divers, who get in their boat and motor away. (00:15:12)

3. FIRST CULMINATION (Midpoint)

Having only an address gleaned from a pair of the diver’s goggles, which fell off the boat that took his son, Marlin has been blindly making his way across the ocean when he gets directions from a school of fish and sets out with his traveling companion, Dory (Ellen Degeneres), but instead of following the fishes’ instructions, they swim over a canyon and are surrounded by jellyfish. Marlin does all he can to save Dory from the jellies before fainting himself. (00:47:37)

4. MAIN CULMINATION (End of Act Two)

Dory and Marlin are trapped in the belly of a whale. Marlin gives up all hope of escaping, but he won’t follow Dory to the back of the throat. Finally, Dory convinces him to “Let go,” and he literally lets go and he falls deeper into the whale. As everything seems to be lost, the whale blows them out of his blowhole and into the Sydney harbor, where they know Nemo will be found. (01:12:48)

5. THIRD ACT TWIST

After Nemo has escaped from the dentist’s tank and been reunited with Marlin, Dory is swept up in a fishing net. Their reunion seems to be soured until Marlin and Nemo save Dory by getting all the fish in the net to swim in the same direction. (01:26:51)

STORY STRUCTURE: The 5 Key Turning Points of All Successful Screenplays

September 22, 2014Michael Hauge 39 Comments

http://www.storymastery.com/story/screenplay-structure-five-key-turning-points-successful-scripts/

 movies are simple.

Though writing a successful Hollywood movie is certainly not easy, the stories for mainstream Hollywood films are all built on only three basic components: character, desire and conflict.

Film stories portray heroes who face seemingly insurmountable obstacles as they pursue compelling objectives. Whether it’s Clarice Starling trying to stop Hannibal, Captain Miller Saving Private Ryan, orBilly Elliott trying to gain admission to a ballet school, all these protagonists confront overwhelming conflict in their pursuit of some visible goal.

Plot structure simply determines the sequence of events that lead the hero toward this objective. And here’s the good news: whether you’re writing romantic comedies, suspense thrillers, historical dramas or big budget science fiction, all successful Hollywood movies follow the same basic structure.

Even if you are a novelist, speaker, marketer or attorney, understanding these turning points, and incorporating them into your stories, will strengthen your ability to enthrall your reader or audience.

In a properly structured movie, the story consists of six basic stages, which are defined by five key turning points in the plot. Not only are these turning points always the same; they always occupy the same positions in the story. So what happens at the 25% point of a 90-minute comedy will be identical to what happens at the same percentage of a three-hour epic. (These percentages apply both to the running time of the film and the pages of your screenplay.)

In the explanation that follows, I want to take two recent blockbusters through this entire structural process: Susannah Grant’s screenplay for Erin Brockovich; and Gladiator, written by David H. Franzoni, John Logan and William Nicholson. As different as these two films are in style, genre, length and subject matter, both have made more than a hundred million dollars at the box office, both were among the most critically acclaimed films of 2000, and both employ the same basic plot structure.

STAGE I: The Setup

Erin Brockovich: Erin is a broke, unemployed single mother who can’t find a job, gets hit by a car, and loses her lawsuit.

Gladiator: Maximus, Rome’s most powerful, and most popular, general, leads his troops to victory in their final battle.

The opening 10% of your screenplay must draw the reader, and the audience, into the initial setting of the story, must reveal the everyday life your hero has been living, and must establish identification with your hero by making her sympathetic, threatened, likable, funny and/or powerful.

Cast Away transports us into the world of a FedEx executive, shows him as likable and good at his job, and creates sympathy and worry when he must leave the woman he loves at Christmas to fly off in dangerous weather. Or think of Lowell Bergman’s mysterious, threatening pursuit of a story at the beginning of The Insider. These setups pull us out of our own existence and into the captivating world the screenwriter has created.

TURNING POINT #1: The Opportunity (10%)

Erin Brockovich: Erin forces Ed Masry to give her a job.



Gladiator: Maximus is offered a reward by Emperor Marcus Aurelius, and he says he wants to go home.

Ten percent of the way into your screenplay, your hero must be presented with an opportunity, which will create a new, visible desire, and will start the character on her journey. This is the point where Neo is taken to meet Morpheus and wants to learn about The Matrix, or where Ike gets fired and wants to go meet the Runaway Bride.

Notice that the desire created by the opportunity is not the specific goal that defines your story concept, but rather a desire to move into…

STAGE 2: The New Situation

Erin Brockovich: Erin begins working for Ed Masry’s law firm, meets her neighbor George, and starts investigating a case in Hinkley, California, but then gets fired

Gladiator: Maximus is asked by the dying Emperor to take control of Rome and give it back to the people, in spite of the ambition of his son Commodus.

For the next 15% of the story, your hero will react to the new situation that resulted from the opportunity. He gets acclimated to the new surroundings, tries to figure out what’s going on, or formulates a specific plan for accomplishing his overall goal: Fletcher has to figure out that he’s been cursed to tell the truth inLiar, Liar; and Mrs. Doubtfire devises a plan for seeing (his) children.

Very often story structure follows geography, as the opportunity takes your hero to a new location: boarding the cruise ships in Titanic and The Talented Mr. Ripley; going to Cincinnati to bury his father inRain Man; the President taking off on Air Force One.

In most movies, the hero enters this new situation willingly, often with a feeling of excitement and anticipation, or at least believing that the new problem he faces can be easily solved. But as the conflict starts to build, he begins to realize he’s up against far greater obstacles than he realized, until finally he comes to…

TURNING POINT #2: The Change of Plans (25%)

Erin Brockovich: Erin gets rehired to help win a suit against PG&E.

Gladiator: Maximus, after learning that Commodus has murdered his father, vows to stop the new emperor and carry out Marcus Aurelius’ wishes.

Something must happen to your hero one-fourth of the way through your screenplay that will transform the original desire into a specific, visible goal with a clearly defined end point. This is the scene where your story concept is defined, and your hero’s outer motivation is revealed.

Outer motivation is my term for the visible finish line the audience is rooting for your hero to achieve by the end of the film. It is here that Tess discovers that Katherine has stolen her idea in Working Girl, and now wants to close the deal herself by posing as a broker. This is what we’re rooting for Tess to do, and we know that when she’s accomplished this goal (or failed to), the movie will be over.

Please don’t confuse outer motivation with the inner journey your hero takes. Because much of what we respond to emotionally grows out of the hero’s longings, wounds, fears, courage and growth, we often focus on these elements as we develop our stories. But these invisible character components can emerge effectively only if they grow out of a simple, visible desire.

STAGE III: Progress

Erin Brockovich: Erin gets some Hinkley residents to hire Ed to represent them, and gets romantically involved with George.

Gladiator: Maximus is taken to be killed, escapes to find his family murdered, and is captured and sold to Proximo, who makes him a powerful gladiator.

For the next 25% of your story, your hero’s plan seems to be working as he takes action to achieve his goal: Ethan Hunt begins closing in on the villain in Mission: Impossible 2; Pat gets involved with the woman of his dreams in There’s Something About Mary.

This is not to say that this stage is without conflict. But whatever obstacles your hero faces, he is able to avoid or overcome them as he approaches…

TURNING POINT #3: The Point of No Return (50%)

Erin Brockovich: Erin and Ed file the lawsuit, risking dismissal by the judge, which would destroy any hope of a settlement.

Gladiator: Maximus arrives in Rome, determined to win the crowd as a Gladiator so he can destroy Commodus.

At the exact midpoint of your screenplay, your hero must fully commit to her goal. Up to this point, she had the option of turning back, giving up on her plan, and returning to the life she was living at the beginning of the film. But now your hero must burn her bridges behind her and put both feet in. (And never let it be said that I can’t work two hackneyed metaphors into the same sentence).

It is at precisely this moment that Truman crosses the bridge in The Truman Show, and that Rose makes love with Jack in Titanic. They are taking a much bigger risk than at any previous time in these films. And as a result of passing this point of no return, they must now face…

STAGE IV: Complications and Higher Stakes

Erin Brockovich: Erin sees less of George and her kids, while Ed brings in a big firm that alienates the Hinkley plaintiffs.

Gladiator: Maximus becomes a hero to the Roman people and reveals his true identity to Commodus.

For the next 25% of your story, achieving the visible goal becomes far more difficult, and your hero has much more to lose if he fails. After Mitch McDeere begins collecting evidence against The Firm at that movie’s midpoint, he now must hide what he’s doing from both the mob and the FBI (complications), and failure will result in either prison or death (higher stakes).

This conflict continues to build until, just as it seems that success is within your hero’s grasp, he suffers…

TURNING POINT #4: The Major Setback (75%)

Erin Brockovich: Most of the plaintiffs withdraw due to the bungled efforts of the new lawyers, and George leaves Erin.

Gladiator: Maximus refuses to help the leader of the Senate, and Commodus plots to destroy both Maximus and the Senate.

Around page 90 of your screenplay, something must happen to your hero that makes it seem to the audience that all is lost: Carol dumps Melvin in As Good As It Gets; Morpheus is captured in The Matrix. If you’re writing a romantic comedy like Working Girl or What Women Want, this is the point where your hero’s deception is revealed and the lovers break up.

These disastrous events leave your hero with only one option: he must make one, last, all-or-nothing, do-or-die effort as he enters…

STAGE V: The Final Push

Erin Brockovich: Erin must rally the Hinkley families to agree to binding arbitration, and find evidence incriminating the PG&E corporate office.

Gladiator: Maximus conspires to escape from Proximo and lead his former troops against Commodus.

Beaten and battered, your hero must now risk everything she has, and give every ounce of strength and courage she possesses, to achieve her ultimate goal: Thelma & Louise must outrun the FBI to reach the border; and the Kennedy’s must attempt one final negotiation with the Soviets in 13 Days.

During this stage of your script, the conflict is overwhelming, the pace has accelerated, and everything works against your hero, until she reaches…

TURNING POINT #5: The Climax (90-99%)

Erin Brockovich: Erin and Ed win a $330 million dollar settlement, and George returns.

Gladiator: Maximus has his final battle with Commodus in the arena.

Several things must occur at the climax of the film: the hero must face the biggest obstacle of the entire story; she must determine her own fate; and the outer motivation must be resolved once and for all. This is the big moment where our heroes go into the Twister and the Jewish factory workers make their escape in Schindler’s List.

Notice that the climax can occur anywhere from the 90% point to the last couple minutes of the movie. The exact placement will be determined by the amount of time you need for… 

STAGE VI: The Aftermath

Erin Brockovich: Erin gets a $2 million bonus, and continues working with Ed.

Gladiator: Maximus is united with his family in death, and his body carried away in honor by the new leaders of the Roman republic.

No movie ends precisely with the resolution of the hero’s objective. You have to reveal the new life your hero is living now that he’s completed his journey.

In movies like Rocky, Thelma & Louise and The Truman Show, there is little to show or explain, and the writer’s goal is to leave the audience stunned or elated. So the climax occurs near the very end of the film. But in most romantic comedies, mysteries and dramas, the aftermath will include the final five or ten pages of the script.

Understanding these stages and turning points provides you with a powerful tool for developing and writing your screenplay. Is your story concept defined at the one-quarter mark? Is your hero’s goal truly visible, with a clearly implied outcome and not just an inner desire for success, acceptance or self worth? Have you fully introduced your hero before presenting her with an opportunity around page 10? Does she suffer a major setback 75% of the way into your script?

But a word of caution: don’t let all these percentages block your creativity. Structure is an effective template for rewriting and strengthening the emotional impact of your story. But you don’t want to be imprisoned by it. Come up with characters you love and a story that ignites your passion. Then apply these structural principles, to ensure that your screenplay will powerfully touch the widest possible audience.