It is important to understand that the first cause of action must occur after the movie begins, not in the back story.

Write your screenplays to raise, develop, and answer one central dramatic question so that your reader or audience will stay hooked.

Good writers serve their stories; bad writers serve their own agendas.

Aristotle insists that in a unified dramatic story the subject is an action, not a person.

Aristotle tells us that the plot should be so tight that if you took away any one incident, the whole would literally collapse:

Your ACTION-IDEA should be able to move listeners who merely hear it just as they would be moved if they saw an entire movie made from your screenplay.

Make your ACTION-IDEA the driving force behind every scene and the subject of your story.

Every tragedy [dramatic story] is in part Complication and in part Denouement; the incidents before the opening scene, and … also of those within the play, forming the Complication; and the rest the Denouement. By Complication I mean all from the beginning of the story to the point just before the change in the hero’s fortunes; by Denouement, all f

It is through the resolution of the hero’s moral conflict in the denouement that the “theme” of the movie is stated. The theme reveals a truth about the human condition that has been demonstrated by the story’s action.