Characters must experience these dark moments, because a character devoid of self-doubt and fear is unrelatable. Such a character simply isn’t realistic.

Most good stories revolve around watching a character struggle outside of his or her comfort zone. Pixar continually figures out what a protagonist wants most—and then throws the exact opposite at them.

Pixar’s determination to avoid clichés pushes its stories and characters to more interesting and exciting places than you’d expect.

Pixar goes a step further by creating an inner world and existing flaw for these characters. Russel is lonely and feels estranged from and rejected by his father. Dory can’t remember anything for more than a minute or so, which causes her to live a lonely life. Let’s not forget that Pixar also makes both characters incredibly funny.

Some antagonists will have a thematic relationship to your protagonist. They will be a distorted mirror image, presenting our heroes with their darkest fears, or at least shining a light on their fallacies and weaknesses. This is very apparent in Toy Story 2 and Toy Story 3. Both Stinky Pete and Lotso are toys broken by the desertion of their owner

Pixar films often feature two main antagonists—one benevolent and one malicious—Buzz/Sid, Princess/Hopper, Jessie/Stinky Pete, Boo/Randall, and so on. Ratatouille has three main antagonists: One evil (Skinner), one benevolent (Linguini) and a third, Anton Ego. Ego isn’t malicious the way Skinner and Muntz are, but I wouldn’t call him benevolent eit

Don’t Abuse Structure This structure, and probably any other one, can easily be abused. A blunt and technical insertion of an element into your story will only make your script worse. This isn’t a to-do list where you must check off items. These are useful elements to be implemented with care. Don’t force a “bonding process” into your script if it