Screen Story Structure — Models, Myths, Tools
Mapping beats, scenes, sequences, and acts.
Prepared by ChatGPT • August 18, 2025
Abstract
This paper maps macro- and micro-structure in screenwriting: beats, scenes, sequences, acts, and the
full narrative arc. It contrasts character■driven and plot■driven designs, shows how theme and
structure interact, and offers tools to model nonlinearity without sacrificing clarity or momentum.
1. Story Shape & the Dramatic Question
Structure is the choreography of change. It presents a central question—Will X happen before Y
cost?—then engineers complication, reversal, and decision until the answer becomes inevitable.
2. Levels of Structure
Beats are units of intention and reaction inside a scene.
Scenes shift value for at least one character (power, knowledge, safety) and end on a turn.
Sequences are clusters of scenes with a mini■goal and cliff.
Acts reframe pursuit via major reversals.
• If a scene doesn’t turn, it likely belongs elsewhere or needs a goal/obstacle injection.
• Sequence endpoints should be hooky questions, not mere ellipses.
3. Character■Driven vs. Plot■Driven
In character■driven stories, internal misbeliefs generate external trouble; in plot■driven designs,
external pressure forces adaptation that reveals character. Most strong scripts braid both.
4. Theme as Structural Magnet
Theme isn’t a slogan; it’s a set of value contests embedded in choices. Align obstacles so that every
major beat interrogates that value set. This yields cohesion without didacticism.
• Define opposing worldviews for protagonist and antagonist.
• Design set■pieces that force trade■offs along that axis.
1
5. Nonlinear & Ensemble Structures
Nonlinearity (flashbacks, parallel timelines) must increase payoff clarity, not obscure it. Ensembles
benefit from a spine story with subordinate A/B/C strands that share a ticking clock or convergent event.
• Use anchors (dates, locations, hairstyles, props) to orient jumps.
• Converge threads with causal necessity, not coincidence.
6. Practical Frameworks
Whether using a beat sheet, sequence cards, or a scene-by-scene outline, prioritize causality and
escalation. Track goal, stakes, and opposition for every sequence.
• Color■code plotlines and ensure each returns on a rhythm.
• Measure tension with questions: What are we waiting to learn? What could go wrong next?
7. Conclusions
Good structure feels invisible. It channels attention, delivers surprise that feels inevitable, and
culminates in a choice that reveals character.
Further Reading
• Vogler — The Writer’s Journey
• Snyder — Save the Cat!
• Yorke — Into the Woods
