Notice that this pattern naturally divides itself into two separate and self-contained sequences: 1. Getting in (which of course will be spelled out in a PLAN), and 2. The confrontation itself.

ASSIGNMENT: Take a look at the dynamics of your own WIP. Who’s the Lover, and who’s the Loved One? Who’s the Pursuer and who’s the Pursued? Do those roles switch at some point?

If you can tell your story in one line and everyone who hears it can see exactly what the movie or book is — and a majority of people who hear it will be interested in seeing it or reading it — that’s high concept.

In a love story or romantic comedy, the Training Sequence or Tools Sequence is often a Shopping Sequence or a Workout Sequence or a Makeover Sequence, or a combination of all of the above. The heroine, with the help of a mentor or ally, undergoes a transformation through acquiring the most important of tools: the right clothes and shoes and hairsty

In all of the above scenes, the Lover’s Stand forces the Loved One to step up and commit just as deeply as the Lover is committed. But it seems that very, very, very often, it’s one character, the Lover, who has to force the issue.

• They are about a situation that we all (or almost all) have experienced (Meet the Parents, Blind Date, Four Christmases, The Hangover).

deep down we know from the start, almost because of his fear and his unsuitability for the task, that in the final battle it will be Sheriff Brody, alone, mano a mano with that shark. And he kills it with his own particular skill set: he’s a cop, and one thing he knows is guns. It’s unlikely as hell, but we buy it, because in crisis we all resort t

The writers often just have the characters say flat out what we’re supposed to be afraid of. Spell it out. It works.

(The Call to Adventure is very often a literal phone call, summons, knock on the door, or mailed invitation.)