When writing a script, it’s necessary to establish a structure before its actual writing. To do this, a series of elements known as structural adventures are developed, which we’ll discuss below. Trigger: the moment when the action begins. It’s the initial push that sets the plot in motion. We can differentiate between two types:

  • Chronological Trigger: something happens or someone makes a decision. It’s a specific adventure. The main character is set in motion. The story has begun, after an initial exposition, the script’s action starts when the protagonist experiences an event that disrupts the balance of their life. For example: in Toy Story, the arrival of Buzz.

  • Situation Trigger: there’s no specific adventure, only a setup. Sometimes it sets the protagonist’s goal.

First Plot Point: It’s the first twist in the action, not in the situation. It’s a point of no return for those involved in the conflict. Midpoint: An event situated in the middle of the second act that, without causing a radical twist in the logic of the action, increases the dramatic tension. There’s no change but there’s great dramatic tension. Second Plot Point: Propels the story towards its resolution. Foreshadows a difficult outcome for the action (it’s the worst moment for the protagonist). Climax: Scene where the conflict is resolved. Subplot Adventures: Triggers, twists, and climaxes of the subplot narratives.

Points of Interest

These are moments of particular dramatic intensity that the screenwriter employs according to their particular emotional strategy, either to reinforce the aforementioned structural events or to keep the dramatic conflict of the action alive. We can differentiate: Barriers: Difficulties that the protagonist encounters on their journey and overcomes in the short term.

  • Obstacles: Accidental and involuntary difficulties (breakdowns, earthquakes, asteroids…)
  • Counter-intentions: Difficulties that the antagonist introduces into the protagonist’s action.

Complications: Obstacles that arise from the protagonist themselves. Example: insecurity in self-improvement films, blunders in romantic comedies, etc. Reversal: A radical twist in the action at the precise moment when the protagonist reaches the goal they pursue. They do not become turning points because the protagonist redirects the action towards their objective. Example: the engagement ring in romantic comedies. Anticlimax: The climax that does not resolve the central conflict of the story. It is not advisable to overuse as it can have a disappointing effect on the audience. False climax. Elaborated sequences: These are knots that integrate counterpoints of actions, compress time lapses, describe environments or characters, or determine a statement of principles. The scenes of these action knots are developed under a musical or dialogued thread. The structure of the script will be perfectly reflected through the Field Paradigm.

Estructura de guion

Script Structure: Field Paradigm

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