An analytical tool for exploring the effectiveness of the short-form film script.

1. Interrogating your Story
THE ESSENTIAL DRAMATIC QUESTIONS
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2. CAVEAT EMPTOR
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It is possible that you may answer all of the
questions and still not have a screenplay
worth making if the dramatic action in the
script is predictable, stale, obvious, clichéd
or formulistic.
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3. It’s the CHARACTERS, stupid!!!
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Characters in the script
Audience
Tribe
Screenwriter
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4. The Characters in the script
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Dramatically, what CHARACTER/S
has/have the most significant problem in the
story?
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What is this PROBLEM or OPPORTUNITY
confronted by this character/s at the
beginning of the main story?
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5. Objectives, actions, opposition
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What is the character’s INITIAL GOAL in
response to this problem/opportunity?
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What PLANS OF ACTION does the
character initiate for achieving this goal?
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Who or what or what provides the
OPPOSITION to the character’s plans of
action?
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6. Obstacles/complications

What major OBSTACLE/s or
COMPLICATION/s other than the opposing
force confronts the character/s after deciding
upon the initial plan of action?

In what manner or aspect is/are this/these
character/characters EMOTIONALLY
COMPELLING?
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7. STAKES / RISK

STAKES : In terms of the character’s
ultimate goal, what is at risk?
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What if anything raises the stakes or
increases the threat during the course of
the story?
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8. CHANGE

How does the character’s problem
and/or goal CHANGE during the
story and what NEW plans of action
does this bring about?
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9. Climax & Resolution

What is the CLIMAX of the story? Ii it
(emotionally) satisfactory? If so, WHY?
If not, WHY NOT?

Is the character’s initial problem in any
way AMPLIFIED or RECONTEXTUALISED by the climax?
Explain.
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10. The emotional logic
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SCENE SEQUENCING and LOGIC: Does
each scene contribute to advancing or
retarding the main character’s progress
towards a clear goal?

Is there a clear cause & effect relationship from
one scene to the next? Please note any scenes
that are not doing so.
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11. AUDIENCE
For the screenwriter, alone, to answer:
To whom is the story addressed, and what
impact/result would you like it to have,
and why?
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12. TRIBE
For the screenwriter, alone, to answer:
Who is it that is speaking THROUGH the
writer, or FOR WHOM is the writer
speaking?
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13. DRAMATIC QUESTION

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What is the DRAMATIC QUESTION?
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14. THEME & PREMISE

What is the DRAMATIC ISSUE as
dramatised by the core emotional
energy? In other words, what is the
story ABOUT? What is its THEME?

What is the story’s PREMISE - the
central TRUTH about human and/or
non-human reality conveyed by the
characters’ actions?
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15. THE GIVEN
CIRCUMSTANCES
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16. 
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SOCIETAL - (I.e.: the significant groups,
clans, sub-cultures to which the
characters belong)
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CULTURAL -- (i.e.: what separates
“my kind” from “their kind”? Who is
the “US” and who is the “THEM”,
tribally?)
INTELLECTUAL -- (i.e.: the ways in
which the characters go about obtaining
or realising whatever it is that they
value)
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17. 
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LEGAL – (i.e.: the ways in which the
tribes’ enforcement of their values
impacts upon the actions of the
characters)
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POLITICAL – (i.e.: the ways in which
tribal governance impacts on the actions
of the characters)
ECONOMIC – (i.e.: the ways in which
the system of exchange and barter and
trade impacts upon the values and actions
of the characters)
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18. 
SPIRITUAL – (i.e.: the ways in which the
characters’ spiritual notions or values
impact upon or influence their actions)
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TIME (period and duration)
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LOCATION/s
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19. That’s ALL Folks!!!
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