This document provides definitions and guidance for analyzing a story including the logline, protagonist, story world, conflict, plot, and theme. It defines a logline as conveying the whole story in a single line to create interest. The protagonist is described as the character who wants something difficult but possible. Conflict is defined as an objective plus obstacles. The plot follows the cause and effect of the story from beginning to a satisfactory ending. The theme is the hero's emotional journey intended to move the audience.

1. Story Analysis Sheet:
What’s the logline:
Who’s the protagonist?
What’s the story world?
What’s the conflict: (Conflict= Objective + Obstacles)
What’s the plot?
What’s the theme or purpose of the story?
Definitions:
LOGLINE: It’s like the cover of a book. You must be able to tell the whole story in the line. The
idea is to create a compelling mental picture. Why will this hold an audience’s interest?
CHARACTER: Protagonist, antagonist and conflict.
What’s the guy want, and who’s trying to stop him.
The story is about somebody with whom we have some empathy. This somebody wants
something very badly. This something is difficult, but possible to do, get, or achieve.
PLOT: The cause and effect of the story. Beginning, middle and end or set-up, confrontation and
resolution. The story is told to the maximum emotional impact and audience participation in the
proceedings. The story must come to a satisfactory ending-not necessarily a happy ending.
CONFLICT: Conflict=objective +obstacle.
Three types of conflict: those between two characters, those within a character, and those
between a character and some aspect of the world.
UNITY: There must be only one main objective if the film is to have unity. The storyteller must
adhere to unity of time, location or action, but not all three. (i.e. it happens to one guy, all
happens in one place, all happens at one time.)
THEME: What’s the hero’s emotional journey? According to Robert McKee, a story must be a
vehicle for an emotion. The audience wants to be moved.
“Screenwriting is a piece of carpentry. It’s basically putting down some kind of
structural form to mess around with. And as long as the structural form is kept,
whatever I have written is relatively valid; a scene will hold regardless of the
dialogue. It’s the thrust of the scene that’s kept pure.” William Goldman.