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| Foreword | |
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| Preface | |
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| Introduction, or A Fistful of Popcorn | |
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| Looking for the Formula, or The Quest for the Watchable Sow's Ear | |
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| Exercise: Looking for the Formula | |
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| Toward a Definition of Structure, or Let's NOT Get Physical | |
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| Exercise: Toward a Definition of Structure | |
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| Other People's Systems, or For Those Who Bought My Book by Mistake | |
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| Aristotle: The Plots the Thing | |
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| Exercise: Aristotle | |
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| Lajos Egri: Defeating the Thud | |
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| Exercise: Lajos Egri | |
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| Howard & Mabley: Ironying Out the Wrinkles | |
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| Exercise: Howard &Mabley | |
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| Syd Field: Brother, Can You Paradigm? | |
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| Exercise: Syd Field | |
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| Robert McKee: Falling Into the Gap | |
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| Exercise: Robert McKee | |
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| Dynamic Conflict Defined, or Guy Versus Guy | |
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| Exercise: Dynamic Conflict Defined | |
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| Dan O'Bannon's Dynamic Structure, or Getting to Poof | |
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| Exercises: Dan O'Bannon's Dynamic Structure | |
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| Dynamic Character: O'Bannon on Character as structure, or Choosy Writers Choose Choice | |
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| Exercise: Dynamic Character | |
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| Structural Analyses, or Don't Take My Word For It… | |
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| Casablanca | |
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| Exercise: Casablanca | |
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| Citizen Kane | |
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| Exercise: Citizen Kane | |
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| Crouching Tiger, Hidden Dragon | |
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| Exercise: Crouching Tiger, Hidden Dragon | |
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| A Doll's House | |
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| Exercise: A Doll's House | |
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| Dracula (1931) | |
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| Exercise: Dracula | |
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| Dumb & Dumber | |
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| Exercise: Dumb & Dumber | |
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| Invasion of the Body Snatchers | |
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| Exercise: Invasion of the Body Snatchers | |
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| King Lear | |
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| Exercise: King Lear | |
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| Lawrence of Arabia | |
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| Exercise: Lawrence of Arabia | |
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| Lost Horizon (1937) | |
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| Exercise: Lost Horizon | |
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| Psycho (1960) | |
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| Exercise: Psycho | |
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| Some Like It Hot | |
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| Exercise: Some Like It Hot | |
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| Do-It-Yourself Script Analysis, or Take YOUR Word For It! | |
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| Exercise: Applying Dynamic Structure to Story | |
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| Exercise: Applying Dynamic Structure to Character | |
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| Story Typology, or It's in the Way That You Use It | |
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| Exercise: Story Typology | |
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| On Pace, Exposition, and Twists, or Introducing Hedonic Adaptation | |
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| Exercise: On Pace, Exposition, and Twists | |
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| Why Three Acts? or Pass Ergo, Collect $200 | |
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| Exercise: Why Three Acts? | |
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| Length of a Screenplay, or Filling the Digital Doggy Bag | |
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| Exercise: Length of a Screenplay | |
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| Inspiration Versus Rules, or Calling the Script Cops | |
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| Exercise: Inspiration Versus Rules | |
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| Perspective, or Phooey On What You Say | |
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| Exercise: Perspective | |
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| What is a Producer? or Not Who, What | |
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| Exercise: What is a Producer? | |
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| Screen Credits, or Joining the Desaparecidos | |
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| Exercise: Screen Credits | |
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| Why be a Screenwriter? or I'll Make This Brief | |
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| Exercise: Why be a Screenwriter? | |
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| Fear, or Taking in the Garbage | |
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| Exercise: Fear | |
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| Conclusion | |
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| Afterword | |
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| Dan O'Bannon: Filmography | |
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| About the Authors | |