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| List of figures | |
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| List of development strategies | |
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| Foreword | |
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| Preface | |
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| Getting Ideas | |
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| Creativity and general problem solving | |
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| Triggering good ideas fast from screen models | |
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| Triggering good ideas fast from other models | |
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| What film are we in? | |
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| Conventional Narrative Structure | |
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| Overview of conventional narrative structure | |
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| Planning a conventional, three-act structure | |
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| Normality and disturbance (the set-up) | |
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| Action line or relationship line? | |
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| Protagonists and characters who seem like protagonists but are not | |
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| One protagonist, many antagonists | |
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| Characterisation | |
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| The plan and first-act turning point | |
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| The second act | |
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| The third act: Climax, resolution, symbolism and myth | |
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| Structural analysis of The Piano | |
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| Practical Plotting | |
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| The nature of the task | |
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| Close plotting: Beats, interweaving and condensing | |
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| Plotting: Tips, traps and rewriting | |
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| Genres with particular plotting problems | |
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| Parallel Narrative | |
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| An introduction to parallel narrative | |
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| Six categories of parallel narrative | |
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| Which structure suits my film? | |
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| Tandem narrative | |
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| Tandem narrative: An introduction | |
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| The macro in tandem narrative | |
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| Writing your tandem narrative film | |
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| City of Hope: Tandem narrative case study | |
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| Multiple protagonist narrative | |
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| Multiple protagonist narrative: An introduction | |
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| Multiple protagonists: Preliminary plotting | |
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| Multiple protagonists: Plotting the group action line | |
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| Multiple protagonists: Plotting relationship lines | |
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| Plotting issues in multiple protagonist quests, reunions and sieges | |
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| American Beauty: Multiple protagonist social siege | |
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| Double journeys narrative | |
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| Double journeys | |
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| Flashback narrative | |
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| Flashback: An introduction | |
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| Simple flashback forms | |
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| Complex or double narrative flashback: An introduction | |
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| Thwarted dream and case history flashback | |
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| Flashback: Protagonists, antagonists, and the enigmatic outsider | |
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| Autobiographical voice-over flashback | |
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| Planning a double narrative flashback film | |
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| Case studies of flashback films: Hybrids and oddities | |
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| Consecutive stories narrative | |
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| Consecutive stories narrative: An introduction | |
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| Consecutive stories: Stories walking into the picture | |
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| Consecutive stories: Different perspectives | |
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| Consecutive stories: Different consequences | |
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| Consecutive stories: Portmanteau films | |
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| Consecutive stories: Fixing journey stories with a portmanteau (Homer's Odyssey) | |
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| Fractured tandem narrative | |
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| Fractured tandem: An introduction | |
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| Pace, connection, meaning and closure in fractured tandem | |
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| Fractured tandem: The structure of 21 Grams | |
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| Four fractured tandem films | |
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| Lost in the Telling: Films with Structural Flaws | |
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| Conventional narrative films with structural flaws | |
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| Parallel narrative films with structural flaws | |
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| Getting It on the Page | |
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| Scene writing: Exposition, backstory and subtext | |
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| Dialogue | |
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| Treatment/outline writing and the script as an instruction manual | |
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| Index | |