Okay so this was actually the Mazin article I was looking for before that gives a much clearer explanation of the central dramatic argument - i think this is a transcript actually of a podcast. https://johnaugust.com/2019/scriptnotes-ep-403-how-to-write-a-movie-transcript Of all of the structural theory stuff I've read, I truly believe this is the most accurate, and most helpful for construction a recognisable, western movie framework. What your hero wants comes out of this, not the other way round. Typically we write from ideas and try to apply logic to them. I get an idea for a scene that sounds cool, and I ask myself where does this scene go in a bigger story, but the better way to do this, which is counter intuitive in some ways is to ask yourself what do you want to say and then find the right story to match it (or adjust your own idea to match it) which doesn't always work. Ideas are ideas and they are ten to a penny but they've not narrative, and you'll be beating yourself over the head all day until you switch it up and ask, what is something I want to prove to someone (your protagonist) is true? Now, how do I go about doing that in the most entertaining and emotionally engaging way possible? This is thesis (central dramatic argument) --pick whatever you want that to be whether it's something like unhealed human evil, when subjected to extreme isolation, will inevitably consume itself through the destruction of the family unit (the shining) or ife gains meaning through connection, community, and compassion, even in the face of profound grief (A man called Ove) or confronting the painful, complex truth—specifically regarding grief, loss, and the desire for an end to suffering—is necessary for emotional healing, even if it is agonizing. (a monster calls). These are all needlessly wordy and can be simplified down to something like: You can't treat madness on your own (shining) Life is worth living (ove) grieving is necessary to move on (monster) Mazin covers this incredibly well in the article but your job is to spend the entire film convincing your protag, who believes the complete opposite (anti-thesis) that this thesis is in fact true, and their way of seeing things is false. And you do that through action. When you decide what you want to say, you can then decide how best to say it (show it). Easy right? Actually, it's not. It's hard. But if it weren't hard, it wouldn't be fun. And once you've nailed the what and the how, you already have the structure, and the rest is just writing in the gaps. 5 and a half pages done today on my WIP. Happy with that.