• Books
• Must: The Writer’s Journey. Mythic Structure… by Christopher Vogler.
• Lagos Egri
• Writing the Script: Sid Fields
• Director-Writer-Producer
• self-taught
• A screenplay isn’t a piece of literature. It’s a framework or a skeleton that’s supposed to evoke. Movies are a collaborative effort. A director fills in the spaces between the words.
• Actions tells us whether a person is a hero or not, not their words.
• A screenplay tells us theme and architecture.
• Directors learn to feel for the structure under the skin.
• Subtext is one of a directors most valuable tools (not the words).
• Screenplays must suggest to and titillate a director, more than tell exactly what it should look like. 
• (A pitch should tell this theme and premise.)
• Theme might not emerge in the first draft of a script, but it should later.
• A clearcut premise almost always rolls right into the synopsis by itself.
• The protagonist will fuel the plot.
• A well defined, compelling character will attract strong talent, which will help line up a distributor.
• Characters can be more compelling to the people you pitch to than plot. There’s only so many plots, and they’ve all be done before. But a well defined character is compelling. 
• Link to the basic plots in literature (1 plot, 3 plots, 7 plots, 20 plots, 36 plots):
• http://www.ipl.org/div/farq/plotFARQ.html
• Joseph Campbell: The Hero’s Journey
• The character defines the plot, not the other way around.
• Structure
• Act 1: 30 screenplay pages
• Ordinary World
• Call to adventure
• Refusal
• Mentor
• First Threshold
• Act 2: 60 pages
• Tests, Allies, Enemies
• Approach to Inmost Cave
• Supreme Ordeal
• Reward (Seizing the Sword)
• The Road Back
• Act 3: 30 pages
• Resurrection
• Return with the Elixir