Mariner Software Contour for Mac - Manual (Page 71)

I DONʼT GET NO RESPECT
Most screenplays are about one thing…respect! Your protagonist doesnʼt have it, knows he doesnʼt have it, and wants it.
In this first section make it clear to the reader that your main character is an orphan; an outsider looking in at world that
doesn't want him.
Shrek is being hunted by the townspeople who hate ogres. (SHREK)
Elliot is ignored and disrespected by his brother and his brotherʼs friends (E.T. – THE EXTRA-TERRESTRIAL)
Peter Parker is a slight, nerdy high school kid. (SPIDER-MAN)
YOU KNOW WHAT YOUR TROUBLE IS?
Make the protagonist's problem or flaw clear both to the protagonist and the reader. When in doubt, you may use the
(overused) line of dialog that goes "You know what your problem is?" uttered by the protagonist's ally or best friend.
Luke wants to leave the farm early and join the academy, but his uncle tells him no. (STAR WARS)
Elliot is told that he needs to think about how other people feel. (E.T. – THE EXTRA-TERRESTRIAL)
Hooper arrives and determines that "this was no boating accident!" (JAWS)
CALLS & BUSY SIGNALS
Give the protagonist the famous "call to adventure" which is followed by the equally famous "refusal of the call."
Jack sees Rose but doesn't dare go after her because of the difference in social status. (TITANIC)
Luke is told by Obi-Wan that he must learn how to be Jedi but Luke says he can't...he's got too much to do. (STAR
WARS)
Fletcher wants to take his son to wrestling, but the big case is dropped in his lap and he chooses to prepare for the
trial. (LIAR LIAR)
Sam gets the letter from Annie but refuses to answer it. (SLEEPLESS IN SEATTLE)
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