Both structure and content inform each other as a story unfolds. Structure consists of storyboarding scenes that propel a story to its conclusion. It is the framework, the scheme, the scaffolding for the decisions of what to present. The content consists of actions that the characters perform in particular environments. These are the events that give life to relationships and suspense to structure.

To build an engaging and satisfying story, layer a myth as a superstructure. It will act as mile markers on a highway. Below is an example from the Caucuses consisting of thirteen moves of a powerful and ultimately satisfying story of arrogance and punishment. It predates the Greek legend of Prometheus, who stole fire and was chained to a rock.

While battling evil spirits in her search for a bride, her two brothers were killed and Amirani attempted suicide, only to discover to her dismay that she had come back to life. Thereafter, Amirani abandoned his search for a bride and, with the power of the Supreme God, faced another Giant. He is swallowed by the Black Dragon. Amirani cuts through the dragon’s belly and climbs out, then confronts the overgod himself. In response to his insolence, God punished him in three stages: he tied Amirani to a post sunk deep into the earth, second, God buried him in chains under a mountain pass, which formed a cave-like dome above him. ; and third, for one night each year, the mountain opened to reveal Amirani suspended in mid-air where a human tried in vain to free him, and the mountain closed again as a result of the woman’s excessive chatter.

In this example, the first story move is ‘While fighting evil spirits in his search for a bride, both of his brothers were killed.’ The story he is writing should reveal the evil spirits: are they bad cops, criminals, corrupt officials, etc.? Who or what is the bride? – a woman, a good career, a happy life, money, etc.? Who are her two brothers and how were they killed?

The filmmakers take the motions out of the stories by shooting locations and interviewing the actors. They are drawing the settings and the characters. For the scenarios, I consider the mood and places accessible to me for visits. For the characters, I use models of people I have met and adapt them to emphasize a particular characteristic. To make the settings and characters more real, I download images and build collages. I give them a speech by writing an ordinary day where they are introduced to another character.

Collages and sketches inform events, and events are organized into scenes and chapters.