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PLOT POINT

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PLOT POINT is an original dramatic, action-thriller. The script is driven by solid themes about making the right life choices, freedom, control, and destiny. The tone is consistently dramatic.

The script features a non-conventional structure in which two main storylines are taking place at one time. One plot is based on the life of the central protagonist and his real life dilemma. This storyline combines drama with a crime thriller.

The second plotline is a fictional or fantasy action story that is created by the protagonist’s imagination; it’s the story he’s writing. Both are driven by similar themes (freedom and life choices). The storyline also explores the boundaries between reality and fantasy.

There are definite strengths to the …show more content…

The protagonist is likable, the goal is strong, the obstacles are solid, there’s a worthy opponent, and the hero is placed in great danger. There’s a particularly intense scene in which Schneider is forced to make a harrowing moral choice about saving the doctor. There’s a compelling twist when he realizes he was tricked.
It’s easy to like Schneider. He’s smart, a bit charming, and he’s proactive. He finds his freedom at the end. However, his backstory lacks substance.

Thus, one solution is to create one storyline about Schneider or to create a story about writer, who stumbles into his own action storyline and he essentially becomes “Owen Schneider”.

In other words, Robert begins as a very unexciting, action writer, with a sideline of cryptology. Maybe he unwittingly stumbles upon a code/manuscript that Oldman wants and then he essentially ends up being a real hero. It’s a way to combine both storylines and a way to make for a more exciting protagonist.

The subplot involving Robert and his father isn’t the most engaging only because the story is already challenging to follow and this subplot feels like it hinders both stories. The flashback on page 86 further complicates the plot and takes the audience out of both main plotlines. Consider …show more content…

He’s worthy and presents the fictional hero with strong obstacles. There’s an interesting scene in which he says he’s Elmet Gregory Oldman aka EGO (or Iego). It feels like clever subtext (while intended or not) that this character represents the “ego” of alter ego of Robert the creator or controller. It’s not entirely clear, but one gets the sense that when Schneider talks about Oldman controlling everything, that he’s actually talking about Robert – the writer controlling his destiny, “It’s because he wants us to be there.” Later, Oldman says, “I control all your (typo – you) movements…” It’s very

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