編劇小記 — Contour

前言

Contour 是一款比較優秀的編劇輔助軟件，按理說這篇文章應該歸類到mac小記中，但其操做很是簡單，基本上以寫做提示爲主。只怪全部提示都是英語，並且不少，每次使用打開 Contour 個別單詞都要從新查字典，因而決心花點時間整理和背誦，既學了單詞又學了編劇，一舉多得。

Ideas && Guide

其實在 Contour 中有一點比較遺憾，類別名都是英語，並且不可更改，這在創做主體是中文的狀況下有點彆扭。先說Ideas吧， 這能夠說是一個靈感庫，常常想忘記的單詞是：Concept 概念 & Phrase 短語 ，其餘：Action beat、Character、Concept、Dialog、Joke、Location、Phrase、Scene、Setting、Theme、Title、Website。

Guide功能其實就是將寫好的場景拼接起來呈現一個預覽，第一次看的時候有點蒙，有幾個提示全部單詞都認識，可是連起來就瞎了：

• I don't get no respect. 我沒有獲得尊重。
• You know what your trouble is? 你知道你的麻煩是什麼嗎？
• Calls & busy signals. 求助而後失敗。
• Through the looking glass. 突破無形的障礙。
• Kick the dog. 生氣。
• Which way is up? 出路在哪？
• When life gives you lemons make lemonade. 既來之，則安之。
• Inside the whale. 陰暗面。
• Death & Rebirth. 死亡和重生。
• What's the worst that can happen? 可能發生的最壞的狀況是什麼？
• Good guy vs bad guy over stakes. 好人比壞人強。

看完以後彷彿腦門一隻烏鴉飛過，而且扔下了幾個句號，做爲軟件的提示語，幹嗎要用俚語呀，生怕別人看懂嗎？

寫做流程

Questions

Who is the main character? 主角是誰？

The HERO, or main character, of your story MUST be sympathetic. If the audience cares about the hero, they'll be more invested in the outcome of the story. 在你的故事中，主角必須值得同情和能讓人產生共鳴。若是觀衆關心主角，那麼他們對故事的結局將投入更多的期待

Two techniques you can use to make your hero sympathetic are to give him undeserved misfortune, or show him "petting the dog." 有兩種技巧可讓你的主角產生共鳴，分別是給他不尋常的不幸或者展現他的寵物狗

If your character has undeserved misfortune, he has been the victim of circumstances beyond his control. An unfaithful spouse, abandonment, the death of a loved one, the loss of a job — all of these can quickly get an audience on your hero's side. 若是你的角色有不正當的不幸，他就是在情境中失去本身掌控的受害者。配偶的出軌，被親人放棄，愛人的死亡，失去工做 —— 全部這些都可以快速地讓觀衆站隊到主角那邊。

Showing your hero "petting the dog" means showing him being nice to animals, kids, or old people. (Conversely, if you want to quickly show your hero's Main Antagonist as unsympathetic, show him being nasty to animals, kids or old people!)
展現主角的寵物狗意味着顯示了主句善待動物，小孩和老人（相反，若是你要迅速展現反派是無情的，那麼他應該討厭動物，小孩和老人！）

例子:

• Jack Dawson is poor. Jack Dawson很窮。
• Luke Skywalker is an orphan and feels trapped on the farm. Luke Skywalker是個孤兒，以爲被困在農場裏。
• Elliot has been abandoned by his father and has no friends. Elliot被他父親拋棄了，並且沒有朋友。
• Peter Parker is an orphan and a nerd. Peter Parker是個孤兒，也是個書呆子。
• The Grinch was made fun of as a child over his feelings for a girl.Grinch對女孩的感情被一個孩子嘲笑過。
• Fletcher is a liar but is loved by his insanely cute son, and truly loves his son in return.Fletcher是個騙子，但他被可愛的兒子愛着，也真正地愛他的兒子。
• Jack Sparrow is endearingly idiosyncratic, heroic, and only wants his ship back.Jack Sparrow擁有討人喜歡的氣質，勇敢的淨勝，並且他只是但願可以找回他的船。

What is the main character trying to accomplish? 主角想完成什麼？

Your hero must always be trying to accomplish a compelling goal; something he can’t turn his back on; something that if he doesn't do it, it won’t get done, and not only will he suffer, but INNOCENT PEOPLE WILL SUFFER TOO. This point is crucial, because the suffering of the innocent is the stuff of empathy and drama. 你的主角必須一直嘗試去完成一個引人注意的目標；某些事是他沒法拒絕的；某些事若是他不努力，就沒法獲得，並且不只僅他會痛苦，一些無辜的人也會痛苦。這一點相當重要，由於無辜者的痛苦是戲劇中產生共鳴的重要素材

"Make the goal compelling" is a fancy way of saying that it isn’t enough for your hero to care about what he's trying to accomplish. The audience has to care as well. 「凸顯目標的重要性」是一種奇特方式不只僅讓你的主角關心他的目標，讓觀衆也要關心。

例子：

• Jack Dawson is trying to save Rose from a loveless relationship and get the two of them off the luxurious, yet sinking, steamship so they can have a life together. Jack Dawson想把Rose從一個無情的關係中拯救出來，離開豪華的，將要沉沒的遊艇，而後他們就能夠一塊兒生活
• Luke is trying to rescue Princess Leia and destroy the greatest death machine ever invented. Luke試圖營救Leia公主和破壞世界上最強大的死亡機器
• Elliot is trying to get his new best friend the nicest alien back home before it dies. Elliot試圖幫助他最好的新朋友，一個友善的外星人在遇難前回家
• Dr. Alan Grant is trying to rescue himself, his girlfriend, and two children from the most awesome killing creatures ever bio-engineered. Alan Grant博士試圖從生物工程裏最有殺傷力的生物中拯救他的女朋友和孩子以及他本身。
• Peter Parker is trying to save Mary Jane and the entire city from the insanely diabolical Green Goblin. Peter Parker試圖從Green Goblin這個瘋狂的惡魔中拯救Mary Jane和整個城市

Who is trying to stop the main character? 誰在試圖阻止男主角？

Just as your hero is committed to accomplishing his goal, you need a MAIN OPPONENT or ANTAGONIST who is committed to accomplishing the opposite goal. Ruthlessly committed. And the more ruthless, the better. Not only that, but the Main Opponent’s goal should be mutually exclusive from the hero’s goal. In that final match up between hero and villain, there can be only one winner. 就像你的主角提交了一個引人注意的目標，你須要一個競爭對手或者一個反派提交一個相反的目標，無情地提交，越無情越好。不只僅如此，主角和反派的目標應該是相互的，在這場對決中最後只有一個勝利者。

A mutually exclusive, compelling goal for your hero and his opponent to knock heads over is an essential part of any good script.* 爲你的主角創造一個使人信服的對立面這是全部好劇本的重要部分*

例子：

• Jack Dawson’s main opponent, the person who is ruthlessly committed to stopping Jack and Rose, is Cal Hockley, Rose’s fiancé. Jack Dawson的主要對手是Hockley的未婚夫，無情地在阻止Jack和Rose。

• The Empire, as personified by the Grand Moff Tarkin, is the main opponent. Many people assume Darth Vader is, but he's the henchman. Tarkin’s the guy in the black hat. 這個帝國，就像Grand Moff Tarkin同樣，都是主要的大反派，不少人認爲他的掌控者是Darth Vader，但其實他只是一個追隨者，真正地幕後黑手是Tarkin。

• The Green Goblin is hell bent on taking over New York, and to do that he needs to get Spider-Man out the way using Mary Jane. Peter Parker's goal is to save Mary Jane, and as Spider-Man he has a duty to protect New York. Green Goblin正在一步步攻佔城市，爲了達到目的他須要利用Mary Jane將蜘蛛俠趕出城市。Peter Parker的目標是拯救Mary Jane，並且做爲蜘蛛俠，他有責任保護紐約。

What happens if the main character fails? 若是主角失敗會發生什麼？

This is the simplest of all the four questions to answer, because there can be only one answer: death. The life and death of your hero are the only stakes you can know for sure people will care about, because by the time you get here, you should have:這是四個問題中最簡單的問題，由於能夠僅回答一個答案：死亡。主角的生死是惟一你可以肯定觀衆必定會關心的，由於到這個時候，可能會有如下場景：
. . .a sympathetic hero, who has probably. . . ...一個讓人同情的主角，他可能...
. . .suffered some sort of undeserved misfortune, and. . . ...遭受了某種不公正的不幸...
. . .who is engaged in a compelling goal, against. . . ...有人蔘與了主角定的目標，而且反對...
. . .a ruthlessly committed opponent. ...一個無情地對手站到了對立面...

If your script has all of the above, it's self-evident that anyone reading it will care deeply whether the hero and the characters surrounding him live or die, because the whole purpose of questions 1-3 is to make them care! 若是你的劇本具有上述全部內容，那麼能夠明確得說任何人閱讀它都會深深地關心主角和主角身邊的人的生死，由於前三題的做用就是讓觀衆關心他們。

The death the character faces should be, whenever possible, real physical death. If real death can't be played out in your story (perhaps you're writing a love story or you want your story to be more "family friendly"), then you must use a figurative death. But it has to be a figurative death so strong it might as well be real death. 死亡是主角必需要面對的，只要有可能，讓主角真正地死亡。若是真實的死亡不能在你的故事中發生（也許你正在寫一個愛情故事，或者你但願你的故事更趨向完美結局），那麼你必須使用抽象的死亡。它很是強烈，甚至可以至關於真正的死亡。

例子：

• If Luke fails, the Death Star destroys the rebel base and kills Princess Leia. 若是 Luke 失敗了，死亡之星將摧毀叛亂基地並殺死 Leia 公主。

• If Elliot fails, E.T. will die. 若是Elliot失敗了，外星人將會死亡

• If Peter Parker fails, Mary Jane will die and the people of New York will suffer. 若是 Peter Parker 失敗了，Mary Jane 將會死亡，紐約人民將會遭受苦難。

• If Dr. Crowe can't help Cole, then Cole will go insane, and potentially suicidal and/or homicidal like the patient who shot Dr. Crowe at the start of the film. 若是 Crowe 不幫助 Crowe，Crowe 將會瘋掉，潛在的自殺或者殺人行爲就像 Crowe 在電影開始前醫治的那個病人那樣。

• If Forrest fails to get Jenny to love him, her lifestyle will kill her and he'll lose the only person who can love him for who he is. 若是 Forrest 不能讓 Jenny 愛上他，一方面她的生活方式會殺了她，另外一方面他將迷失本身和失去惟一愛他的人。

Archetypes 原型

How is the main character an orphan in Act Ⅰ? 主角怎麼了，在第一幕中他是孤兒嗎？

In Act I, the hero is an ORPHAN, either literally or figuratively. 在第一幕中，主角是一個孤兒，字面意義上的或者象徵意義上的

The cause of the hero's Orphan status can be outside his control. Or he can choose to become an Orphan by distancing himself from family or love because of duty, rebelliousness, selfishness, or emotional reserve. 主角孤獨狀態的緣由能夠是事情已經再也不他的掌控之中。或者他能夠選擇怎樣變成孤身一人，由於責任把本身從家庭或者愛情中疏遠，叛逆，自私或自閉

In some way, shape, or form, the Orphan is unique from the rest of the world around him. 從某種程度上說，這個孤兒和周圍的全部人都不同

例子：

• Tony Stark has no deep relationships, is an actual orphan (his father is dead), and is kidnapped by terrorists. Tony Stark 沒有真正的朋友，他是個孤兒（他的父親死了），如今他又被恐怖分子綁架了

• Bruce Wayne's parents are killed. Bruce Wayne 的父母被殺了

• Fletcher is divorced and is a bad father to his loving son. Fletcher 離婚了，相對於有愛的兒子，他是一個壞爸爸。

• Luke doesn't know who his parents are, and at the end of Act 1 his aunt and uncle are brutally killed. Luke 不知道他的父母是誰，在第一幕結束的時候他的叔叔嬸嬸都被殺害了

• Sam is a widower and has relocated to Seattle, where he is still feeling the pain of his wife's death. Sam 是個鰥夫，即便搬遷到西雅圖他任然對他妻子的死亡感到很是痛苦。

How is the main character a wanderer/warrior in Act Ⅱ? 主角怎麼了，在第二場中他是流浪者/勇士嗎？

In the first half of Act II the hero becomes a WANDERER, striving to find the answer to the Central Question. As a Wanderer, the character looks for clues, meets helpers, runs into opponents, and overcomes obstacles, along with acquiring the skills and tools he thinks he needs to answer the Central Question. 在第二幕的前半段，主角變成了迷失者。 努力尋找問題的核心答案。做爲一個迷失者，角色尋找線索，遇到助手，遇到對手，克服障礙，以及得到幫助他回答核心問題的技能和工具

例子：

• Tony Stark develops and figures out how to use his Iron Man suit and its technology. Tony Stark 開發計算出如何使用鋼鐵俠套裝方法和技術

• Bruce Wayne travels, learns fighting techniques, and then returns to Gotham where he figures out how to become the Batman. Bruce Wayne 旅行，學習格鬥技術，而後回到了高譚市，在那裏他找到了如何成爲蝙蝠俠。

• Fletcher tries to learn the conditions of his curse and how to break the spell. Fletcher 試圖瞭解他的詛咒的情況以及如何打破魔咒

• Luke goes with Obi-Wan, meets Han, and finds the Death Star, where he discovers the Princess is being held. Luke 和 Obi-Wan 一塊兒碰見了 Han，找到了死亡之星，而且他發現了公主被關押的地方

• Sam begins to deal with his son's desire for him to meet Annie, while Annie tries to track down Sam. 當 Annie 試圖跟蹤 Sam 的時候，他開始處理兒子像和 Annie 見面的慾望

How is the main character a martyr in Act Ⅲ? 主角怎麼了，在第三場中他是殉道者嗎？

To answer the Central Question, the hero must be willing to die irrevocably, becoming a MARTYR. Only by a willingness to lose it all can he win it all. 爲了回答核心問題，主角必須爲此絕不猶豫地去死，成爲一個烈士。只有心甘情願失去全部，他才能贏得這一切。

Taking on the Martyr archetype, the hero is no longer motivated by the possibility of success. Instead he is driven solely by the desire to do what is right or necessary, no matter the consequences. Once he gives up the thought of winning, embracing the transition from Warrior to Martyr, fate or nature or God rewards him by giving him what he no longer dared hoped to get: success. Maybe, if he's lucky, it’s what he needed all along. 以殉道者爲原型，主角再也不被成功的可能性所驅使。相反，他徹底被慾望驅使去作正確或必要的事情，無論後果如何。一旦他放棄了勝利的思想，接受了從戰士到殉道者的轉變，命運或天然或上帝給予他再也不但願獲得的東西來獎勵他：成功。也許，若是他運氣好，但這就是他所須要的。

The Martyr can also be a character other than the hero. In this variation of the Martyr archetype, the hero learns and is motivated by the Martyr's example. 烈士也能夠是主角之外的人物。在這種殉道原型的變異中，主角學習並受到殉道者榜樣的激勵。

例子：

• Even though he knows it might kill him, Tony Stark goes up against the souped-up Iron Monger. 儘管他知道這會殺了他，Tony Stark仍是義無反顧地上前加大 Iron Monger 的反抗。

• Bruce Wayne is willing to sacrifice his reputation and his house to keep his birthday guests safe, Alfred is willing to risk his life to save Bruce, and finally, Batman is willing to brave the Arkham Asylum to save Rachel and the city. Bruce Wayne 願意犧牲本身的名譽和他的房子讓他的生日客人的安全，Alfred願意冒着生命的危險去救Bruce Wayne，最後，蝙蝠俠爲了拯救 Rachel 和城市勇敢地去面對 Arkham Asylum。

• Fletcher gives up a partnership to go after his son. Fletcher 放棄追回他的兒子。

• Luke is willing to fight the Empire to destroy the Death Star and save the Princess. And Han Solo is willing to give up money and risk the fury of Jabba the Hutt to help Luke. Luke 願意與帝國做戰，毀滅死亡之星和拯救公主。Han 也願意放棄金錢，冒着承受 Jabba 怒火的分險去幫助 Luke。

• Annie is willing to give up a marriage to a perfectly good (although boring) man just to find out if Sam is waiting for her atop the Empire State Building. Annie 願意放棄和一個很是好（雖然很無聊）男人的婚姻，只是想看看 Sam 是否在帝國大廈等她。

Formula 公式

When a TYPE OF PERSON has/does/wants/gets A, he gets/does/tries/learns B, only to discover that C now happens; and he must respond by doing D. 當一我的擁有/想要/獲得 A，他獲得/嘗試/學習 B，卻如今發生了 C，他必須作 D。

The 「A」 statement is the ORPHAN statement. 「A」是孤獨者的聲明。
The 「B」 statement is the WANDERER statement. 「B」是迷失者的聲明。
The 「C」 statement is the WARRIOR statement. 「C」是戰鬥者的聲明。
The 「D」 statement is the MARTYR statement. 「D」是犧牲者的聲明。

The formula is a promise to the audience. This short formula (60-80 words) contains the full scope of your story from start to finish. 這個公式是對觀衆的承諾。這個簡短的公式（60-80字）包含了從你的故事全範圍完成。

例子：

• When an under-appreciated boy is accidentally left behind by his family who are off to a European vacation (Orphan), he must learn how to take care of himself and be the man of the house (Wanderer), only to discover that his house has been targeted by bumbling burglars whom he thwarts several times before realizing they now know he is alone and are regrouping (Warrior), so he must now single-handedly defend the house (Martyr).
  當一個聰明的小孩意外地被去歐洲度假的家人留在了家裏（孤兒），他必須學會如何照顧本身，成爲家的主人（流浪者），直到家裏進了愚蠢的盜賊，阻撓了幾回才意識到本身是獨自一我的，必須從新想辦法（勇士），而後單槍匹馬地保衛家（殉道者）。

• When an aquaphobic Sheriff is confronted by the horror of a great white shark attacking the beaches of his new island community (Orphan), he tries unsuccessfully to get the town leaders to take the threat seriously (Wanderer), only to realize that the shark has become territorial and that he must charter a boat to go and destroy the shark himself (Warrior), ultimately leading to a personal battle with the almost supernatural beast (Martyr).
  當一個身患恐水症的警長面對恐怖的大白鯊攻擊他新的羣島（孤兒），他試圖尋找鎮領導可是失敗了，他必須認真對待這一威脅（流浪者），他知道鯊魚已經變得有領土意思，他必須找到一條船靠本身的力量去摧毀鯊魚（勇士），最終致使他一我的和超天然的野獸勇敢地戰鬥（殉道者）。

• When a poor artist wins a ticket to America on the Titanic, he saves the life of a beautiful society girl trapped in a loveless engagement (Orphan). The artist and the girl spend time together and fall in love (Wanderer), only to discover that the Titanic has hit an iceberg and is now sinking. The artist must get the girl away from her fiancé and off the ship to safety (Warrior); however, she refuses to leave without her fiancé, so he must figure out how to save them both (Martyr).
  當一個可憐的藝術家贏得了一張去美國的船票，在泰坦尼克號上，他拯救了一個陷入無情訂婚交易煩惱的美女（孤兒）。藝術家和女孩聚在一塊兒墜入愛河，卻發現泰坦尼克號撞上了冰山，如今正在下沉(流浪者)。藝術家必須讓女孩離開她的未婚夫和而且安全地離開船隻（勇士）；然而，她拒絕和她的未婚夫一塊兒離開，因此他必須找出如何拯救他們方法（殉道者）。

Orphan 孤兒

Plot Point 1 — We meet either the HERO, the VICTIM/STAKES CHARACTER, or the ANTAGONIST. 劇情1 - 咱們遇到主角，受害者/利益相關者，或者對手的其中一位。

It's your call whom we meet first. If we meet the hero first, he appears in his ordinary world. 根據你的設定咱們最早遇到誰。若是最早遇到主角，他會出如今他那個平凡的世界裏

If we meet the Victim (or Victims) first, we are usually meeting him either just at or just before the moment of his victimization. 若是咱們首先遇到受害者，咱們一般是在他被害或者被害前的那一刻見到他。

In many films, we meet the Antagonist and the Victim at the same time for the obvious reason: a victim needs someone to be victimized by and an antagonist needs someone to antagonize. 在許多電影中，咱們同時遇到了對抗者和受害者，緣由很明顯：受害者須要有人被欺負，而對手須要有人來對抗。

Plot Point 2 — We see the hero's flaw in relation to the Stakes Character. 劇情2 - 咱們看到了主角在關係中的缺陷

The Stakes Character is the human face representing all of the people the bad guys are victimizing; he or she is usually someone personal to the hero, or whom the hero feels deeply about. 冒險者角色是表明全部正在被壞人迫害的人; 他們中的一個一般是主角，或者讓主角感觸很深的人。

In this plot point, we see what's wrong with the hero's life via the life of the Stakes Character. At the start of most films, the hero is flawed or wanting in some way. The Stakes Character usually has the qualities the hero needs in order to complete his arc. 在這個劇情中，咱們經過冒險者的生活，看到主角的的生活有什麼問題。 在大多數電影的開始，主角英雄是有缺陷的或者在某種程度上存在不足。冒險者一般具有有幫助主角完成他曲折目標的特質。

Plot Point 3 — We meet the Antagonist, or someone or something symbolic of the Antagonist. 劇情3 - 咱們碰見了對手，或者是某人，或者是某個表明對手的事物。

We finally meet our bad guy, or at least a representative of the bad guy; sometimes this plot point is simply a moment that is representative of what the bad guy is trying to accomplish. 咱們終於碰見了壞人，或者至少是壞人的表明；有時這個劇情只是一個壞人表明想要完成某件事情的時刻。

In the first 3 plot points of Act One, these landmarks occur: 在第一場的前三個劇情中，將發生如下有表明性的事情：

• The Thematic Argument of the film is stated, either explicitly or implicitly, through action or a visual. 經過行動或視覺，明確或隱含地陳述電影的主題論點。

• The hero is established in his ordinary world as the greatest or most extreme version of something. 主角在他平凡的世界裏創建了很是偉大或者極端的東西。

• The hero has limited awareness of which aspect of him is "broken." This "brokenness," often associated with a "ghost" from the hero's past, is a major and unresolved crisis the hero has ignored or inadequately dealt with, and it's coming to a head RIGHT NOW! 主角對」---「意識不夠。」---（brokenness 不知道用什麼詞語代替合適）「一般與主角的過去有關，是被主角忽視的或者沒有處理好的一個主要的未解決的危機，並且如今立刻要爆發了！

• The audience should start becoming aware of the hero's three areas of conflict: Professional - the big issue everyone around the hero can see; Personal - a smaller issue the hero shares with only a select few; and Private - the innermost issue that the hero must grapple with alone. 觀衆應該開始關注主角三個矛盾：職業方面 - 主角周圍的每一個人均可以看到的大問題；我的方面 - 一個主角只願意和少數人分享的小問題；隱私方面 - 主角必須獨自承受和解決的問題。

Plot Point 4 — The DEFLECTOR slows the hero down, pulling him off the path. 劇情4 - 「阻礙者」衝擊了主角，把他拖下軌道。

The Deflector is a character who diverts the hero from his goal. The Deflector might want the hero to do things his way, rather than let the hero do things his own way. He might be an otherwise good guy, only misguided. He might be a bad guy. There might be many "assistant" Deflectors in your film. Anyone who gets in your hero's way and tries to stop him is a Deflector. Plot Point 4 can be given to either the Main Deflector (the preferred choice) or any of the assistant Deflectors you have lying around. 「阻礙者」是一個把主角從原目標偏移的一個角色。「阻礙者」可能想讓主角不要獨斷獨行，從而按照他的方式作事。他多是個好人，僅僅是誤導了主角。他也多是個壞人，你的電影中可能存在許多這樣起到這樣副作用的推手。任何在主角的道路上試圖阻礙他的都是一個「阻礙者」。在劇情4中你能夠放置一個主要（首選）或者次要的「阻礙者」。

Plot Point 5 — The INCITING EVENT happens, causing the hero to become emotionally involved. 劇情5 - 某個刺激性的事件致使主角產生了複雜的情緒。

The hero starts to get tugged out of the ordinary world by an emotional connection to the adventure at hand. Or if not the hero, then the audience gets emotionally involved on the the hero's behalf. 主角由於深刻心裏的情緒開始努力去掙脫平凡的世界。或者若是不是主角，那麼觀衆就會在情感上站在主角那邊。

In these next 2 plot points of Act One, these landmarks occur: 在第一場的這兩個劇情中，將發生如下有表明性的事情：

• The Inciting Incident happens, an event that rocks the hero's world, changing things forever. 發生了刺激性的事件，這個事件永久地改變了某些事情，而且動搖了主角的世界。

• The hero has an increased awareness of his inner needs. 主角更加深入地意識到本身心裏的訴求。

• The stakes are made clear; we learn what the hero stands to lose. 利益關係很是明確；咱們都瞭解到主角將會失去什麼。

• The proverbial call to adventure occurs or is alluded to. The hero is or made aware that he may have to leave the ordinary world. But he either doesn't acknowledge the call or refuses to answer it... yet! 某種危險或明或暗地將要重現。主角被召喚或者意識到他可能不得不離開平凡的世界。但他要麼不認可這個召喚，要麼拒絕回答...

Plot Point 6 — The hero's goal is clarified as it relates to the Stakes Character and/or Love Interest. The hero’s problem is made clear to the audience. 劇情6 - 主角的目標明確地涉及到朋友和/或愛人。主角清楚地向觀衆交代了所面臨的問題。

This plot point is a clarifying beat, showing (or foreshadowing) the hero's connection to or problem with the character with whom he has (or will have or wants to have) the deepest personal connection. 這個劇情是一個明確的節拍，代表（或預示）主角與他（或將要或想要）最深關係的那我的的聯繫或問題。

A famous and overused line of dialog is sometimes spoken at this plot point; the line usually comes from the best friend, who looks the hero in the eye and says "Do you know what your problem is?" The best friend then goes on in exacting detail, explaining to the hero (and to the audience) exactly what the hero is going to need to learn to complete his arc by the end of the film. 一場很是有名的對話一般會在這個劇情中說出；這場話一般是主角最好的朋友看着他的眼睛說出：「你知道你的問題出在哪裏嗎」。而後最好的朋友會繼續展開細節，向主角（和觀衆）解釋在電影結束以前主角須要怎樣去學習怎樣去完成本身的使命。

That dialog might be overused, but the intent of the moment is on the mark. This plot point is a good place to let the audience know in no uncertain terms the emotional journey on which your hero must embark to become whole. 那個對話可能會被濫用，可是在這個時刻卻有標誌性的含義。這是一個很是合適的情景點讓觀衆知道主角必須經歷一場總體上的情感之旅。

Plot Point 7 — An ALLY aids the hero by propelling him out of the status quo. 劇情7 - 一個盟友幫助主角擺脫現狀。

Your hero is driven by his wants and his needs. Usually the two are different, but they're related in that the hero often gets what he wants only by first getting what he needs. Bring an Ally into the story who can help move the hero along the path towards getting what he wants, or more often, what he needs, by breaking the status quo of his world. 你的主角被他的夢想和需求所驅動着。一般狀況下，這二者是不一樣的，可是他們之間的相關性在於，主角一般只有先獲取了他的需求才能去實現他的夢想。把一個盟友帶入這個故事中，經過打破他的現狀來驅使主角去實現他的夢想，或者一般狀況下是去獲取實現夢想的前提條件。

Sometimes, this Ally is a true ally; sometimes he grows to become a true ally; and sometimes he is an anonymous character who moves into the story, serves the Ally-function of this plot point, and then disappears. In all three cases, the hero is living through his everyday existence, and through the (perhaps unsolicited) help of an Ally, he is pushed out of his complacency and into the start of something extraordinary. 有時候，這個盟友是一個真正的盟友，或者成長爲真正的盟友；有時候他是一個毫無相干的路人用於服務盟友這個劇情點，而後消失。這三種狀況貫穿了主角的平常生活，貫穿了盟友（也許是不親自來）的幫助過程，主角再也不知足於當下，開始開啓非凡的征程。

Plot Point 8 — The hero seems ready to move forward toward a goal and/or Stakes Character, but can’t bring himself to do it. 劇情8 - 主角彷佛已經準備好朝着一個目標和/或相關的角色前進，可是不能讓他本身去作。

Now that an Ally has helped move the hero toward his goal, he is faced with a decision whether to remain bound to the ordinary life he has been living, or go for something bigger. Often, the hero is reluctant and needs convincing. 如今，一個盟友幫助主角走向了本身的目標，他面臨着一個問題，是讓主角一直保持日常的生活，或者是去完成他的使命。一般狀況下主角不肯意改變，須要被說服。

As someone smart once said, "Change is hard." This is especially true on a personal level. To change the course of one's life is as difficult a task as a person might ever face. Often, when the opportunity for change is present, one's emotional mind wants to go for it, while one's rational mind raises all sorts of (very reasonable) objections. In the classic mythic story structure, this dynamic is akin to the Call to Adventure/Refusal of the Call. 正如一個智者曾經說過的，「改變是艱難的」，在自身層面尤爲如此。改變一我的的困難程度多是史無前例的。一般狀況下，當面臨改變的時候，一方面情感上想要去追求，而另外一方面理性的頭腦會提出各類（很是合理的）反對意見。(查不到這句俚語應該怎麼翻譯，反正應該就是腦殼裏兩個「小人」在相互打架)。

臨時結語

後續還有一堆，可是翻譯到這裏已經浪費太多時間，俚語太多也是個腦殼大的問題，有空再繼續，見諒。

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個人公衆號《有刻》，咱們共同成長！