前言
Contour 是一款比较优秀的编剧辅助软件，按理说这篇文章应该归类到mac小记中，但其操作非常简单，基本上以写作提示为主。只怪所有提示都是英语，而且很多，每次使用打开 Contour 个别单词都要重新查字典，于是决心花点时间整理和背诵，既学了单词又学了编剧，一举多得。
Ideas && Guide
其实在 Contour 中有一点比较遗憾，类别名都是英语，而且不可更改，这在创作主体是中文的情况下有点别扭。先说Ideas吧， 这可以说是一个灵感库，经常想忘记的单词是：Concept 概念 & Phrase 短语 ，其他：Action beat、Character、Concept、Dialog、Joke、Location、Phrase、Scene、Setting、Theme、Title、Website。
Guide功能其实就是将写好的场景拼接起来呈现一个预览，第一次看的时候有点蒙，有几个提示所有单词都认识，但是连起来就瞎了：
- I don't get no respect. 我没有得到尊重。
- You know what your trouble is? 你知道你的麻烦是什么吗？
- Calls & busy signals. 求助然后失败。
- Through the looking glass. 突破无形的障碍。
- Kick the dog. 生气。
- Which way is up? 出路在哪？
- When life gives you lemons make lemonade. 既来之，则安之。
- Inside the whale. 阴暗面。
- Death & Rebirth. 死亡和重生。
- What's the worst that can happen? 可能发生的最坏的情况是什么？
- Good guy vs bad guy over stakes. 好人比坏人强。
看完之后仿佛脑门一只乌鸦飞过，并且扔下了几个句号，作为软件的提示语，干嘛要用俚语呀，生怕别人看懂吗？
写作流程
Questions
Who is the main character? 主角是谁？
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，主角必须值得同情和能让人产生共鸣。如果观众关心主角，那么他们对故事的结局将投入更多的期待
Two techniques you can use to make your hero sympathetic are to give him undeserved misfortune, or show him "petting the dog." 有两种技巧可以让你的主角产生共鸣，分别是给他不寻常的不幸或者展示他的宠物狗
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. 如果你的角色有不正当的不幸，他就是在情境中失去自己掌控的受害者。配偶的出轨，被亲人放弃，爱人的死亡，失去工作 —— 所有这些都能够快速地让观众站队到主角那边。
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!)
展示主角的宠物狗意味着显示了主句善待动物，小孩和老人（相反，如果你要迅速展示反派是无情的，那么他应该讨厌动物，小孩和老人！）
例子:
- Jack Dawson is poor. Jack Dawson很穷。
- Luke Skywalker is an orphan and feels trapped on the farm. Luke Skywalker是个孤儿，觉得被困在农场里。
- Elliot has been abandoned by his father and has no friends. Elliot被他父亲抛弃了，而且没有朋友。
- Peter Parker is an orphan and a nerd. Peter Parker是个孤儿，也是个书呆子。
- The Grinch was made fun of as a child over his feelings for a girl.Grinch对女孩的感情被一个孩子嘲笑过。
- Fletcher is a liar but is loved by his insanely cute son, and truly loves his son in return.Fletcher是个骗子，但他被可爱的儿子爱着，也真正地爱他的儿子。
- Jack Sparrow is endearingly idiosyncratic, heroic, and only wants his ship back.Jack Sparrow拥有讨人喜欢的气质，勇敢的净胜，而且他只是希望能够找回他的船。
What is the main character trying to accomplish? 主角想完成什么？
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. 你的主角必须一直尝试去完成一个引人注意的目标；某些事是他无法拒绝的；某些事如果他不努力，就无法得到，而且不仅仅他会痛苦，一些无辜的人也会痛苦。这一点至关重要，因为无辜者的痛苦是戏剧中产生共鸣的重要素材
"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. “凸显目标的重要性”是一种奇特方式不仅仅让你的主角关心他的目标，让观众也要关心。
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从一个无情的关系中拯救出来，离开豪华的，将要沉没的游艇，然后他们就可以一起生活
- Luke is trying to rescue Princess Leia and destroy the greatest death machine ever invented. Luke试图营救Leia公主和破坏世界上最强大的死亡机器
- Elliot is trying to get his new best friend the nicest alien back home before it dies. Elliot试图帮助他最好的新朋友，一个友善的外星人在遇难前回家
- Dr. Alan Grant is trying to rescue himself, his girlfriend, and two children from the most awesome killing creatures ever bio-engineered. Alan Grant博士试图从生物工程里最有杀伤力的生物中拯救他的女友和孩子以及他自己。
- Peter Parker is trying to save Mary Jane and the entire city from the insanely diabolical Green Goblin. Peter Parker试图从Green Goblin这个疯狂的恶魔中拯救Mary Jane和整个城市
Who is trying to stop the main character? 谁在试图阻止男主角？
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个引人注意的目标，你需要一个竞争对手或者一个反派提交一个相反的目标，无情地提交，越无情越好。不仅仅如此，主角和反派的目标应该是相互的，在这场对决中最后只有一个胜利者。
A mutually exclusive, compelling goal for your hero and his opponent to knock heads over is an essential part of any good script.* 为你的主角创造一个令人信服的对立面这是所有好剧本的重要部分*
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的主要对手是Hockley的未婚夫，无情地在阻止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. 这个帝国，就像Grand Moff Tarkin一样，都是主要的大反派，很多人认为他的掌控者是Darth Vader，但其实他只是一个追随者，真正地幕后黑手是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正在一步步攻占城市，为了达到目的他需要利用Mary Jane将蜘蛛侠赶出城市。Peter Parker的目标是拯救Mary Jane，而且作为蜘蛛侠，他有责任保护纽约。
What happens if the main character fails? 如果主角失败会发生什么？
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:这是四个问题中最简单的问题，因为可以仅回答一个答案：死亡。主角的生死是唯一你能够确定观众一定会关心的，因为到这个时候，可能会有以下场景：
. . .a sympathetic hero, who has probably. . . ...一个让人同情的主角，他可能...
. . .suffered some sort of undeserved misfortune, and. . . ...遭受了某种不公正的不幸...
. . .who is engaged in a compelling goal, against. . . ...有人参与了主角定的目标，并且反对...
. . .a ruthlessly committed opponent. ...一个无情地对手站到了对立面...
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! 如果你的剧本具备上述所有内容，那么可以明确得说任何人阅读它都会深深地关心主角和主角身边的人的生死，因为前三题的作用就是让观众关心他们。
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. 死亡是主角必须要面对的，只要有可能，让主角真正地死亡。如果真实的死亡不能在你的故事中发生（也许你正在写一个爱情故事，或者你希望你的故事更趋向完美结局），那么你必须使用抽象的死亡。它非常强烈，甚至能够相当于真正的死亡。
例子：
If Luke fails, the Death Star destroys the rebel base and kills Princess Leia. 如果 Luke 失败了，死亡之星将摧毁*基地并杀死 Leia 公主。
If Elliot fails, E.T. will die. 如果Elliot失败了，外星人将会死亡
If Peter Parker fails, Mary Jane will die and the people of New York will suffer. 如果 Peter Parker 失败了，Mary Jane 将会死亡，纽约人民将会遭受苦难。
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. 如果 Crowe 不帮助 Crowe，Crowe 将会疯掉，潜在的自杀或者杀人行为就像 Crowe 在电影开始前医治的那个病人那样。
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. 如果 Forrest 不能让 Jenny 爱上他，一方面她的生活方式会杀了她，另一方面他将迷失自己和失去唯一爱他的人。
Archetypes 原型
How is the main character an orphan in Act Ⅰ? 主角怎么了，在第一幕中他是孤儿吗？
In Act I, the hero is an ORPHAN, either literally or figuratively. 在第一幕中，主角是一个孤儿，字面意义上的或者象征意义上的
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. 主角孤独状态的原因可以是事情已经不再他的掌控之中。或者他可以选择怎样变成孤身一人，因为责任把自己从家庭或者爱情中疏远，叛逆，自私或自闭
In some way, shape, or form, the Orphan is unique from the rest of the world around him. 从某种程度上说，这个孤儿和周围的所有人都不一样
例子：
Tony Stark has no deep relationships, is an actual orphan (his father is dead), and is kidnapped by terrorists. Tony Stark 没有真正的朋友，他是个孤儿（他的父亲死了），现在他又被*绑架了
Bruce Wayne's parents are killed. Bruce Wayne 的父母被杀了
Fletcher is divorced and is a bad father to his loving son. Fletcher 离婚了，相对于有爱的儿子，他是一个坏爸爸。
Luke doesn't know who his parents are, and at the end of Act 1 his aunt and uncle are brutally killed. Luke 不知道他的父母是谁，在第一幕结束的时候他的叔叔婶婶都被杀害了
Sam is a widower and has relocated to Seattle, where he is still feeling the pain of his wife's death. Sam 是个鳏夫，即使搬迁到西雅图他任然对他妻子的死亡感到非常痛苦。
How is the main character a wanderer/warrior in Act Ⅱ? 主角怎么了，在第二场中他是流浪者/勇士吗？
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，主角变成了迷失者。 努力寻找问题的核心答案。作为一个迷失者，角色寻找线索，遇到助手，遇到对手，克服障碍，以及获得帮助他回答核心问题的技能和工具
例子：
Tony Stark develops and figures out how to use his Iron Man suit and its technology. Tony Stark 开发计算出如何使用钢铁侠套装方法和技术
Bruce Wayne travels, learns fighting techniques, and then returns to Gotham where he figures out how to become the Batman. Bruce Wayne 旅行，学习格斗技术，然后回到了高谭市，在那里他找到了如何成为蝙蝠侠。
Fletcher tries to learn the conditions of his curse and how to break the spell. Fletcher 试图了解他的诅咒的状况以及如何打破魔咒
Luke goes with Obi-Wan, meets Han, and finds the Death Star, where he discovers the Princess is being held. Luke 和 Obi-Wan 一起遇见了 Han，找到了死亡之星，并且他发现了公主被关押的地方
Sam begins to deal with his son's desire for him to meet Annie, while Annie tries to track down Sam. 当 Annie 试图跟踪 Sam 的时候，他开始处理儿子像和 Annie 见面的欲望
How is the main character a martyr in Act Ⅲ? 主角怎么了，在第三场中他是殉道者吗？
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. 为了回答核心问题，主角必须为此毫不犹豫地去死，成为一个烈士。只有心甘情愿失去所有，他才能赢得这一切。
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. 以殉道者为原型，主角不再被成功的可能性所驱使。相反，他完全被欲望驱使去做正确或必要的事情，不管后果如何。一旦他放弃了胜利的思想，接受了从战士到殉道者的转变，命运或自然或上帝给予他不再希望得到的东西来奖励他：成功。也许，如果他运气好，但这就是他所需要的。
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. 烈士也可以是主角以外的人物。在这种殉道原型的变异中，主角学习并受到殉道者榜样的激励。
例子：
Even though he knows it might kill him, Tony Stark goes up against the souped-up Iron Monger. 尽管他知道这会杀了他，Tony Stark还是义无反顾地上前加大 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 愿意牺牲自己的名誉和他的房子让他的生日客人的安全，Alfred愿意冒着生命的危险去救Bruce Wayne，最后，蝙蝠侠为了拯救 Rachel 和城市勇敢地去面对 Arkham Asylum。
Fletcher gives up a partnership to go after his son. Fletcher 放弃追回他的儿子。
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 愿意与帝国作战，毁灭死亡之星和拯救公主。Han 也愿意放弃金钱，冒着承受 Jabba 怒火的分险去帮助 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 愿意放弃和一个非常好（虽然很无聊）男人的婚姻，只是想看看 Sam 是否在帝国大厦等她。
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. 当一个人拥有/想要/得到 A，他得到/尝试/学习 B，却现在发生了 C，他必须做 D。
The “A” statement is the ORPHAN statement. “A”是孤独者的声明。
The “B” statement is the WANDERER statement. “B”是迷失者的声明。
The “C” statement is the WARRIOR statement. “C”是战斗者的声明。
The “D” statement is the MARTYR statement. “D”是牺牲者的声明。
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. 这个公式是对观众的承诺。这个简短的公式（60-80字）包含了从你的故事全范围完成。
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).
当一个聪明的小孩意外地被去欧洲度假的家人留在了家里（孤儿），他必须学会如何照顾自己，成为家的主人（流浪者），直到家里进了愚蠢的盗贼，阻挠了几次才意识到自己是独自一个人，必须重新想办法（勇士），然后单枪匹马地保卫家（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).
当一个身患恐水症的警长面对恐怖的大白鲨攻击他新的群岛（孤儿），他试图寻找镇领导但是失败了，他必须认真对待这一威胁（流浪者），他知道鲨鱼已经变得有领土意思，他必须找到一条船靠自己的力量去摧毁鲨鱼（勇士），最终导致他一个人和超自然的野兽勇敢地战斗（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).
当一个可怜的艺术家赢得了一张去美国的船票，在泰坦尼克号上，他拯救了一个陷入无情订婚交易烦恼的美女（孤儿）。艺术家和女孩聚在一起坠入爱河，却发现泰坦尼克号撞上了冰山，现在正在下沉(流浪者)。艺术家必须让女孩离开她的未婚夫和并且安全地离开船只（勇士）；然而，她拒绝和她的未婚夫一起离开，所以他必须找出如何拯救他们方法（殉道者）。
Orphan 孤儿
Plot Point 1 — We meet either the HERO, the VICTIM/STAKES CHARACTER, or the ANTAGONIST. 剧情1 - 我们遇到主角，受害者/利益相关者，或者对手的其中一位。
It's your call whom we meet first. If we meet the hero first, he appears in his ordinary world. 根据你的设定我们最先遇到谁。如果最先遇到主角，他会出现在他那个平凡的世界里
If we meet the Victim (or Victims) first, we are usually meeting him either just at or just before the moment of his victimization. 如果我们首先遇到受害者，我们通常是在他被害或者被害前的那一刻见到他。
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. 在许多电影中，我们同时遇到了对抗者和受害者，原因很明显：受害者需要有人被欺负，而对手需要有人来对抗。
Plot Point 2 — We see the hero's flaw in relation to the Stakes Character. 剧情2 - 我们看到了主角在关系中的缺陷
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. 冒险者角色是代表所有正在被坏人迫害的人; 他们中的一个通常是主角，或者让主角感触很深的人。
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. 在这个剧情中，我们通过冒险者的生活，看到主角的的生活有什么问题。 在大多数电影的开始，主角英雄是有缺陷的或者在某种程度上存在不足。冒险者通常具备有帮助主角完成他曲折目标的特质。
Plot Point 3 — We meet the Antagonist, or someone or something symbolic of the Antagonist. 剧情3 - 我们遇见了对手，或者是某人，或者是某个代表对手的事物。
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. 我们终于遇见了坏人，或者至少是坏人的代表；有时这个剧情只是一个坏人代表想要完成某件事情的时刻。
In the first 3 plot points of Act One, these landmarks occur: 在第一场的前三个剧情中，将发生以下有代表性的事情：
The Thematic Argument of the film is stated, either explicitly or implicitly, through action or a visual. 通过行动或视觉，明确或隐含地陈述电影的主题论点。
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里建立了非常伟大或者极端的东西。
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! 主角对”---“意识不够。”---（brokenness 不知道用什么词语代替合适）“通常与主角的过去有关，是被主角忽视的或者没有处理好的一个主要的未解决的危机，而且现在马上要爆发了！
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. 观众应该开始关注主角三个矛盾：职业方面 - 主角周围的每个人都可以看到的大问题；个人方面 - 一个主角只愿意和少数人分享的小问题；隐私方面 - 主角必须独自承受和解决的问题。
Plot Point 4 — The DEFLECTOR slows the hero down, pulling him off the path. 剧情4 - “阻碍者”冲击了主角，把他拖下轨道。
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. “阻碍者”是一个把主角从原目标偏移的一个角色。“阻碍者”可能想让主角不要一意孤行，从而按照他的方式做事。他可能是个好人，仅仅是误导了主角。他也可能是个坏人，你的电影中可能存在许多这样起到这样反作用的推手。任何在主角的道路上试图阻碍他的都是一个“阻碍者”。在剧情4中你可以放置一个主要（首选）或者次要的“阻碍者”。
Plot Point 5 — The INCITING EVENT happens, causing the hero to become emotionally involved. 剧情5 - 某个刺激性的事件导致主角产生了复杂的情绪。
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. 主角因为深入内心的情绪开始努力去挣脱平凡的世界。或者如果不是主角，那么观众就会在情感上站在主角那边。
In these next 2 plot points of Act One, these landmarks occur: 在第一场的这两个剧情中，将发生以下有代表性的事情：
The Inciting Incident happens, an event that rocks the hero's world, changing things forever. 发生了刺激性的事件，这个事件永久地改变了某些事情，并且动摇了主角的世界。
The hero has an increased awareness of his inner needs. 主角更加深刻地意识到自己内心的诉求。
The stakes are made clear; we learn what the hero stands to lose. 利益关系非常明确；我们都了解到主角将会失去什么。
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! 某种危险或明或暗地将要重现。主角被召唤或者意识到他可能不得不离开平凡的世界。但他要么不承认这个召唤，要么拒绝回答...
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. 剧情6 - 主角的目标明确地涉及到朋友和/或爱人。主角清楚地向观众交代了所面临的问题。
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. 这个剧情是一个明确的节拍，表明（或预示）主角与他（或将要或想要）最深关系的那个人的联系或问题。
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. 一场非常有名的对话通常会在这个剧情中说出；这场话通常是主角最好的朋友看着他的眼睛说出：“你知道你的问题出在哪里吗”。然后最好的朋友会继续展开细节，向主角（和观众）解释在电影结束之前主角需要怎样去学习怎样去完成自己的使命。
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. 那个对话可能会被滥用，但是在这个时刻却有标志性的含义。这是一个非常合适的情景点让观众知道主角必须经历一场整体上的情感之旅。
Plot Point 7 — An ALLY aids the hero by propelling him out of the status quo. 剧情7 - 一个盟友帮助主角摆脱现状。
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. 你的主角被他的梦想和需求所驱动着。通常情况下，这两者是不同的，但是他们之间的相关性在于，主角通常只有先获取了他的需求才能去实现他的梦想。把一个盟友带入这个故事中，通过打破他的现状来驱使主角去实现他的梦想，或者通常情况下是去获取实现梦想的前提条件。
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. 有时候，这个盟友是一个真正的盟友，或者成长为真正的盟友；有时候他是一个毫无相干的路人用于服务盟友这个剧情点，然后消失。这三种情况贯穿了主角的日常生活，贯穿了盟友（也许是不亲自来）的帮助过程，主角不再满足于当下，开始开启非凡的征程。
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. 剧情8 - 主角似乎已经准备好朝着一个目标和/或相关的角色前进，但是不能让他自己去做。
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. 现在，一个盟友帮助主角走向了自己的目标，他面临着一个问题，是让主角一直保持平常的生活，或者是去完成他的使命。通常情况下主角不愿意改变，需要被说服。
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. 正如一个智者曾经说过的，“改变是艰难的”，在自身层面尤其如此。改变一个人的困难程度可能是前所未有的。通常情况下，当面临改变的时候，一方面情感上想要去追求，而另一方面理性的头脑会提出各种（非常合理的）反对意见。(查不到这句俚语应该怎么翻译，反正应该就是脑袋里两个“小人”在相互打架)。
临时结语
后续还有一堆，但是翻译到这里已经浪费太多时间，俚语太多也是个脑袋大的问题，有空再继续，见谅。
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