For the unfamiliar, a "reveal" in screenwriting parlance is the placement of key, revelatory information in a story. Most times, the last reveal is the most important revelation of all.
- A surface, or plot level I call the Physical Level, upon which sequences and scenes are ordered or assembled;
- A deeper, interior, or meaning level I call the Logical Level, where protagonist-transformation (or what its unchanging nature) means, operates;
- And, sometimes, a middle level, between the surface and interior levels I call the Sub-Logical Level, where protagonist-transforming sub-text may operate.
- The Image Level, where imagery and/or an image-system having a transformative effect on the protagonist operates;
- The Aural Level, where sound, music, and/or a sound-effects system having a transformative effect on the protagonist operates;
- The Montage Level, where image-assembly and/or an image-editing system having a transformative effect on the protagonist operates.
- A Performance Level, where the actors’ performances, as opposed to the writing, itself (e.g., Al Pacino in the Godfather films, where his acting transforms from optimistic kid to sober killer shouldering the weight of his world), having a protagonist-transforming effect operate;
- An Environmental Level, where the production-design having a protagonist-transforming effect operates (e.g., Alien, where the design goes from bright, high-tech to dark, industrial);
- A Presentation Level, where the directorial-choices that can be identified as having a protagonist-transforming effect operate (e.g., Citizen Kane, where the directorial choices successively portray Kane as self-oppressed).
- Adagio (Exposition/Act I):
- Allegro (Development/Act II):
- Rondo (Recapitulation/Act III):
- Coda (Epilogue; optional):
A new, yet related, theme/idea tagged on the end.