Mazin points out that this should not just be a vague concept or idea, it needs to be something that you can argue. It's compelling because it shows he has grown throughout this story, and now he acts according to the theme. If you approach story as a question of theme and character growth, and create moments that will challenge the character's beliefs, the beats will fall into place.
Take this scene from As Mazin points out, it's not just that Marlin lets Nemo go -- Nemo gets hurt and almost dies. Don't force yourself to work backwards from an outline. We've got lots of writing resources to help you continue your screenwriting journey.
If you follow structure guidelines exactly, he says, you'll write a well-structured but In other words, if you're telling a good story, your beats will follow the character and his dramatic argument in a way that makes structural sense, because story beats tend to happen naturally.
Don't think of it as plugging your screenplay into a template -- because then, you're locking yourself into a structure without thinking about the story first. The first change is internal -- a character's thinking and emotions.
But Mazin points out that most screenwriting structure beat sheets or diagrams approach the craft as fitting pieces together after the fact, which he says is the wrong way to look at things.
You should be looking at it as creating something new, from scratch.
He has always been a great resource to aspiring writers, and the latest episode of Scriptnotes is no exception.
In this episode, he discusses structure and character, with a overarching goal of tackling how to write a movie. Most of us will know about the hero's journey, , or Syd Field's screenwriting beats.
It's always hard to find a "starting place" for real knowledge because it always builds upon old knowledge, either making it better or demolishing it or some compromise in betweeen.
But the pattern of the discourse flow, a repeating conversation, will become familiar to you. Z recently has proposed a subgenre of film noir which he calls "ironic film noir," based on evidence from more recent films that X and Y do not consider, like Repo Man (1984) and Diva (1981).