Before drama, before character and conflict and story, beneath them and behind them, we must acquaint ourselves with the deep structures of physics, nature, cognition and ethics that make any action possible, that make any thought cognizable and that give our morality its authentic weight.
Surprisingly, perhaps, it is in these deep conceptual structures – having to do with the logic of musical keys, color palettes, scalability, nested chronologies, and social biases and blindnesses – that the great stories will be seen to emerge, and it is only in understanding them that the student can hope to engender the kind of narratives that will propel a civilization forward.
Conceptual Screenwriting is not concerned with story or character per se – only insofar as they are profoundly emergent examples of the way the universe conducts itself at its foundations. Everything scales, and we shall see that our fresh insights produce in the end characters and stories that are more true, more exemplary, and more necessary.
JP Saladin, 2012