# Narrative Style Applications

**Version**: 2.0.0
**Last Updated**: 2026-01-31

## Overview

This document provides practical examples of how different narrative styles affect the same story scenario. Each example demonstrates the distinct characteristics, formatting, and techniques of each narrative style.

## Base Scenario

**Setup**: A woman discovers her partner has been keeping a significant secret. She must decide how to respond.

**Characters**:
- SARAH (30s) - Protagonist
- MICHAEL (30s) - Partner
- ELENA (40s) - Sarah's sister

**Core Conflict**: Trust, honesty, and the decision to stay or leave

---

## Linear Narrative Style

### Characteristics
- Chronological progression
- Clear cause-and-effect
- Straightforward timeline
- Building tension

### Example Scene

```fountain
INT. APARTMENT - NIGHT

Sarah enters, drops her keys on the counter. Michael sits on the couch, laptop open.

SARAH
Hey. How was your day?

MICHAEL
Fine. Yours?

SARAH
Good. I ran into Elena at the coffee shop.

Michael's expression shifts slightly.

MICHAEL
Oh yeah? How is she?

SARAH
She mentioned something interesting. About a phone call you made last week.

Michael closes the laptop.

MICHAEL
Sarah, I can explain--

SARAH
(cutting him off)
Five years, Michael. Five years and you never mentioned it.

MICHAEL
I was going to tell you.

SARAH
When? When were you going to tell me?

Silence.

SARAH (CONT'D)
I need some air.

She grabs her coat and leaves. Michael sits alone.

CUT TO:

EXT. CITY STREET - NIGHT - CONTINUOUS

Sarah walks quickly, phone to her ear.

SARAH
(into phone)
Elena? Can I come over?

FADE OUT.
```

### Style Notes
- Events unfold in real time
- Clear spatial and temporal continuity
- Dialogue reveals information progressively
- Each action leads directly to next

---

## Non-Linear Narrative Style

### Characteristics
- Time jumps between past and present
- Thematic connections across timelines
- Delayed revelation
- Puzzle-like structure

### Example Scene

```fountain
INT. APARTMENT - NIGHT (PRESENT)

Sarah stares at Michael, frozen.

SARAH
You're lying.

FLASH TO:

INT. COFFEE SHOP - DAY (ONE WEEK EARLIER)

Elena leans across the table, concerned.

ELENA
Sarah, there's something you should know about Michael.

SARAH
What?

ELENA
I saw him last Tuesday. At the hospital.

BACK TO:

INT. APARTMENT - NIGHT (PRESENT)

MICHAEL
I was going to tell you.

SARAH
When?

FLASH TO:

INT. HOSPITAL WAITING ROOM - DAY (TWO MONTHS EARLIER)

Michael sits alone, holding paperwork. His hands shake.

A DOCTOR approaches.

DOCTOR
Mr. Chen? We have the results.

BACK TO:

INT. APARTMENT - NIGHT (PRESENT)

MICHAEL
I found out two months ago. I didn't know how to--

SARAH
Two months?

She turns away.

FLASH TO:

INT. APARTMENT - NIGHT (SIX MONTHS EARLIER)

Sarah and Michael laugh together, cooking dinner. Happy. Unaware.

SARAH
(past, happy)
Promise me we'll always be honest with each other.

MICHAEL
(past)
Always.

They kiss.

BACK TO:

INT. APARTMENT - NIGHT (PRESENT)

Sarah grabs her coat.

SARAH
I can't do this right now.

She leaves. Michael watches her go.

FADE OUT.
```

### Style Notes
- Past and present intercut for emotional impact
- Revelation delayed through temporal structure
- Dramatic irony from knowing multiple timelines
- Thematic parallels between time periods

---

## Ensemble Narrative Style

### Characteristics
- Multiple perspectives on same events
- Balanced focus across characters
- Interconnected storylines
- Thematic unity

### Example Scene

```fountain
INT. APARTMENT - NIGHT

SARAH'S POV:

Sarah enters. Michael sits on the couch, avoiding eye contact.

SARAH
We need to talk.

MICHAEL
I know.

SARAH
Elena told me everything.

Michael's face falls.

CUT TO:

INT. ELENA'S APARTMENT - SAME TIME

ELENA'S POV:

Elena paces, phone in hand. She dials Sarah.

ELENA
(to herself)
Please pick up.

Voicemail. She hangs up, worried.

Her husband DAVID enters.

DAVID
Did you tell her?

ELENA
This afternoon. I had to.

DAVID
You did the right thing.

ELENA
Then why do I feel terrible?

CUT TO:

INT. APARTMENT - NIGHT

MICHAEL'S POV:

Michael faces Sarah. He's been dreading this moment.

MICHAEL
I should have told you sooner.

SARAH
Two months, Michael. You've known for two months.

MICHAEL
I was scared. The diagnosis... I didn't want to burden you.

SARAH
Burden me? I'm your partner!

Michael's phone buzzes. A text from his DOCTOR.

INSERT - PHONE SCREEN: "Appointment confirmed for Monday. We'll discuss treatment options."

Michael silences the phone.

CUT TO:

INT. ELENA'S APARTMENT - SAME TIME

Elena's phone rings. Sarah's name appears.

ELENA
(answering)
Sarah?

SARAH (V.O.)
(crying)
Can I come over?

ELENA
Of course. I'm here.

She grabs her keys, looks at David.

ELENA (CONT'D)
I have to go.

FADE OUT.
```

### Style Notes
- Three perspectives on same events
- Each character has distinct emotional stake
- Storylines interconnect through shared event
- Balanced screen time across ensemble

---

## Minimalist Narrative Style

### Characteristics
- Sparse dialogue
- Visual storytelling priority
- Emotional restraint
- Deliberate pacing

### Example Scene

```fountain
INT. APARTMENT - NIGHT

Sarah enters.

Michael sits on the couch.

Long silence.

SARAH
Elena called.

Michael looks up.

Silence.

SARAH (CONT'D)
Two months?

Michael nods.

Sarah sits. Stares ahead.

MICHAEL
I'm sorry.

Silence. 30 seconds.

Sarah stands. Gets her coat.

MICHAEL (CONT'D)
Sarah--

She stops at the door. Doesn't turn around.

SARAH
I need time.

She leaves.

Michael sits alone in the quiet apartment.

FADE OUT.
```

### Style Notes
- Minimal dialogue
- Long silences carry emotional weight
- Actions speak louder than words
- Restraint creates power

---

## Epic Narrative Style

### Characteristics
- Extended timeframe
- Multiple locations
- Large cast
- Historical/cultural significance

### Example Scene

```fountain
TITLE CARD: "NEW YORK - 2020"

INT. APARTMENT - NIGHT

Sarah confronts Michael about the secret.

SARAH
How long have you known?

MICHAEL
Since March. Right when the pandemic started.

SARAH
Six months?

DISSOLVE TO:

TITLE CARD: "MARCH 2020 - THE BEGINNING"

INT. HOSPITAL - DAY

Michael receives his diagnosis. The hospital is chaotic with COVID patients.

DOCTOR
I'm sorry, Mr. Chen. With the pandemic, treatment will be complicated.

DISSOLVE TO:

TITLE CARD: "APRIL 2020 - LOCKDOWN"

INT. APARTMENT - DAY

Sarah and Michael quarantine together. She works from home, unaware of his secret.

DISSOLVE TO:

TITLE CARD: "JUNE 2020 - PROTESTS"

EXT. CITY STREETS - DAY

Protests fill the streets. Michael watches from the window, contemplating mortality and meaning.

DISSOLVE TO:

TITLE CARD: "SEPTEMBER 2020 - THE REVELATION"

INT. APARTMENT - NIGHT

Back to the confrontation.

SARAH
You went through all of that alone?

MICHAEL
I didn't want to add to your stress. The world was falling apart.

SARAH
I'm your world, Michael. You should have told me.

FADE OUT.
```

### Style Notes
- Extended timeframe (6 months)
- Historical context (pandemic, protests)
- Multiple time periods shown
- Personal story mirrors larger events

---

## Realistic Narrative Style

### Characteristics
- Naturalistic dialogue
- Everyday situations
- Authentic behavior
- Ambiguous resolution

### Example Scene

```fountain
INT. APARTMENT - NIGHT

Sarah comes in, sets down her bag. Michael's on the couch watching TV.

SARAH
Hey.

MICHAEL
Hey.

She goes to the kitchen, starts making tea.

SARAH
So, um... I saw Elena today.

Michael tenses slightly but doesn't look away from the TV.

MICHAEL
Yeah?

SARAH
Yeah. At the, uh, at the coffee place on Third.

MICHAEL
How's she doing?

SARAH
She's good. She, uh...

Sarah brings her tea to the living room, sits in the chair across from him.

SARAH (CONT'D)
She mentioned she saw you. At the hospital.

Michael finally looks at her.

MICHAEL
Oh.

SARAH
Yeah.

Awkward silence. The TV plays in the background.

SARAH (CONT'D)
So... were you gonna tell me, or...?

MICHAEL
I was. I just... I didn't know how to--

SARAH
How long have you known?

MICHAEL
About two months.

SARAH
Two months.

MICHAEL
Yeah.

She nods, looks down at her tea.

SARAH
Okay.

MICHAEL
Sarah--

SARAH
I just... I need to think about this. Okay?

MICHAEL
Okay.

She gets up, goes to the bedroom. Closes the door quietly.

Michael sits alone with the TV.

FADE OUT.
```

### Style Notes
- Natural, hesitant dialogue
- Awkward pauses and interruptions
- Understated emotional reactions
- Ambiguous, unresolved ending
- Everyday details (TV, tea, coffee shop)

---

## Satirical Narrative Style

### Characteristics
- Humor with social commentary
- Irony and exaggeration
- Critique of institutions/society
- Absurdity revealing truth

### Example Scene

```fountain
INT. APARTMENT - NIGHT

Sarah enters. Michael sits on the couch, scrolling through his phone with a smile.

SARAH
You seem happy.

MICHAEL
Just reading about how honesty is the foundation of all relationships.

He shows her an article titled "10 Ways to Build Trust."

SARAH
Ironic.

MICHAEL
What?

SARAH
Elena told me about the hospital visits. The diagnosis. The two months of lies.

Michael sets down his phone, still smiling awkwardly.

MICHAEL
Okay, but in my defense, I was protecting you from unnecessary stress.

SARAH
Protecting me?

MICHAEL
It's what all the relationship experts recommend. "Don't burden your partner with problems they can't solve."

He picks up his phone, scrolls.

MICHAEL (CONT'D)
See? Right here. "Healthy boundaries mean not oversharing."

SARAH
You have cancer, Michael. That's not oversharing.

MICHAEL
Well, technically, it's a pre-cancerous condition. So really, I was being optimistic.

SARAH
Optimistic.

MICHAEL
The glass is half full! Another relationship tip.

He shows her another article.

SARAH
You're unbelievable.

MICHAEL
Thank you. I've been working on my positive mindset.

Sarah stares at him, then starts laughing—a bitter, incredulous laugh.

SARAH
This is insane.

MICHAEL
Insane is such a negative word. Let's call it "unconventional communication."

SARAH
I'm leaving.

MICHAEL
(calling after her)
Communication is key! That's tip number one!

She slams the door. Michael returns to his phone, scrolling through relationship advice.

FADE OUT.
```

### Style Notes
- Absurd behavior reveals truth about avoidance
- Ironic use of relationship advice
- Humor exposes Michael's dysfunction
- Exaggeration makes the critique clear

---

## Poetic Narrative Style

### Characteristics
- Lyrical language
- Visual metaphor
- Symbolic imagery
- Rhythmic structure

### Example Scene

```fountain
INT. APARTMENT - NIGHT

Rain weeps against the windows. Each drop a confession falling from the sky.

Sarah enters like a ghost returning to a haunted house. Michael sits in the half-light, a statue of guilt.

The silence between them is a canyon. Words would have to fall a long way down.

SARAH
(soft, like wind)
Two months.

The words hang in the air like smoke.

Michael's hands rest on his knees. Still. So still. As if movement would shatter something already broken.

MICHAEL
I carried it alone. Like a stone in my chest.

SARAH
You should have given me half the weight.

Outside, the rain falls harder. Inside, something else is falling—trust, perhaps. Or the illusion of forever.

Sarah moves to the window. Her reflection in the glass is a stranger.

SARAH (CONT'D)
We promised to be honest. Remember?

MICHAEL
I remember everything. That's the problem.

She touches the window. The glass is cold. Everything is cold now.

SARAH
I need to go.

MICHAEL
Where?

SARAH
Somewhere the rain doesn't know my name.

She leaves. The door closes like the final page of a book.

Michael sits alone. The rain continues its confession. No one is listening.

FADE OUT.
```

### Style Notes
- Lyrical action lines create mood
- Rain as metaphor for truth/confession
- Poetic dialogue
- Visual imagery carries emotional weight

---

## Surreal Narrative Style

### Characteristics
- Dream logic
- Reality distortion
- Symbolic imagery
- Ambiguous reality

### Example Scene

```fountain
INT. APARTMENT - NIGHT

Sarah enters. The apartment is the same but different. The walls breathe.

Michael sits on the couch. Or is it Michael? He has Michael's face but his eyes are windows showing different rooms.

SARAH
Elena told me.

MICHAEL
Elena is a bird now. Didn't you know?

Sarah looks down. Her hands are melting like wax, reforming, melting again.

SARAH
Two months you've been lying.

MICHAEL
Time is a circle here. Two months, two years, two seconds. All the same.

The couch begins to sink into the floor. Michael sinks with it, unconcerned.

SARAH
You're sick.

MICHAEL
We're all sick. The apartment has a fever.

The walls pulse. The ceiling drips upward.

Sarah walks toward the door but each step takes her further into the room. The room is growing. Or she is shrinking. Both. Neither.

SARAH
I can't stay here.

MICHAEL
You're already gone. You left two months ago. Or was it two years?

Sarah's coat turns into wings. She doesn't notice.

SARAH
I need truth.

MICHAEL
Truth is in the other room. But the other room is inside this room. And this room is inside you.

The apartment folds in on itself like origami. Sarah and Michael are closer now, or further apart. Distance has lost its meaning.

Sarah opens her mouth to speak. Flowers fall out instead of words.

FADE OUT.

Or fade in. It's hard to tell.
```

### Style Notes
- Dream logic governs events
- Reality bends and breaks
- Symbolic imagery (melting hands, flowers for words)
- Ambiguous, non-literal meaning

---

## Experimental Narrative Style

### Characteristics
- Formal innovation
- Convention breaking
- Self-reflexivity
- Audience challenge

### Example Scene

```fountain
INT. APARTMENT - NIGHT

[NOTE: The following scene will be shot in four simultaneous takes from four camera angles, displayed in split screen. Dialogue overlaps and contradicts between versions.]

CAMERA 1 (WIDE SHOT):

Sarah enters. Michael sits on the couch.

SARAH
We need to talk.

MICHAEL
I know.

CAMERA 2 (CLOSE-UP SARAH):

Sarah enters. The apartment is empty. She talks to the camera.

SARAH
(to audience)
He's not here. Or maybe I'm not here. Does it matter?

CAMERA 3 (CLOSE-UP MICHAEL):

Michael sits alone. Sarah hasn't arrived yet. Or has already left. Time is unclear.

MICHAEL
(to himself, or to us)
I should tell her. I should have told her. I will tell her. I told her.

All tenses collapse.

CAMERA 4 (OVERHEAD SHOT):

The scene plays backward. Sarah walks backward out the door. Words are spoken in reverse.

[ALL CAMERAS SIMULTANEOUSLY]:

SARAH (Camera 1)
Elena told me everything.

SARAH (Camera 2)
(to audience)
That's a lie. Elena told me nothing. I'm making this up.

MICHAEL (Camera 3)
Two months I've been—

MICHAEL (Camera 4)
[Reversed audio, unintelligible]

[SCREEN GOES BLACK]

TITLE CARD: "This scene will now restart with different dialogue."

INT. APARTMENT - NIGHT (TAKE 2)

Sarah enters. Michael sits on the couch.

SARAH
I'm leaving you.

MICHAEL
You already did. This is a flashback. Or a flash-forward. The script isn't sure.

SARAH
(breaking character)
Should I exit now or wait for the—

DIRECTOR (V.O.)
Cut! Let's try it again, but this time—

[SCREEN SPLITS INTO INFINITE SMALLER SCREENS, EACH SHOWING A DIFFERENT VERSION OF THE SCENE]

FADE OUT.

Or don't. The ending is optional.
```

### Style Notes
- Multiple simultaneous perspectives
- Self-aware, meta-commentary
- Breaks fourth wall
- Challenges narrative conventions
- Deliberately confusing/provocative

---

## Voice-Over Driven Narrative Style

### Characteristics
- Narration as primary device
- Internal access
- Temporal flexibility
- Visual-verbal counterpoint

### Example Scene

```fountain
INT. APARTMENT - NIGHT

Sarah enters. Michael sits on the couch.

SARAH (V.O.)
I knew before I opened the door. You always know, don't you? Your body knows before your mind catches up.

They look at each other. Neither speaks.

SARAH (V.O.) (CONT'D)
Elena had called that afternoon. Three words: "Michael is sick." That's all it took. Three words to crack open five years.

SARAH
Hey.

MICHAEL
Hey.

SARAH (V.O.)
We said "hey" like it was a normal Tuesday. Like the world wasn't ending. Like we hadn't just become strangers.

Sarah sits across from him. The distance between them is vast.

SARAH (V.O.) (CONT'D)
I wanted to scream. I wanted to throw something. Instead, I sat down and folded my hands like a good girl at church.

SARAH
Elena called.

MICHAEL
I figured.

SARAH (V.O.)
He figured. Two months of lying and he "figured" I'd find out. That's the thing about secrets—they're just truths waiting to betray you.

SARAH
Why didn't you tell me?

MICHAEL
I don't know.

SARAH (V.O.)
He did know. I knew he knew. We both knew. But we played the game anyway.

Silence.

SARAH (V.O.) (CONT'D)
My mother used to say silence is just a conversation you're too afraid to have. She was right about that. She was right about a lot of things.

Sarah stands.

SARAH
I need some time.

SARAH (V.O.)
What I needed was a time machine. What I needed was two months ago when I could have been there. What I needed was impossible.

She leaves. Michael watches her go.

SARAH (V.O.) (CONT'D)
I didn't know it then, but that was the moment. Not the moment we ended—we'd ended two months ago when he decided to lie. This was the moment I realized it.

FADE OUT.
```

### Style Notes
- Voice-over provides internal thoughts
- Narration adds context visuals can't show
- Contrast between spoken dialogue and internal truth
- Retrospective perspective adds depth

---

## Flashback-Heavy Narrative Style

### Characteristics
- Past and present intercut
- Dual timeline momentum
- Thematic connections across time
- Strategic revelation

### Example Scene

```fountain
INT. APARTMENT - NIGHT (PRESENT)

Sarah stands in the doorway. Michael sits on the couch.

SARAH
Elena told me about the hospital.

FLASHBACK TO:

INT. HOSPITAL - DAY (TWO MONTHS AGO)

Michael sits in a sterile waiting room, alone. A DOCTOR approaches with a folder.

DOCTOR
Mr. Chen? The tests came back.

Michael's face falls.

BACK TO PRESENT:

INT. APARTMENT - NIGHT

MICHAEL
I was going to tell you.

SARAH
When?

FLASHBACK TO:

INT. APARTMENT - NIGHT (SIX WEEKS AGO)

Sarah and Michael eat dinner together. She's laughing at something on her phone.

SARAH (PAST)
Look at this. Remember when we—

Michael watches her laugh. Opens his mouth to speak. Closes it.

MICHAEL (PAST)
Yeah. I remember.

He says nothing about the diagnosis.

BACK TO PRESENT:

INT. APARTMENT - NIGHT

SARAH
You had so many chances.

FLASHBACK TO:

INT. BEDROOM - MORNING (ONE MONTH AGO)

Sarah wakes up next to Michael. She kisses his shoulder.

SARAH (PAST)
I love you.

MICHAEL (PAST)
I love you too.

The lie of omission hangs between them, invisible.

BACK TO PRESENT:

INT. APARTMENT - NIGHT

MICHAEL
I was scared.

FLASHBACK TO:

INT. HOSPITAL - DAY (TWO MONTHS AGO)

The Doctor hands Michael pamphlets about treatment options.

DOCTOR
You should tell your partner. You'll need support.

MICHAEL (PAST)
I will. Soon.

BACK TO PRESENT:

INT. APARTMENT - NIGHT

SARAH
I could have been there for you.

MICHAEL
I know.

FLASHBACK TO:

INT. APARTMENT - NIGHT (FIVE YEARS AGO)

Younger Sarah and Michael, just moved in together. Unpacking boxes.

SARAH (PAST, YOUNG)
Promise me something.

MICHAEL (PAST, YOUNG)
Anything.

SARAH (PAST, YOUNG)
No secrets. Ever. We tell each other everything.

MICHAEL (PAST, YOUNG)
I promise.

They kiss. Young and hopeful and unaware.

BACK TO PRESENT:

INT. APARTMENT - NIGHT

Sarah's eyes fill with tears.

SARAH
You broke your promise.

She leaves. Michael sits alone with his broken promises.

FADE OUT.
```

### Style Notes
- Past and present illuminate each other
- Flashbacks show missed opportunities
- Thematic parallel (promise made vs. promise broken)
- Both timelines have emotional momentum

---

## Dialogue-Centric Narrative Style

### Characteristics
- Conversation as primary action
- Distinct character voices
- Verbal conflict
- Subtext and layering

### Example Scene

```fountain
INT. APARTMENT - NIGHT

Sarah enters. Michael sits on the couch. They look at each other.

SARAH
So.

MICHAEL
So.

SARAH
Elena called.

MICHAEL
I figured she would.

SARAH
Did you.

MICHAEL
Eventually. Yeah.

SARAH
Eventually.

MICHAEL
Sarah—

SARAH
Two months.

MICHAEL
I know.

SARAH
Do you?

MICHAEL
Yes.

SARAH
I don't think you do.

MICHAEL
What do you want me to say?

SARAH
I want you to say something true.

MICHAEL
I was scared.

SARAH
Of what?

MICHAEL
Of this. Of you looking at me the way you're looking at me right now.

SARAH
How am I looking at you?

MICHAEL
Like I'm already gone.

SARAH
You are gone. You've been gone for two months.

MICHAEL
I'm right here.

SARAH
No. You're not. The person I knew wouldn't have lied.

MICHAEL
People lie when they're scared.

SARAH
People trust when they're in love.

MICHAEL
I do love you.

SARAH
Do you?

MICHAEL
Yes.

SARAH
Then why?

MICHAEL
Because love doesn't make you brave. Sometimes it makes you a coward.

SARAH
That's convenient.

MICHAEL
It's true.

SARAH
Is it?

MICHAEL
Stop doing that.

SARAH
Doing what?

MICHAEL
Turning everything I say into a question.

SARAH
I'm just trying to understand.

MICHAEL
No, you're trying to make me feel worse than I already do.

SARAH
Is that possible?

MICHAEL
Apparently.

Silence. They stare at each other.

SARAH
I don't know what to do with this.

MICHAEL
Neither do I.

SARAH
That's the first honest thing you've said.

MICHAEL
I've been honest.

SARAH
Have you?

MICHAEL
There you go again.

SARAH
I'm leaving.

MICHAEL
Where?

SARAH
Does it matter?

MICHAEL
To me it does.

SARAH
Since when?

MICHAEL
That's not fair.

SARAH
Fair? You want to talk about fair?

MICHAEL
No. I don't. I want to talk about us.

SARAH
There is no us. Not anymore.

MICHAEL
Don't say that.

SARAH
Why not? It's true.

MICHAEL
It doesn't have to be.

SARAH
Yes. It does.

She leaves. Michael sits alone.

MICHAEL
(to empty room)
I'm sorry.

No one answers.

FADE OUT.
```

### Style Notes
- Entire scene is dialogue
- Minimal action description
- Verbal sparring creates tension
- Subtext beneath every exchange
- Rhythm and pacing through conversation
- Distinct voices (Sarah's questions vs. Michael's defensiveness)

---

## Comparison Summary

| Style | Dialogue Density | Pacing | Emotional Expression | Structure | Complexity |
|-------|-----------------|--------|---------------------|-----------|------------|
| Linear | Moderate | Steady build | Direct | Chronological | Low |
| Non-Linear | Moderate | Fragmented | Layered | Time jumps | High |
| Ensemble | High | Varied | Multiple perspectives | Parallel | Medium-High |
| Minimalist | Sparse | Slow | Restrained | Simple | High |
| Epic | Moderate-High | Expansive | Grand | Multi-timeline | High |
| Realistic | Natural | Deliberate | Understated | Chronological | Medium |
| Satirical | Moderate-High | Varied | Ironic/Exaggerated | Thematic | High |
| Poetic | Sparse-Lyrical | Rhythmic | Metaphorical | Symbolic | High |
| Surreal | Varied | Non-linear | Symbolic | Dream logic | High |
| Experimental | Varied | Unconventional | Challenging | Innovative | Very High |
| Voice-Over | Moderate | Flexible | Internal/Reflective | Layered | Medium-High |
| Flashback-Heavy | Moderate | Dual timeline | Revelatory | Temporal | Medium-High |
| Dialogue-Centric | Very High | Conversational | Verbal | Theatrical | High |

## Application Guidelines

### Choosing a Style

1. **Consider your story's needs**: What does the narrative require?
2. **Match theme to style**: Some themes suit certain styles better
3. **Know your audience**: Different styles appeal to different viewers
4. **Assess resources**: Epic requires more budget than minimalist
5. **Trust your instincts**: Choose the style that excites you

### Mixing Styles

While typically one style dominates, elements can be combined:

**Common Combinations:**
- **Linear + Realistic**: Most common combination (mainstream drama)
- **Non-Linear + Ensemble**: Complex but powerful (multi-perspective mysteries)
- **Minimalist + Realistic**: Natural pairing (art house cinema)
- **Epic + Non-Linear**: Ambitious but challenging (historical epics)

**Advanced Combinations:**
- **Voice-Over + Flashback-Heavy**: Retrospective storytelling (The Shawshank Redemption)
- **Satirical + Dialogue-Centric**: Sharp social commentary (In the Loop)
- **Poetic + Surreal**: Dreamlike visual poetry (The Tree of Life)
- **Experimental + Non-Linear**: Avant-garde narrative (Memento)
- **Ensemble + Dialogue-Centric**: Character-driven ensemble (The Big Chill)

**Challenging Combinations:**
- **Minimalist + Dialogue-Centric**: Requires exceptional dialogue craft
- **Satirical + Poetic**: Difficult tonal balance
- **Experimental + Epic**: Resource-intensive and risky
- **Surreal + Realistic**: Contradictory but possible with skill

### Common Mistakes

**General Mistakes:**
1. **Style over substance**: Don't choose style for flash—style should serve story
2. **Inconsistent application**: Commit to your chosen style throughout
3. **Wrong style for story**: Match style to narrative needs, not personal preference
4. **Overcomplexity**: Simpler is often better—don't combine too many styles

**Style-Specific Mistakes:**
5. **Satirical**: Being mean-spirited instead of insightful
6. **Poetic**: Purple prose that obscures rather than illuminates
7. **Surreal**: Random weirdness without internal logic
8. **Experimental**: Breaking rules without understanding them first
9. **Voice-Over**: Using narration to describe what we can see
10. **Flashback-Heavy**: Confusing timeline without clear markers
11. **Dialogue-Centric**: All characters sounding the same
12. **Minimalist**: Boring instead of restrained
13. **Non-Linear**: Complexity for its own sake

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## Style Selection Guide

### By Story Type

**Personal Drama**: Realistic, Minimalist, Dialogue-Centric
**Mystery/Thriller**: Non-Linear, Flashback-Heavy, Voice-Over
**Social Commentary**: Satirical, Experimental
**Character Study**: Ensemble, Dialogue-Centric, Voice-Over
**Art Film**: Poetic, Surreal, Experimental, Minimalist
**Epic Story**: Epic, Non-Linear, Ensemble
**Mainstream Drama**: Linear, Realistic

### By Audience

**Wide Audience**: Linear, Realistic, Epic
**Art House**: Poetic, Surreal, Experimental, Minimalist
**Genre Fans**: Non-Linear, Voice-Over, Flashback-Heavy
**Theater Lovers**: Dialogue-Centric, Ensemble
**Comedy Fans**: Satirical (with humor)

### By Budget

**Low Budget**: Minimalist, Dialogue-Centric, Realistic
**Medium Budget**: Linear, Non-Linear, Ensemble, Voice-Over
**High Budget**: Epic, Experimental (with resources)

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**Note**: These examples demonstrate core principles using a single scenario. Actual screenplays would develop these scenes further with additional context, subplots, and character development. Each style can be adapted to various genres, tones, and story types. The key is understanding the fundamental characteristics of each style and applying them consistently throughout your screenplay.

