3. Entertainment - Story is ABT

This chapter got to the core of the ABT because the template itself arose from the world of entertainment. I don’t think I would recommend the ABT to poets; it’s maybe a little too literal for their art-driven world. Song writers start to get closer to needing it. But when it comes to television and movie screenwriters, it’s all about the ABT. Every screenwriter should be using 1) THE NARRATIVE SPECTRUM in spotting parts of a script that are too much AAA or DHY. For the theme of a work, the 2) DOBZHANSKY TEMPLATE is just a simple one-sentence tool to help articulate it. When it comes to great stories or TV series, the structure is 3) NESTED ABT’s in creating overlain story arcs. Writers hoping to reach the broadest audiences should be aware of the 4) NARRATIVE IMPERATIVE. Any text or script should be quickly and repeatedly assessed with the two key text indices: 5) THE NARRATIVE INDEX (NI) and 6) THE AND FREQUENCY (AF); the former reveals a lack of narrative strength, while the latter shows long- windedness unless “and” is being used for art. 7) THE “AND” part of the ABT is essential for context, depth and impact. And lastly, 8) THE ABT DYNAMIC overall provides the path to reaching the broader, Outer Circle of an audience.