Screenwriting Thursday: Pixar's 22 Rules of Storytelling

Happy Thursday!

It's been a busy week, so let's refresh ourselves on some writing rules from the masters ❤️

Can you believe we're already at the end of Q3??? There's only 1 quarter left to 2026. We just celebrated the equinox on Tuesday and we're entering a period of darkness. It's a great time to reflect on what you've accomplished this year, consider what you've learned, and start planning out your final quarter.

What matters to you? What's meaningful? What do you see for your trajectory moving forward?

Anyways, on with the show -

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Pixar's 22 Rules of Storytelling

First shared in 2011 by Pixar story artist Emma Coats.

I. We admire a character for trying more than for succeeding

Struggle and effort are admirable in a character. Winning has no bearing on whether we like someone or not, and can sometimes make us like someone less.

II. Write what's interesting to an audience, over what's fun for you

It's great to have fun while you're writing, but ultimately, you are looking to pass the story along to an audience. Take on a different lens when you start to look over things. Is this something that would be actually interesting and fun for a stranger, or is this more of an internal mental exercise for you?

III. You won't know what it's about until you reach the end. Then rewrite

This can be a frustrating part for planners in particular. It's great to plan everything out and have certain ideas, but this is a living, organic art piece. Oftentimes, you might start with one idea of what something's about and, by the time you get through the entire draft, realize it's about something else entirely. Don't worry too much about getting everything nailed down before you start writing. You'll have a much better idea of your story when you start the next draft.

IV. Once upon a time there was ___. Every day, ___. One day ___. Because of that, ___. Because of that, ___. Until finally ___.

The Story Spine, originally from improv teacher Kenn Adams. This is an amazing diagnostic tool! If you're struggling to fill in the blanks, you might not have clarity over your story, or your story might be complex to the point of detriment. In film, especially, you have less time for complication than you might think. Even if you think you've got a really good handle on your story, if you find yourself struggling to fill this in, it's probably worth taking a day or two to really get it down. It’ll help you when you pitch too.

V. Simplify. Focus. Combine characters. Skip the detours

It'll feel like you're throwing away good stuff. You are. Do it anyway. It sets you free.

VI. Throw the polar opposite at your character

What are they good at? Comfortable with? Take it away. Make them do the thing they're worst at, and watch who they really are show up. This is an absolutely great one and it will help you understand your character even more than you might right now.

VII. Know your ending before you figure out your middle

Endings are hard. Get yours working up front. (Billy Wilder agrees. See rule IV.)

Sometimes we start projects for our own personal enjoyment, and if you're looking at your current story as an exercise, not having your ending nailed down is completely fine. Don't be surprised, though, if you wind up struggling and spending a lot more time building and figuring out your story than you would if you had a destination in mind.

VIII. Finish your story. Let go, even if it's not perfect

You learn a ton every single time you finish a story. The next one will be better. Don't worry about it! The most active and prolific professional writers I know follow this rule nigh religiously.

IX. Stuck? Make a list of what WOULDN'T happen next

The obvious wrong answers shake the right one loose more often than you'd think. Make the list. Something on it will surprise you.

X. Pull apart the stories you love

What you love in them is a part of you. You have to recognize it before you can use it. Rewatch with a notepad. Pause. Ask why something worked.

XI. Putting it on paper lets you start fixing it

An idea in your head is “perfect” and useless. On the page it's flawed and fixable. Fixable wins every time. (This is the entire reason Show Up & Write exists.)

XII. Discount the first thing that comes to mind. And the second, third, fourth...

Your first idea is everybody's first idea. Get the obvious out of the way until you surprise yourself. I read a massive amount of scripts a year, and the first-idea version isn’t particularly innovative.

XIII. Give your characters opinions

Passive and agreeable might feel likable while you're writing. On the page it's poison. A character with opinions creates conflict just by walking into the room.

XIV. Why must you tell THIS story?

What's the belief burning inside you that the story feeds off of?

1. That's the heart of your story.
2. Any experienced executive or producer is going to ask you this question in a meeting. You might as well get clear on it now.

XV. If you were your character, in this situation, how would you feel?

Honesty lends credibility to unbelievable situations. The more specific, truthful, and deep you go with this, the better. Be willing to be vulnerable.

XVI. What are the stakes?

Give us a reason to root for them. What happens if they don't succeed? Now stack the odds higher.

XVII. No work is ever wasted

If it's not working, let it go and move on. That scene you cut three drafts ago is sitting in a folder, waiting for its time in another project.

XVIII. Know the difference between doing your best and fussing

You're going to have to be honest with yourself about this one. Usually, you know the difference. It's just a matter of acknowledging it and being real with yourself.

XIX. Coincidences can get characters into trouble, never out of it

Into trouble by coincidence? Great. Out of trouble by coincidence? Cheating. We want a character to earn their way out.

XX. Rebuild a movie you dislike

Take the building blocks of a movie you can't stand. How would you rearrange them into one you'd love? More fun than it sounds, and it teaches you a ton about your own taste.

XXI. Identify with your situation and characters

You can't just write "cool." What would make you act that way? If you don't know, something is likely to ring hollow.

XXII. What's the essence of your story?

What's the most economical way to tell it? This is a great exercise to get to your logline.

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Until next week,
Kate Gaulke