The Anatomy of Story is another book about writing for cinema, and it more or less begins by arguing against everything taught by Save the Cat. The three act structure is wrong. Thinking in terms of inciting incident and rising action will get you nowhere because these ideas are generic. Relying on genre is the way to produce a predictable and formulaic result. The truth comes from within.
Truby encourages the writer to start by identifying topics that matter to them. “Write a story that will change your life,” he says, and then suggests some ways you might identify what topics and themes are particularly important to you. In this respect, it feels like a less dogmatic and more personal approach to some of Egri’s advice.
Once the writer has identified what sort of story she finds most compelling, Truby suggests looking (among other things) for the main character’s “basic action,” the thing that character does most consistently or most importantly in the story — Michael Corleone’s act of revenge, Luke Skywalker’s hand-to-hand combat against evil — as well as a design principle that will help structure the story, and important end-of-story choices that will be finely balanced between two almost-equally-desirable (or undesirable) outcomes.
All of this thinking could equally well be the preparation to find a good mechanic for your narrative design. Elizabeth Smyth’s Bogeyman is a horror story about abuse in which every choice the player makes is about obeying or defying the abuser. Papers, Please is about whether to comply or quietly disobey orders, in a host of ambiguous circumstances.