The use of narrative milestones in the fiction of Stephenie Meyer
The use of narrative milestones in romance fusion
Classic use of narrative milestones by the most classic of the English classics.
The Hook (prologue) tells us what kind of story this is: a star-crossed romance set against a feud. This sets up a happy ending brought about by the lovers' deaths. The Inciting Incident establishes both lovers as protagonists (Romeo: looking for love, Juliet: threatened by an arranged marriage) and foreshadows the shindig at which the protagonists will meet.
The use of narrative milestones in William Shakespeare's stage plays
The use of narrative milestones in stage plays
The use of narrative milestones in the Indiana Jones movies
The use of narrative milestones in the Star Wars movies
I'm not a big fan of the Star Wars prequels. They lack focus and subtext, especially Episode III: The Revenge of the Sith. You can see what the narrative is trying to get at, but it nearly disappears behind a mass of action and effects. And Anakin's transformation into a rampaging Sith is far from convincing. There's a pretext, of course, and an effort to portray inner conflict and rationalization, but to me it looks like, in the end, Anakin becomes Vader because the better-scripted and -acted episodes need Vader. That said, the episode is properly structured, as shown in the chart.
I've gone finer grain on this one, partly because I'm learning to appreciate the grains and partly because this movie beautifully exemplifies fine-grained progression of plot. I've also changed the name of the eighth Milestone to Deciding Incident from Resolution. Of course, there's so much detail in this chart that the eighth Milestone is more Resolution than Incident, but oh well.
Two versions: pages and locations. Very close. In the interests of keeping references short, I've generally kept to what's on the given page or at the given location.
Plot Turn 1 is out of place. John's reaction to Rob and Brooke's reaction to John's reaction are pinch point material. John's realization that the killer is a "demon" at Pinch Point 1 is the real Plot Turn 1. John's resentement of his mother's attentiveness qualifies as pinch point material in the psychological subplot.