The Pixar Story Spine for Narrative Improv
Narrative improv can be one of the most satisfying and enjoyable forms of the art for both audiences and players, since the journey of change that happens in all good stories is universally appealing. But inventing a cohesive story on-the-fly (and making it funny) is really hard.
One way to simplify the process is to use a common story structure that everyone on the team can follow. One example is the “Pixar Story Spine” that is often taught in narrative improv courses for good reason: it’s simple and effective.
The Pixar Story Spine
Once upon a time…
Every day…
Until one day…
Because of that…
Because of that…(repeat)
Until finally…
And ever since then...
This simple structure takes us on a familiar journey of change that applies to many stories. For example, here it is applied to Pixar’s Finding Nemo:
Once upon a time there was a nervous clownfish named Marlin.
Every day, he kept his son Nemo close and avoided danger.
Until one day, Nemo was captured by a diver.
Because of that, Marlin had to venture into the ocean.
Because of that, he met Dory and faced sharks, jellyfish, and more.
Until finally, he found Nemo and learned to trust him.
And ever since then, Marlin gave Nemo more freedom.
This structure is great for improv because it’s clear, emotionally driven, and escalates naturally. Let’s look at each step in more detail and how it might be applied in an improv scene:
1. Once upon a time...
This sets the world and introduces the protagonist. The world of the story is established and its , “normal” demonstrated.
In Toy Story: Woody is a cowboy and Andy’s favourite toy.
In Die Hard: John McClane is a New York cop who’s come to Los Angeles to try and reconnect with his estranged wife.
Applied to improv: These are probably your first 1 or 2 scenes. You want to establish who your protagonist is and the world that they exist in.
2. And every day...
Reinforces the character’s routine or belief system and fills out the world. It grounds the audience in the status quo and shows what the character thinks is “normal.”
In Toy Story: Woody leads the toys and keeps everything in order, enjoying being Andy’s favourite.
In Die Hard: Every day (emotionally), McClane believes he’s doing his best and that he’s the hero of his own story, even if his marriage is strained. He’s emotionally closed off and thinks being tough and independent is the way to be.
Applied to improv: This is probably scenes 2 and 3. We now discover what is emotionally true for the character in this world—what does the protagonist want? Who are the other characters around them?
3. Until one day...
The inciting incident. Something unexpected disrupts the pattern and kicks off the story. The stakes rise. The protagonist has a choice or a problem.
In Toy Story: The arrival of Buzz Lightyear, Andy’s new favourite toy.
In Die Hard: Terrorists take over Nakatomi Plaza leaving McClane barefoot, unarmed, and alone.
Applied to improv: Probably scene 3 or 4. We need something in the base reality to change—an event that puts the “normal” into question and presents the protagonist with a choice, ideally one that plays into their “want” that we established earlier.
4. And because of that... (x2 or more)
The string of consequences and obstacles to our protagonist’s choices. Characters respond to these events and in doing so cause new events to occur. This is the cause-and-effect chain that forms the “action” of our story.
In Toy Story: Woody gets jealous and accidentally knocks Buzz out the window. Because of that, the other toys turn on Woody. Because of that, he has to go after Buzz, and because of that, they both get lost and must work together to return to Andy.
In Die Hard: McClane starts picking off terrorists one by one. And because of that, Hans Gruber starts targeting hostages. Because of that, McClane is pushed to his emotional and physical limits and has to confront his own vulnerabilities.
Applied to improv: We’re now into the “middle” of the story and the show. This could be any number of scenes that build on each other and create problems for our protagonist. We might introduce antagonists, and a host of new characters to play with.
5. Until finally...
The climax or turning point. The problem comes to a head. The character faces their biggest challenge and usually changes in some way.
In Toy Story: Woody and Buzz work together to escape Sid's house, and reunite with Andy, solidifying their friendship.
In Die Hard: McClane defeats Hans Gruber and saves Holly—finally opening up emotionally and acknowledging his faults in their relationship.
Applied to improv: This is the beginning of the end, and the big emotional or narrative payoff. The protagonist either gets or doesn’t get what they want—but something is resolved. By the time this scene ends we probably only have 2 or 3 scenes left.
6. And ever since then...
The resolution. Reflects how the character and world have changed. We return to a new “normal”—one shaped by the journey.
In Toy Story: Woody and Buzz now share leadership and friendship, and Woody is no longer defined by being Andy’s “favourite.”
In Die Hard: McClane and Holly leave the building holding hands, his walls are lowered, and their relationship has a chance to heal.
Applied to improv: Let the audience breathe. Show how things are different now. The emotional arc should land here. We may also tie up any additional plot arcs that formed through the show culminating in a satisfying end to the show.
The Pixar story spine isn’t the only story structure that works for improv, but it is a great one because it’s simple and easy to remember. It doesn’t lock you in to any particular specifics, but it will help you and your team stay aligned, find emotional depth, and tell stories that are cohesive and satisfying. Whether your show ends in a laugh, a tear, or both, having a shared structure like this can make the wild ride of narrative improv feel less chaotic and a lot more fun. Happy story telling! And here’s a downloadable cheat sheet you can print for practices:
