A Survey on Story Generation Techniques for Authoring Computational Narratives <s> B. Plot Structure and Manual Space <s> The different ways that computers can be involed in creative work are examined. A classification based on four categories of human-computer interaction to promote creativity is proposed: computers may facilitate (a) the management of creative work, (b) communication between individuals collaborating on creative projects, (c) the use of creativity enhancement techniques, (d) the creative act through integrated human-computer cooperation during idea production. The papers in the Special Issue are discussed according to this classification. Issues to be considered in future work on human-computer interactions for promoting creativity are discussed. <s> BIB001 </s> A Survey on Story Generation Techniques for Authoring Computational Narratives <s> B. Plot Structure and Manual Space <s> Interactivity is a key feature of new multimedia content and services. However, the storytelling of these non linear forms of content requires today not only artistic skills but also expertise in specific technical tools, even including software programming. Whatever the form, be in theatre, movie, cartoon, video-games, training and simulation, the process for creating interactive content poses new challenges for authors and production teams. Indeed, this process calls for the combined knowledge of different domains such as cinema, 2D or 3D modelling, animation, cognitive and computer sciences. <s> BIB002 </s> A Survey on Story Generation Techniques for Authoring Computational Narratives <s> B. Plot Structure and Manual Space <s> This paper introduces the Movie Script Markup Language (MSML), a document specification for the structural representation of screenplay narratives for television and feature film drama production. Its definition was motivated by a lack of available structured and open formats that describe dramatic narrative but also support IT-based production methods of audiovisual drama. The MSML specification fully supports contemporary screenplay templates in a structured fashion, and adds provisions for drama manufacturing methods that allow drama crew to define how narrative can be translated to audiovisual material. A timing model based on timed petri nets is included to enable fine-grained event synchronization. Finally, MSML comprises an animation module through which narrative events can drive production elements like 3-D previsualization, content repurposing or studio automation. MSML is currently serialized into XML documents and is formally described by a complement of an XML Schema and ISO Schematron schema. The specification has been developed in close collaboration with actual drama production crew and has been implemented in a number of proof-of-concept demonstrators. <s> BIB003
In this section, we explore several systems where the author is expected to manually author the entire narrative, but uses a structure for plot enforced by the computer, constraining the content to fit within this structure. Lubart referred to the role of the computer in such systems as the "nanny," in that basic structures are provided as an assistance to the author, allowing the author to be creative while keeping them within the expectations of what constitutes a narrative BIB001 . SCRIVENER  and STORYBOX 2  are two examples of story authoring tools, which explicitly state their storytelling intent and enforce structures on the plot. STORYBOX 2 uses scenes, chapters, and acts to divide the authors work into different sections, and SCRIVENER uses templates to format the story content in the style of short stories, screenplays, novels, etc. In both examples, the software functions similarly to a word processor, so that the author is free to be as creative as possible with the actual content. The structure provided is not intended to be oppressive, but rather to assist the creative process by allowing authors to organize their thoughts into a proper story structure. Screenplays have also been the target of research and authoring tools. A screenplay is different from a traditional story, since the screenplay is not intended to be read, rather it is used to describe a scenario which will eventually be presented visually (or through audio). The MOVIE AUTHOR-ING AND DESIGN SYSTEM (MAD)  , for example, uses a story-board style system, where the author may attach images, sound, music, or even video to their scene description. The detailed structure of the MOVIE SCRIPT MARKUP LAN-GUAGE (MSML) aimed to capture all aspects of a movie script BIB003 . Within this structure, a movie script is divided into four main components: scene, manufacturing, timing, and animation. While the majority of MSML is oriented toward discourse, it still contains formal definitions of space and plot, mainly in the scene component. INSCAPE BIB002 is an interactive story authoring tool which departs from text and focuses specifically on visual narratives. The visual discourse forces authors to include graphical realizations of their narrative and, on a more technical level, describe the behaviors and emotions of characters. Plot is structured using a basic story-board interface to control events, ordering, and the different paths the interactor may take through the narrative. STORYTEC  , a later system inspired in part by INSCAPE, provided more distinct structures for plot and space by including both a story editor, for plot and ordering, and a stage editor for defining the space in which the story occurs.