Also known as structural changes · scene-level changes
Differences between two versions shown at story structure level — this dialogue line rewritten, that scene moved — instead of a noisy character-by-character redline.
Semantic changes describe differences the way a room already talks: this dialogue line rewrote, that scene moved, this slugline shifted -- not a fog of character-level redlines. Because Plot stores screenplays as structured elements, comparisons can stay readable when an entire act relocates overnight.
Use them after notes, after a skill pass, and before you decide an experiment won. A moved scene should look like a moved scene, not thousands of tiny inserts that hide the real decision. That clarity is what makes review of proposed edits feel like story work instead of proofreading noise under time pressure.
When you incorporate or accept skill markup, you are still reading semantic changes: accept what should land, reject what should not. Nothing in a skill pass applies without your say-so, and the change view is how you keep authorship while still moving fast when a deadline is real.
Word-processor marks are built for continuous prose. Screenplays are element trees -- cues, dialogue, sluglines -- so scene moves should not look like a thousand tiny edits.
When comparing save points or draft lines, reviewing skill suggestions, and checking what an incorporate would bring across before you confirm the landing.
No. They focus attention on what moved so you can re-read the right scenes. Structure-aware diffs are a map, not a substitute for taste.
Yes -- comments and presence stay on the draft while you inspect what moved. On Team, roles help keep who can accept structural landings clear.
