The crisis is that point when the protagonist must do something.

Another way to add irony to Story is to add an Internal Genre along with its inherent value progression underneath the global External Genre. That is, the protagonist undergoes an internal quest as well as an external quest in the Story. The External Genre ends on the positive, while the Internal Genre ends on the negative, thus producing irony.

You must progressively move from one dilemma to a more trying dilemma to a bigger problem to an even bigger problem etc.

Compelling crisis questions and the way they are answered are the way to reveal character.

Contemporary civilization is a dizzying mix of sensory input designed to elicit individual compliance and subconscious behavioral action. We are inundated with psychically damaging messages—we’re too fat, we’re ugly, we’re low class, we’re not cool, we’re lazy, we’re never going to make it. On top of those assaults are prescriptive solutions to ove

Evaluate the difficulty for the character to reverse their decision in each and every scene that you write.

You’ve promised them page after page that you are going to give them a great scene where the protagonist faces an impossible choice. You’ve got to deliver it. Seriously.

It must describe the climactic value charge of the entire Story, either positively or negatively. 3. And it must be as specific as possible about the cause of the change in value charge.

What your choice of Inciting Incidents in every unit of Story (beat, scene, sequence, act, and global Story) must do is arouse a reaction by your protagonist.