By the way, if your character isn’t making any decision in a scene, it’s not a scene. It’s goofing around. Cut it or revise.

So the crisis choices in your Story cannot be easy, or we’ll fall asleep.

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.

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.

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

This event gives rise to an object of desire in your lead character’s conscious and often subconscious mind, a tangible object (a conscious want) and something intangible (a subconscious need).

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

Every scene must turn a Story value or it is not a scene. It must start someplace (happy) and end somewhere else (sad) or there is no movement, no change and the Story stops dead in its tracks.

What the resolution moment does is tells the reader exactly what the climax of the Story MEANS. How the worldview has shifted.