![[story_banner.webp]] ## Characters ![[pyramid of abstraction.jpg|right|200]]Head down the *Pyramid of Abstraction* for important scenes and character moments. Also, use the *Hierarchy of Storytelling* below, going from most important to least, all tied together by conflict: 1. Character 2. Plot 3. Setting/world building — All three intertwined by *conflict*. The intro of a character should tell the audience everything they need to know about said character. Introduce the antagonist as soon as possible in the story. Either have them make an appearance early on, or by foreshadowing (ie. rumors, imagery, metaphors). What makes a character likeable is their relatability (ie. their morals, philosophy, flaws, and weaknesses) and their competence-level (ex. skills and their aptitude for learning or adapting). Use all five senses in describe objects / people / places - as this can help better illustrate a character’s worldview and personality. Pay-offs, like a punch-line to *most* jokes, should be surprising but not unbelievable. In other words, the pay-off should be something the character and the audience feel they want, but instead they get something they else which they didn’t know they also wanted – like if a boy asks for a toy truck during Christmas, but later discovers his love for planes; and so when they unexpectedly get a toy plane instead of the truck – both the audience and the character are surprised, but pleased. Lastly, the distance between a set-up and pay-off does matter. A long distance between a set-up and pay-off can lead to audiences forgetting about the initial set-up and happily surprised when the pay-off arrives unexpectedly. A short distance, which is typical used in fast paced genres, like action or comedy, can also do the job. With both of these in mind it can be hard to determine which distance is best. One factor that can determine the optimal distance is importance. If the set-up and pay-off revolves a major character event, then a long distance can may the pay-off more impactful and exciting, while a shorter distance can be good for more minor things. ## Plot Tell the story in the most interesting way possible. For plot points and major character moments, going back and planting seeds or leaving bread crumbs. Foreshadowing can make the audience feel engaged as they may try to formulate predictions on what will happen next, or when. ![[230802102859-20230802-maslowpyramid 1.jpg|center|400]]As the story progresses, plot and setting can ramp up in complexity; in its concrete-ness. But for the beginning, have a shallow learning curve so as to maintain interest and not overwhelm. Furthermore, the threat levels should increase also. *Maslow’s Hierarchy of Needs* is a useful guide for this task. The top of the pyramid is the level of least danger. The bottom is the level of most danger. ## Worldbuilding When describing new locations, it can help to focus on one part in particular. One object, one building, one area, one metaphorical, analogous, or microcosmic feature which foreshadows a future event whilst also providing detail on the new location.