“Look again at the final moral decision and your work on the premise line so you are clear about the central moral problem your hero must deal with in the story.”
“Once you have figured out the deepest moral opposition by looking at the hero’s final moral choice, you detail this opposition through the character web by making each of the major characters a variation on the theme.”
“No matter how complex the actions of the characters over the course of the story, the final moral decision brings everything down to a choice between two. And it is final.”
“You begin individuating your characters by finding the moral problem at the heart of the premise. You then play out the various possibilities of the moral problem in the body of the story.”
“The moral argument is most powerful when it is most dramatic. This means holding off the hero’s moral self-revelation until as close to the end of the story as possible.”
“Because plot involves the intimate weaving of characters and actions over the course of the entire story, it is inherently complex. It must be extremely detailed yet hang together as a whole. Often the failure of a single plot event can bring the entire story down.”
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