INTRO: This section marks the core of any narrative. Lets face it, people will not be seeing your work just because they are interested in your characters. Unless your characters are very famous, the audience will be taking a big risk on your narrative. Events draw characters together, even ones that would normally have nothing to do with one another or would never otherwise come into contact. They cause conflict, and with that comes interest from and audience. Think of day time talk shows, car crashes, and fist fights on the street. All draw spectators and the fascination of everyone in visual range. Here is where the story is made to draw attention to itself.

Part A: Cause and Effect:

If every action has an equal and opposite reaction, then what ever your character does will have repercussions. These repercussions may be only be personal, but they may be far reaching. People are like choreographed dancers on a large floor, moving with one another and running along with the people they know and doing the things they do best. Look at the example of an ex-convict. If he is a violent offender, all of his personal decisions are very important to every one around him. To the people who come in contact with them when they commit crimes, to the people who will meet them in prison if they should ever be caught and convicted. All the people they have touched with their actions are to be logged and put into action for event in the future. One of the victims comes back for revenge, or cannot live in peace afterwards, driven to take action on others that would commit violent crimes. All things are connected to the center. All things effect other things and those things go on and on. Like and Echo in an endless cavern.

Part B: The illusion of luck:

Many times, narratives use chance to define why things happen. For instance a man is desperately looking for a love life, someone to keep him company. He looks around himself for anyone that will fit the bill but no one seems interested. Then, one night, in a place that he would not normally have anything to do with love (like a diner on a lonely highway or the top of a very tall building). But by luck, the special someone he has always been looking for him at the same time. So that chance meeting is arranged for the sake of your character and audience.

Part C:

Between The Noise What separates your narrative from the ones that you see every day on television. Have you, the creator, ever thought that you could do as well as the writers on television? Well, that might just be true, but one thing is for sure. No narrative will last very long if lacks the third dimension. All good films and stories have depth, something lurking just beyond the surface. This element might not mean anything to those who are watching at the moment,.but in the future all the elements come together. Also, things might go deeper than that. Think of several layers of meaning. We all know that what mean something to one person might mean something quite different to another. Do your research. Make sure that there is a little something for every one. This could be as simple as an joke that only some people would enjoy, or using things like irony or for-shadowing events. In short, all events should have meaning, and should not simply be something that happens to benefit nothing other than a desperate need to create things like sex or violence (unless, of course, that is what you are being paid for...)

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