Consequences

Consequences are dependent upon the Goal, though other appreciations may change the nature of that dependency. Consequences may be expressed as what will happen if the Goal is not achieved or they may be what is already being suffered and will continue if the Goal is not achieved. You should select the Type that best describes your story's down-side risk.

One of the eight essential questions asks if the direction of your story is Start or Stop. A Start story is one in which the audience will see the Consequences as occurring only if the Goal is not achieved. In a Stop story, the audience will see the Consequences already in place, and if the Goal is not achieved the Consequences will remain.

Choosing the Type of Consequence does not determine Start or Stop, and neither does choosing Start or Stop determine the Type of Consequence. How the Consequence will come into play, however, is a Start/Stop issue. Since that dynamic affects the overall feel of a story, it is often best to make this dynamic decision of Start or Stop before attempting the structural one of selecting the Consequence Type.

Forewarnings

Forewarnings appear as a signal that the Consequences are imminent. At first, one might suspect that for a particular Type of Consequences, a certain Type of Forewarnings will always be the most appropriate. Certainly, there are relationships between Forewarnings and Consequences that are so widespread in our culture that they have almost become story law. But in fact, the relationship between Forewarnings and Consequences is just as flexible as that between Requirements and Goal.

Can the Forewarnings be anything at all then? No, and to see why we need look no further than the fact that Consequences and Forewarnings are both Types. They are never Variations, or Elements, or Classes. But, within the realm of Types, which one will be the appropriate Forewarnings for particular Consequences depends upon the impact of other appreciations.

When selecting the Type of Forewarning for your story, think of this appreciation both by itself and also in conjunction with the Consequences. By itself, examine the Types to see which one feels like the area from which you want tension, fear, or stress to flow for your audience and/or characters. Then, in conjunction with the Consequences, determine if you see a way in which this Type of Forewarning might be the harbinger that will herald the imminent approach of the Consequences. If it all fits, use it. If not, you may need to rethink either your selection for Forewarnings or your choice for Consequences.

Dinex ai d Fassaigei Hurt Applanations

The eight static plot appieciaticms should be seen in lelaticnn to one anothei, Each of therm will affect how the otheis appeal, an d anise in the piesence of one will always begin a nipple in the piesance of the otheis.

One way to piedict then lelation ship with each othei in youi stoiyis to aiiarige them into 1wo quads and then ecpbie the lelation ships whic h these quads cieate. The natuie of these appieciaticms will be difieientfoi e-reiy stoiy, howevei the appiec iation s will always have thes e liira'an d /iKfej^Eiijuad aiian gem en ts.

j'Ufa'^ijTiifKisiraif

Goal

Requiiem an ts Foiewamings

Consequences f&vm^ f^ Appvcistfiaij:

Dividends

Fieiequisites Reconditions

Costs

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