HERE’S a TV trivia question: what do “Laverne and Shirley,” “Better Call Saul” and “CSI: New York/Miami/Tacoma” all have in common? Yup. They’re SPINOFFS. Their characters or premises were first… read more →
This is the third in my series of articles on how to captivate your audiences and readers with the use of conflict – your most powerful tool for eliciting emotion… read more →
After offering my introductory article on CONFLICT (the one about Tiger Woods), I got a lot of kind and thoughtful responses (thanks, everyone!), including this one from a follower named… read more →
I recently posted a series of articles about how to use desire to define your story, to drive the action and characters toward a satisfying resolution, and to captivate your… read more →
Let’s finish this series by going through all the types of desires we’ve discussed, making certain that they don’t get confusing. I want to present them in the logical sequence… read more →
In this series of articles exploring the various goals your hero will pursue, all the desires have had one thing in common: they all serve to move your hero closer… read more →
Defining your hero’s Outer Motivation can sometimes seem confusing because it can easily be mistaken for two of your hero’s other desires: his Preliminary Goal and his Ultimate Objective. The key to understanding these… read more →
What does the hero of your story want? Lots of things. And that’s the problem. Sifting through all those desires to pinpoint the ones that drive your story can be… read more →
What does the hero of your story want? Lots of things. And that’s the problem. Sifting through all those desires to pinpoint the ones that drive your story can be… read more →
What does the hero of your story want? Lots of things. And that’s the problem. Sifting through all those desires to pinpoint the ones that drive your story can be… read more →
