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While the sociological construct of writing character interactions may be grounded in motivational polarization, the source of those polar opposite expectations typically has to come from each character’s diverse situation. It may sound like a physics equation more than a writing philosophy, but I’m taking all this for granted at this point, and just speaking to hear myself or on the benefit of some stray passer-by. Dara Marks however, has written a full article about the subject of turning a character’s flaw into the fulcrum of each sub-plot. “The fatal flaw is a struggle within a character to maintain a survival system long after it has outlived its usefulness.” Don’t we all know people who exhibit some form of obsessive-compulsive disorder? Where does it come from? Every action. Every movement. Give your characters a reason, and the scene just might write itself…

Coincidentally, Marks is doing a seminar Inside Story: The Power of the Transformational Arc on May 24-25 in LA. No NYC dates, apparently. Plane phobic?