Crisis in Yellowhead

I have to dig deeper.  Much much deeper than I first expected.

Spent some time yesterday tinkering with the crisis scene of Highwaymen, episode 1.  Every turn of the screw tightened one other component to the story out of shape.  Every poke and prod revealed more imperfections to the story design.

This is just one scene.  It’s like trying to heard cats.  Granted, it’s the most important scene in the story design, and it represents the grand culmination of every seed planted to date, but still… I thought I was so close.

Ideally a crisis scene is the most difficult choice of all between the better of two evils, or the outcome of two goods.  Simply put, it’s a choice between Door Number 1 and Door Number 2.  It’s a one way trip and there’s no going back.  It needs to be a motherfucking choice of all choices, and in order for the choice to be a true crisis, a strong case for both doors needs to be made throughout the story.

My story will end with my protagonist walking through Door Number 1, but I need to go back and make sure the argument for Door Number 2 is an even better choice.  This decision will then set up the rest of the series for inherent future conflict… and conflict is what drives a story forward.

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