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      "text": "Good stories are dynamic. Characters face challenges, and are changed by them for better or worse. There is conflict that escalates and releases, characters experience lows and highs, victories and defeats. Sudden (but motivated) changes in direction alter the nature of the challenges as well as escalating them. And set-ups may pay off at varying intervals. They are not merely a linear sequence of outcomes.",
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      "text": "And the story spine provides no context to remind you about all that.",
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      "text": "It's a good way to structure a pitch, but not deep enough to guide you through the whole script by itself.",
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      "text": "So I don't personally recommend Adams' story spine as a tool for anything other than riffing, or coming up with the most basic concepts for a story framework.",
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      "text": "Adams created the story spine for improv theater, and that is a discipline unto itself with its own goals and rules. Improv is useful for writers, directors and actors in other media as a great way to approach \"riffing\" on stories; to open your mind to possibilities rather than second-guessing them or obsessing over details.",
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      "text": "Improv theater prefers stories that are single-threaded, wander until the climax, and are propelled through agreement or conflict resolution more than disagreement and conflict.",
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      "text": "When it comes to structuring a narrative for film (or TV, comics or novels) either of my rephrasings of the story spine above - or any one of the structure models offered by the authors I mentioned - are more helpful simplifications to work from.",
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      "text": "changed by her \"ordeal\". It's just not a very interesting piece of narrative at all.",
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      "text": "But improv techniques can actually be a detrimental way to approach understanding and structuring finished narratives, because the goals of improv theater are different than the goals of narrative drama.",
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