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      "text": "There is a gem of excellent advice in this rule: in drama everything works best if protagonist motivation, choice and action drives her into and out of trouble. Period.",
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      "text": "When they're used to get characters into trouble they're simply more forgivable because the audience gets wrapped-up in the new conflict and consequences. When they are used to get a character out of trouble the result is a deflation of tension and the audience having time to pause and reflect upon how cheated they feel that a tense moment was resolved by fate rather than character choice.",
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      "text": "Coincidences to get characters into trouble will be forgiven so long as the audience is emotionally invested in the character, since that's what will get them on board with the new conflict and less concerned with how it arose.",
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      "text": "Like any illusionist if you show your hand too clearly, the audience will see the trick where otherwise they might just relax and enjoy the show.",
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      "text": "Glaringly clumsy coincidences even to get the character into trouble are the stuff of parody, such as having a hero say \"I wish the cops would get here!\" and a second later a ring of cops rushes in and points their guns at the hero rather than the villain. In that scene the writer did use coincidence to put the hero into peril and increase the stakes, but in such an obvious way the audience will see the trick rather than enjoy the magic.",
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