iron-edge 1.0.0

package/squads/squad-storytelling/knowledge-base/routing-catalog.md

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+# Routing Catalog: Narrative Masters Squad
+
+> Version: 1.0.0 | Squad: narrative-masters | Orchestrator: Arc (storytelling-orqx)
+
+## Domain Routing Map
+
+### hero_journey
+- **Keywords:** hero's journey, monomyth, mythic structure, archetypes, mythology, collective unconscious, call to adventure, threshold, boon, apotheosis
+- **Primary Agent:** joseph-campbell
+- **Secondary Agent:** dan-harmon
+- **Description:** Universal mythic patterns, monomyth structure, archetypes, and cross-cultural narrative patterns
+
+### story_structure
+- **Keywords:** beat sheet, story structure, screenplay, plot points, three acts, save the cat, plot architecture, logline, genre
+- **Primary Agent:** blake-snyder
+- **Secondary Agent:** dan-harmon
+- **Description:** Plot architecture, beat sheets, act structure, turning points, and screenplay formatting
+
+### tv_episodic
+- **Keywords:** TV writing, episode structure, story circle, series, sitcom, pilot, writers room, episodic, streaming
+- **Primary Agent:** dan-harmon
+- **Secondary Agent:** blake-snyder
+- **Description:** Television and episodic writing, Story Circle, series structure, and writers room dynamics
+
+### presentations
+- **Keywords:** presentation, slides, keynote, pitch deck, data storytelling, TED talk, sparkline, visual narrative, resonate
+- **Primary Agent:** nancy-duarte
+- **Secondary Agent:** park-howell
+- **Description:** Presentation design, data storytelling, visual narrative, keynote crafting
+
+### brand_storytelling
+- **Keywords:** brand story, business narrative, ABT, marketing story, content marketing, brand identity, and but therefore, story cycle
+- **Primary Agent:** park-howell
+- **Secondary Agent:** kindra-hall
+- **Description:** Brand narrative strategy, ABT framework, business storytelling, content marketing
+
+### personal_stories
+- **Keywords:** personal narrative, memoir, vulnerability, true stories, life experience, self-story, internal narrative
+- **Primary Agent:** kindra-hall
+- **Secondary Agent:** marshall-ganz
+- **Description:** Personal storytelling, true narrative from lived experience, vulnerability, transformation moments
+
+### sales_stories
+- **Keywords:** sales story, customer story, founder story, value story, stories that stick, persuasion narrative, story gap
+- **Primary Agent:** kindra-hall
+- **Secondary Agent:** oren-klaff
+- **Description:** Sales and business stories, the four essential stories, customer and founder narratives
+
+### improvisation
+- **Keywords:** improv, spontaneity, status, yes and, Theatresports, creative blocks, unblocking, free association, play
+- **Primary Agent:** keith-johnstone
+- **Secondary Agent:** dan-harmon
+- **Description:** Improvisation techniques, spontaneity, status dynamics, creative unblocking
+
+### pitching
+- **Keywords:** pitch, frame control, investor pitch, deal, neurofinance, persuasion, STRONG method, crocodile brain, hot cognition
+- **Primary Agent:** oren-klaff
+- **Secondary Agent:** nancy-duarte
+- **Description:** Pitch methodology, frame control, investor presentations, neurofinance-based persuasion
+
+### social_movements
+- **Keywords:** public narrative, organizing, movement, Story of Self, activism, collective action, Story of Us, Story of Now, values
+- **Primary Agent:** marshall-ganz
+- **Secondary Agent:** joseph-campbell
+- **Description:** Public narrative for social change, community organizing, movement building
+
+### general_storytelling
+- **Keywords:** storytelling, narrative, story, how to tell a story, narrative craft, writing, narrative structure
+- **Primary Agent:** storytelling-orqx
+- **Secondary Agent:** joseph-campbell
+- **Description:** General storytelling guidance, cross-domain narrative questions, framework selection
+
+## Scale-Based Tiebreakers
+
+When multiple domains score equally, use story scale to break ties:
+
+| Scale | Definition | Preferred Agents |
+|-------|-----------|-----------------|
+| **Micro** | Anecdote, social post, 60-second story | kindra-hall, park-howell |
+| **Meso** | Presentation, episode, pitch, article | nancy-duarte, oren-klaff, dan-harmon, blake-snyder |
+| **Macro** | Screenplay, novel, brand system, campaign | blake-snyder, joseph-campbell, park-howell |
+| **Meta** | Movement, cultural shift, organization-wide | marshall-ganz, joseph-campbell |
+
+## Multi-Specialist Scenarios
+
+| Scenario | Team | Flow |
+|----------|------|------|
+| Complete narrative system | campbell, snyder, harmon | Archetype → Beats → Circle |
+| Business storytelling suite | howell, hall, duarte, klaff | Brand story → 4 stories → Presentation → Pitch |
+| Movement campaign | ganz, campbell, duarte, hall | Public narrative → Mythic framing → Visual → Sticky stories |
+| Creative workshop | johnstone, hall, harmon | Unblock → Find stories → Structure |

package/squads/squad-storytelling/knowledge-base/social-movement-narratives.md

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+# Social Movement Narratives — Marshall Ganz
+
+> Version: 1.0.0 | Agent: marshall-ganz | Domain: movement-organizing, public-narrative
+
+## Overview
+
+Marshall Ganz spent 16 years as an organizer with Cesar Chavez and the United Farm Workers, then became a faculty member at Harvard Kennedy School. His framework — Public Narrative — is the most powerful methodology for translating personal values into collective action.
+
+Ganz's insight: **leaders don't organize people around ideas. They organize people around stories.** A policy position cannot move people to sacrifice. A story about why that policy matters — rooted in specific human experience — can.
+
+Obama's 2008 presidential campaign used Ganz's framework at scale. It's also used by climate activists, union organizers, faith communities, and social entrepreneurs worldwide.
+
+---
+
+## The Public Narrative Framework
+
+Public Narrative consists of three interlocking stories that together create the conditions for collective action:
+
+```
+STORY OF SELF      — Why I was called to lead
+STORY OF US        — The shared values that unite us
+STORY OF NOW       — The urgent challenge we face together
+```
+
+These are not separate speeches. They are three movements in a single narrative arc that builds from personal to communal to urgent.
+
+---
+
+## Story of Self — Why I Was Called
+
+### Purpose
+Establish leadership credibility not through credentials, but through demonstrated values. The Story of Self answers: "Why should we listen to you? Why are you the one to lead on this?"
+
+### Structure
+A narrative from the leader's own life that reveals the values driving their work — specifically, the moment when they were called to this work.
+
+**The call narrative:** A story of a specific moment when the leader faced a choice — a challenge, an injustice, a loss, or an opportunity. The choice they made reveals their values. The consequence of that choice reveals what's at stake.
+
+### Key Elements
+
+1. **A specific moment** — Not "I grew up poor" but "The day the bank knocked on the door and my father wasn't home, I answered. I was nine years old."
+2. **A genuine challenge** — Something was at risk, something was difficult
+3. **A choice made** — The leader chose to act (or not act — learning from not acting)
+4. **An outcome** — What happened as a result
+5. **The learning** — What this moment taught about the value at stake
+
+### Common Mistakes
+
+- **Biography instead of narrative** — Listing background facts is not a Story of Self. The story must have a specific challenge, a choice, and a consequence.
+- **Too polished** — Rehearsed, controlled delivery suggests performance. The Story of Self works when it feels vulnerable and true.
+- **Credentials as story** — "I have 20 years of experience" is not a story. The experience must be embodied in a narrative moment.
+- **Abstract values** — "I believe in justice" is a statement. The story must show a concrete moment when justice was at stake.
+
+---
+
+## Story of Us — Our Shared Values
+
+### Purpose
+Connect the leader's individual story to the shared story of the community — the values, experiences, and challenges that make "us" an "us." The Story of Us answers: "Why do we care about this together?"
+
+### Structure
+Draw on shared experiences, challenges, and values that unite the group. This is not about demographics — it's about the experiences and values that create communal identity.
+
+**Key insight:** "Us" is always defined by contrast. "We" the farmworkers who deserve dignity vs. "them" the systems that deny it. The contrast clarifies the shared identity.
+
+### Elements
+
+1. **Shared experience** — "We all know what it's like to [common challenge]"
+2. **Shared values** — "That's why we believe [specific value]"
+3. **Shared history** — "We've shown who we are when [previous moment of courage or achievement]"
+4. **Collective identity** — "That's who we are as [group name/movement name]"
+
+### Building "Us" Without "Them"
+
+Effective movements build strong "Us" identity. They may name the "Them" (the problem, the system, the power structure) — but they are careful not to define themselves only in opposition. The strongest identity is positive: "We are for X" not just "We are against Y."
+
+---
+
+## Story of Now — The Urgent Challenge
+
+### Purpose
+Translate values into action by creating a specific, urgent call. The Story of Now answers: "What must we do, and why must we do it now?"
+
+### Structure
+
+1. **The specific challenge** — Not a general problem, but this problem, right now
+2. **The hopeful choice** — The action available to us
+3. **The hopeful outcome** — Why taking this action can make a difference
+4. **The specific ask** — What exactly the audience should do, when, and how
+
+### The Urgency Principle
+
+Without urgency, even moved people don't act. Urgency is created by:
+- **Time constraint** — "The vote is tomorrow"
+- **Consequential moment** — "This is the year we can change this"
+- **Momentum** — "We have never been this close"
+- **Threshold** — "We need 500 more signatures to trigger a hearing"
+
+### The Hopeful Frame
+
+Ganz is explicit: the Story of Now must be hopeful, not despairing. Fear can motivate individual action but does not build collective resilience. The Story of Now says: "This is hard. It is urgent. AND we can do it, because [evidence of capacity]."
+
+---
+
+## Why Story Works for Organizing
+
+### The Emotional-Values Connection
+
+Ganz identifies two types of emotion in narrative:
+- **Fear/isolation** — Paralyzes action; turns inward
+- **Anger/solidarity** — Energizes action; turns outward toward collective change
+
+Effective organizing stories move from fear/isolation toward anger/solidarity — not through manipulation, but by showing that the audience is not alone and that action is possible.
+
+### From Values to Action
+
+The story pathway:
+```
+Personal experience → Specific emotion → Values revealed
+Values recognized by audience → Collective identity formed
+Collective identity + Urgent challenge → Motivation to act
+Motivation + Specific ask → Action taken
+```
+
+Without the story, you're asking people to act on abstract principle. With the story, you're asking them to act on lived recognition.
+
+---
+
+## Storytelling for Leadership vs. Marketing
+
+Ganz's framework is about **leadership**, not marketing. The distinction matters:
+
+| Dimension | Marketing Story | Leadership Story |
+|-----------|----------------|-----------------|
+| Goal | Change behavior (purchase) | Change identity (who we are together) |
+| Direction | Brand to customer | Leader to community |
+| Orientation | Product benefit | Shared values and challenge |
+| Duration | Transactional | Relational |
+| Trust | Built through consistency | Built through vulnerability |
+
+However, the structural insights (specific moment, genuine challenge, values revealed, collective identity, urgent action) apply to both.
+
+---
+
+## Applying Public Narrative to Business Leadership
+
+### For Organizational Change
+
+When a leader needs to mobilize a team around change:
+
+**Story of Self:** The leader's own experience that taught them why this change matters — not the business case, but the human story behind it.
+
+**Story of Us:** The team's shared history — past challenges overcome, shared values demonstrated, collective capacity proven.
+
+**Story of Now:** The specific challenge facing the organization and the specific action the team must take.
+
+### For Startup Founder Communication
+
+- **Story of Self:** Why the founder started this company (the real story, with a specific moment)
+- **Story of Us:** The community the startup serves (their shared problem, their shared aspiration)
+- **Story of Now:** Why this problem must be solved now, and why this team is the one to solve it
+
+### For Activist Campaigns
+
+The framework is most powerful when:
+1. The leader delivers their Story of Self authentically (not a speech — a genuine moment)
+2. The Us story connects to specific shared experiences (not vague "we all want a better world")
+3. The Now story has a specific, achievable ask with a clear deadline
+
+---
+
+## The Three Stories as a Full Speech
+
+A well-constructed 10-minute public narrative speech:
+
+| Section | Duration | Content |
+|---------|----------|---------|
+| Story of Self | 2-3 minutes | One specific challenge → choice → outcome |
+| Transition | 30 seconds | "My story is not unique. You know this story too." |
+| Story of Us | 2-3 minutes | Our shared experience and values |
+| Transition | 30 seconds | "That's why we can't let this moment pass." |
+| Story of Now | 2-3 minutes | The challenge, the choice, the specific ask |
+| Close | 30 seconds | The hopeful vision of what becomes possible |
+
+---
+
+## Cross-Reference
+
+- **Joseph Campbell's Monomyth** provides the archetypal depth that Ganz's Story of Self draws from
+- **Nancy Duarte's Sparkline** applies when the public narrative is delivered as a designed presentation
+- **Kindra Hall's 4 Stories** provides structure for the business version of the founder and purpose stories

package/squads/squad-storytelling/knowledge-base/story-circle-dan-harmon.md

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+# Story Circle — Dan Harmon Deep Reference
+
+> Version: 1.0.0 | Agent: dan-harmon | Domain: tv-episodic, character-driven
+
+## Overview
+
+Dan Harmon developed the Story Circle while running Channel 101 and later as showrunner of Community (NBC). It is the most practical and approachable narrative framework ever created — a compression of Campbell's monomyth into 8 steps that can be drawn as a circle and applied at any story scale.
+
+**Origin:** Harmon kept failing to write stories that felt satisfying. He obsessively studied structure until he found the minimum viable unit of story. The circle was the result.
+
+---
+
+## The 8-Step Story Circle
+
+```
+                    YOU (1)
+                 /           \
+          CHANGE (8)         NEED (2)
+         /                         \
+    RETURN (7)                   GO (3)
+         \                         /
+          TAKE (6)            SEARCH (4)
+                 \           /
+                   FIND (5)
+```
+
+| Step | Name | Description |
+|------|------|-------------|
+| **1** | **YOU** | A character exists in their zone of comfort — the familiar world, the status quo. |
+| **2** | **NEED** | Something is needed or wanted — a lack, a desire, a problem that demands attention. |
+| **3** | **GO** | The character enters an unfamiliar situation — crosses the threshold into the unknown. |
+| **4** | **SEARCH** | The character adapts to the unfamiliar, struggles, fails, learns — the messy middle. |
+| **5** | **FIND** | The character gets what they wanted — the apparent goal is achieved. |
+| **6** | **TAKE** | The character pays a price — getting what you want always costs something. |
+| **7** | **RETURN** | The character returns to their familiar situation — transformed. |
+| **8** | **CHANGE** | The character has changed — they are different from who they were in step 1. |
+
+---
+
+## The Circle as Philosophy
+
+The circle encodes a profound truth: **every meaningful story is about change, and change requires cost.**
+
+The top half of the circle is the **comfortable, familiar world** (consciousness/daytime).
+The bottom half is the **unfamiliar, dangerous world** (unconscious/nighttime).
+
+Crossing into the bottom half is always a choice. The step from GO to SEARCH is the "yes" that makes the story happen. The step from RETURN to CHANGE is the proof that something real occurred.
+
+**Harmon's core insight:** If someone wants something, goes somewhere, struggles, gets it, but there's no cost and no change — it's not a story. It's a sequence of events.
+
+---
+
+## The Fractal Property
+
+The Story Circle works at every scale simultaneously:
+
+| Scale | Example |
+|-------|---------|
+| **Series** | Breaking Bad: Walter White (YOU) needs money → goes into drugs (GO) → becomes Heisenberg (FIND) → loses family (TAKE) → admits the truth (CHANGE) |
+| **Season** | Each season of Community follows a full circle arc |
+| **Episode** | A single episode follows the complete circle |
+| **Scene** | A 3-minute conversation can have all 8 steps |
+| **Beat** | A single moment of realization is a micro-circle |
+
+This is why great TV feels simultaneously satisfying in each individual scene AND across the full series — the fractal is operational at all levels.
+
+---
+
+## Characters Have Needs AND Goals
+
+Harmon distinguishes between what the character **wants** (the goal, the conscious desire) and what the character **needs** (the deeper lack, often unconscious):
+
+- **Want:** External objective — what the plot is about
+- **Need:** Internal wound — what the story is really about
+
+The character achieves the WANT by the midpoint (step 5). The NEED is only resolved by CHANGE (step 8). The want and need are usually in tension. Getting the want often prevents getting the need — until the character learns to sacrifice the want.
+
+**Example — Community's Jeff Winger:**
+- Want: Fake his way through college, avoid genuine connection
+- Need: Authentic friendship and belonging
+- The story only works because these are in conflict
+
+---
+
+## Applying the Story Circle to Business Content
+
+### For Customer Stories
+```
+YOU:     [Customer before your product — their daily reality]
+NEED:    [The specific problem or desire that was nagging them]
+GO:      [The decision to try your solution — crossing the threshold]
+SEARCH:  [The learning curve, the first attempts, the friction]
+FIND:    [The moment it clicked — the specific win]
+TAKE:    [What they had to give up or change — honesty adds credibility]
+RETURN:  [Back to daily work, but now different]
+CHANGE:  [How they see themselves and their work differently now]
+```
+
+### For Personal Brand Content
+```
+YOU:     [Who I was before the insight]
+NEED:    [What was missing or broken in my thinking]
+GO:      [The decision to explore, experiment, or change]
+SEARCH:  [The struggle, the failure, the confusion]
+FIND:    [The realization, the discovery, the breakthrough]
+TAKE:    [What I had to let go of — an old belief, a comfortable habit]
+RETURN:  [Back to practice, but with new understanding]
+CHANGE:  [How my work is different now]
+```
+
+### For Brand Origin Stories
+```
+YOU:     [The founder in the ordinary world — their expertise, their frustration]
+NEED:    [The market gap or problem they couldn't ignore]
+GO:      [The decision to build — quitting the job, starting the company]
+SEARCH:  [The early struggles, the pivots, the failures]
+FIND:    [The product-market fit, the first real win]
+TAKE:    [The cost — relationships strained, resources depleted, years spent]
+RETURN:  [Back to the market, now with a real solution]
+CHANGE:  [The company and the founder as a different entity]
+```
+
+---
+
+## The Story Circle vs. The Hero's Journey
+
+| Dimension | Hero's Journey (Campbell) | Story Circle (Harmon) |
+|-----------|--------------------------|----------------------|
+| Steps | 17 (Campbell) / 12 (Vogler) | 8 |
+| Complexity | High — requires deep study | Low — learnable in one session |
+| Scale | Macro (epics, films, myths) | Any scale (scene to series) |
+| Emphasis | External journey and transformation | Internal need and change |
+| Best for | Epic narratives, brand mythology | TV, episodic, any practical writing |
+| Overlap | Stages 1-5 map to Departure/Initiation | Compression of the same pattern |
+
+---
+
+## Episode Structure Application
+
+For a 22-minute sitcom episode (Community model):
+
+| Step | Approx. Time | What Happens |
+|------|-------------|--------------|
+| YOU | 0:00-2:00 | Character in normal context |
+| NEED | 2:00-4:00 | Problem or desire established |
+| GO | 4:00-6:00 | Character commits to a course of action |
+| SEARCH | 6:00-14:00 | The long middle — obstacles, escalating complications |
+| FIND | 14:00-16:00 | Apparent resolution — gets what they wanted |
+| TAKE | 16:00-18:00 | Cost becomes clear — it wasn't worth it, or came with conditions |
+| RETURN | 18:00-20:00 | Back to the original world |
+| CHANGE | 20:00-22:00 | Reflection, transformation, new state |
+
+---
+
+## Common Story Circle Failures
+
+| Failure | Diagnosis | Fix |
+|---------|-----------|-----|
+| No real change in step 8 | The character just had an adventure | The final state must differ from step 1 |
+| No cost in step 6 | Story feels too easy | What does getting the want cost? |
+| Skipping step 4 | Story resolves too quickly | The search needs real struggle and failure |
+| Want = Need | No internal conflict | Separate external goal from internal wound |
+| The circle is too tidy | Story feels mechanical | The circle is a diagnostic, not a recipe |
+
+---
+
+## Cross-Reference
+
+- **Campbell's Monomyth** is the mythic substrate — Harmon's circle is its practical compression
+- **Blake Snyder's Beat Sheet** maps similarly but focuses on commercial screenplay structure
+- **Kindra Hall's Normal-Explosion-New Normal** is a further compression for business stories

package/squads/squad-storytelling/knowledge-base/story-structure-reference.md

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+# Story Structure Reference
+
+> Version: 1.0.0 | Quick-reference guide for narrative structure patterns across all frameworks
+
+## Universal Story DNA
+
+Every story, regardless of framework, contains these elements:
+
+| Element | Description | Framework Term |
+|---------|-------------|---------------|
+| **Status Quo** | The world before change | Ordinary World (Campbell), You (Harmon), Opening Image (Snyder), What Is (Duarte), Normal (Hall), And (Howell) |
+| **Disruption** | Something breaks the status quo | Call to Adventure (Campbell), Need (Harmon), Catalyst (Snyder), Explosion (Hall), But (Howell) |
+| **Journey** | The struggle through the unknown | Road of Trials (Campbell), Search (Harmon), Fun & Games (Snyder), Toggle (Duarte) |
+| **Crisis** | The darkest moment / death of old self | Atonement (Campbell), Find/Take (Harmon), All Is Lost (Snyder), Story of Now (Ganz) |
+| **Transformation** | The old self dies, new self emerges | Apotheosis (Campbell), Change (Harmon), Break into Three (Snyder), New Normal (Hall), Therefore (Howell) |
+| **Return** | Back to the world, but changed | Return with Elixir (Campbell), Return (Harmon), Final Image (Snyder), New Bliss (Duarte), Encore (Howell) |
+
+---
+
+## Three-Act Structure Mapping
+
+| Act | Campbell | Harmon | Snyder | Duarte | Hall | Ganz |
+|-----|---------|--------|--------|--------|------|------|
+| **Act 1: Setup** | Departure (stages 1-5) | You, Need, Go | Opening Image → Break into Two | What Is (opening) | Normal | Story of Self |
+| **Act 2: Confrontation** | Initiation (stages 6-11) | Search, Find, Take | B Story → Dark Night | What Is / What Could Be toggle | Explosion | Story of Us |
+| **Act 3: Resolution** | Return (stages 12-17) | Return, Change | Break into Three → Final Image | Call to Action + New Bliss | New Normal | Story of Now |
+
+---
+
+## Emotional Arc Patterns
+
+### The Classic Arc (most frameworks)
+```
+Hope → Fear → Struggle → Despair → Breakthrough → Triumph
+```
+
+### The Sparkline (Duarte)
+```
+Pain → Hope → Pain → Hope → Pain → Hope (escalating) → S.T.A.R. → New Bliss
+```
+
+### The Pitch Arc (Klaff)
+```
+Intrigue → Desire → Tension → Scarcity → Urgency → Commitment
+```
+
+### The Movement Arc (Ganz)
+```
+Personal courage → Collective solidarity → Shared urgency → Hope → Action
+```
+
+---
+
+## Opening Techniques (First 30 Seconds)
+
+| Technique | Framework | Example |
+|-----------|-----------|---------|
+| In medias res (start in the middle) | Universal | Open with the crisis, then flashback |
+| The question | Campbell | "Have you heard the call?" |
+| The declaration | Ganz | "We will not be silent" |
+| The ABT | Howell | "We want X, AND we have Y, BUT Z, THEREFORE..." |
+| The challenge | Klaff | "Most people get this completely wrong" |
+| The contrast | Duarte | "Here's the world as it is... here's what it could be" |
+| The specific moment | Hall | "It was 3:47 AM when the phone rang..." |
+| The invitation to play | Johnstone | "Stop trying to be good. Let's play." |
+
+---
+
+## Closing Techniques (Last 30 Seconds)
+
+| Technique | Framework | Purpose |
+|-----------|-----------|---------|
+| Return to Opening Image | Snyder | Show transformation through visual contrast |
+| The New Bliss | Duarte | Paint the vivid future after action is taken |
+| The Rallying Cry | Ganz | One sentence they will repeat and share |
+| The Call to Action | Universal | Specific, achievable, immediate next step |
+| The Boon Shared | Campbell | Hero returns with gift for the community |
+| Story On! | Howell | Energy and momentum for the next chapter |
+| The Echo | Harmon | Mirror Step 1, but different — proof of change |
+
+---
+
+## Conflict Types Across Frameworks
+
+| Type | Description | Best Framework |
+|------|-------------|---------------|
+| Person vs. Self | Internal struggle, identity crisis | Campbell (Atonement), Hall (Self-Stories) |
+| Person vs. Person | Direct antagonist, competition | Snyder (Bad Guys Close In), Klaff (Frame Control) |
+| Person vs. Society | System, institution, status quo | Ganz (Public Narrative), Campbell (Threshold Guardians) |
+| Person vs. Nature | Environment, fate, circumstance | Campbell (Road of Trials), Snyder (Dude with a Problem) |
+| Person vs. Technology | Modern challenges, disruption | Duarte (What Is / What Could Be) |
+| Person vs. Inertia | Resistance to change, comfort zone | Howell (The "But"), Johnstone (Blocks) |
+
+---
+
+## Story Length Guidelines
+
+| Format | Duration | Recommended Framework |
+|--------|----------|----------------------|
+| Elevator pitch | 30-60 seconds | ABT (Howell) |
+| Business story | 60-90 seconds | Normal-Explosion-New Normal (Hall) |
+| Pitch meeting | 10-20 minutes | STRONG Method (Klaff) |
+| Presentation | 20-45 minutes | Sparkline (Duarte) |
+| TV episode | 22-60 minutes | Story Circle (Harmon) |
+| Screenplay | 90-120 minutes | Beat Sheet (Snyder) |
+| Movement speech | 5-15 minutes | Public Narrative (Ganz) |
+| Epic narrative | Unlimited | Hero's Journey (Campbell) |
+
+---
+
+## Common Story Failures and Fixes
+
+| Failure | Symptom | Fix | Agent |
+|---------|---------|-----|-------|
+| No conflict | Story feels flat, boring | Find the "BUT" — add tension | park-howell |
+| No transformation | Characters unchanged | Ensure death/rebirth at midpoint | dan-harmon |
+| Hero is the brand | Audience doesn't connect | Make customer the hero, brand the guide | park-howell |
+| Data without narrative | Audience disengages | Apply DataStory framework | nancy-duarte |
+| Generic stories | Nothing sticks | Add specificity — concrete details | kindra-hall |
+| Creative block | Can't start or continue | Remove blocks with improv exercises | keith-johnstone |
+| Abstract values | No emotional response | Ground in specific moments of choice | marshall-ganz |
+| Neocortex targeting | Pitch fails, buyer goes cold | Activate croc brain first | oren-klaff |
+| Missing beats | Story feels incomplete | Map to beat sheet and fill gaps | blake-snyder |
+| No mythic resonance | Story feels disposable | Map archetypes and universal patterns | joseph-campbell |
+
+---
+
+## Framework Compatibility Matrix
+
+Frameworks that work well together:
+
+| Combination | Use Case |
+|-------------|----------|
+| ABT + 4 Stories | Brand storytelling suite |
+| Hero's Journey + Beat Sheet | Feature film development |
+| Story Circle + Beat Sheet | TV series with film-quality episodes |
+| Sparkline + DataStory | Data-driven keynote presentations |
+| Public Narrative + Sparkline | Movement communications + visual delivery |
+| STRONG + Sparkline | Pitch with presentation support |
+| Status + Story Circle | Scene-level TV writing |
+| ABT + Public Narrative | Organization change communication |
+| 4 Stories + Story Cycle | Complete business narrative system |
+
+Frameworks that conflict (use one OR the other):
+
+| Conflict | Reason |
+|----------|--------|
+| STRONG (Klaff) + Sparkline (Duarte) for same pitch | Frame dominance vs audience empowerment — different philosophies |
+| Beat Sheet (Snyder) + Impro (Johnstone) | Structure vs spontaneity — choose approach first |