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agents/creative-writer/plot-structure.md

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+<!-- Plot Structure skill - story architecture and pacing mastery -->
+
+plot structure mode: TENSION OVER TEMPLATE
+
+when this skill is active, you follow story-first discipline.
+this is a comprehensive guide to structuring compelling narratives.
+
+
+PHASE 0: PROJECT IDENTIFICATION
+
+before structuring ANY plot, identify the story's fundamental nature.
+
+
+check format and length
+
+  <read><file>project_brief.md</file></read>
+
+if no project brief exists, create one:
+  <create>
+  <file>project_brief.md</file>
+  <content>
+  # Project Brief
+
+  ## Format
+  [ ] novel (80,000+ words)
+  [ ] novella (20,000-50,000 words)
+  [ ] short story (1,000-7,500 words)
+  [ ] flash fiction (under 1,000 words)
+  [ ] screenplay / script
+  [ ] other: ___________
+
+  ## Genre
+  [primary genre]
+  [secondary elements]
+
+  ## Core Conflict
+  [protagonist] wants [goal] but [antagonist/force] opposes because [reason]
+
+  ## Stakes
+  what happens if protagonist fails?
+  what happens if protagonist succeeds?
+  </content>
+  </create>
+
+
+format determines structure
+
+different formats have different structural requirements:
+
+novel:
+  - room for subplots and multiple threads
+  - can develop complex secondary characters
+  - allows for extensive worldbuilding
+  - typically follows 3-act or 4-act structure
+  - target: 80,000-120,000 words
+
+short story:
+  - single core conflict
+  - limited cast (3-5 characters max)
+  - one primary location or tightly connected locations
+  - follows micro-structure (setup, escalation, reversal)
+  - target: 2,000-5,000 words
+
+flash fiction:
+  - one moment, one change
+  - single character focus
+  - immediate impact
+  - structure: situation -> action -> revelation
+  - target: 500-1,000 words
+
+screenplay:
+  - external action focus
+  - visual storytelling
+  - strict three-act structure
+  - 90-120 pages = 90-120 minutes
+
+
+identify target audience and genre expectations
+
+  <terminal>find . -name "*genre*" -o -name "*audience*" -o -name "*market*" 2>/dev/null | head -5</terminal>
+
+genre expectations shape structure:
+
+thriller:
+  - faster pacing throughout
+  - higher stakes earlier
+  - more plot twists
+  - clearer external conflict
+
+literary fiction:
+  - can be slower
+  - emphasis on character arc over plot beats
+  - internal conflict may equal or exceed external
+  - ambiguity allowed
+
+romance:
+  - meet-cute early
+  - midpoint complications to relationship
+  - black moment near end
+  - happily ever after required
+
+science fiction / fantasy:
+  - worldbuilding integrated with plot
+  - clear stakes (save world/kingdom/universe)
+  - final confrontation with antagonist
+
+match structure to reader expectations.
+
+
+PHASE 1: THE THREE-ACT FOUNDATION
+
+the three-act structure is not a formula. it's a shape that stories
+naturally take because it mirrors how we experience change.
+
+
+act one: setup (25% of story)
+
+purpose: establish normal world, introduce characters, launch story
+
+components:
+  [ ] opening image - establish tone and world
+  [ ] protagonist introduction - who are we following?
+  [ ] status quo - what is normal life?
+  [ ] inciting incident - something happens
+  [ ] call to adventure - protagonist has opportunity
+  [ ] refusal / hesitation - protagonist is reluctant (can be brief)
+  [ ] decision to engage - protagonist commits
+  [ ] act one climax - point of no return
+
+act one ends when protagonist crosses the threshold. there is no going
+back to normal life.
+
+example: the hunger games
+  - opening: katniss in district 12, hunting, feeding family
+  - status quo: poverty, survival, protecting prim
+  - inciting incident: prim's name is drawn
+  - call: katniss volunteers
+  - decision: leaves district for the games
+  - act one climax: enters arena, game begins
+
+word count guide (80k novel):
+  act one: ~20,000 words
+
+
+act two: confrontation (50% of story)
+
+purpose: complications, escalating stakes, protagonist is tested
+
+components:
+  [ ] new world - protagonist navigates unfamiliar territory
+  [ ] tests and allies - learning the rules, meeting characters
+  [ ] training/gathering - preparing for confrontation
+  [ ] midpoint - major revelation or shift
+  [ ] stakes escalate - things get more serious
+  [ ] all is lost - low point
+  [ ] dark night of the soul - protagonist must find new strength
+
+the midpoint is crucial. it recontextualizes everything.
+
+before midpoint: problem seems like X
+after midpoint: problem is actually Y
+
+example: star wars (a new hope)
+  - new world: death star, rescuing leia
+  - tests: obi-wan's teachings, han's cynicism vs luke's belief
+  - midpoint: death star destroys alderaan
+  - before midpoint: rescue mission
+  - after midpoint: escape + fight against empire
+  - all is lost: obi-wan dies
+  - dark night: luke must trust himself, not the force through another
+
+word count guide (80k novel):
+  act two: ~40,000 words
+
+
+act three: resolution (25% of story)
+
+purpose: final confrontation and transformation
+
+components:
+  [ ] return - protagonist emerges from dark night
+  [ ] final push - gathering resources for last stand
+  [ ] climax - protagonist faces antagonist/stakes directly
+  [ ] sacrifice - protagonist gives something up (could be belief, safety,
+       relationship, literal life)
+  [ ] transformation - protagonist has changed
+  [ ] new normal - world is different because of journey
+  [ ] closing image - mirrors opening, shows change
+
+the climax must be earned. everything in acts one and two prepares for
+this moment.
+
+example: the matrix
+  - return: neo chooses to try to save morpheus
+  - final push: weapons, entrance to building
+  - climax: neo vs agent smith
+  - sacrifice: neo chooses to stay and fight (believes)
+  - transformation: becomes the one
+  - new normal: can see code, has power
+  - closing image: phone call into the system, flying
+
+word count guide (80k novel):
+  act three: ~20,000 words
+
+
+PHASE 2: BEAT SHEET DEVELOPMENT
+
+a beat sheet breaks your story into specific moments that create the
+story's emotional rhythm.
+
+
+blake snyder's save the cat beats (adapted for prose)
+
+opening image (1%)
+  - establish protagonist and world before change
+  - show us normal life
+  - hint at what's missing or wrong
+
+theme stated (5%)
+  - a character (not protagonist) states the theme
+  - protagonist doesn't understand yet
+  - will be proven/understood by end
+
+setup (1-10%)
+  - introduce protagonist's world and flaw
+  - show what's missing
+  - establish stakes (what protagonist has to lose)
+
+catalyst (10%)
+  - inciting incident
+  - something breaks normal
+  - creates opportunity for change
+
+debate (10-20%)
+  - protagonist resists the call
+  - weighs options
+  - fears the journey
+  - finally decides to engage
+
+break into two (20-25%)
+  - act one climax
+  - protagonist leaves comfort zone
+  - point of no return
+
+b story (25%)
+  - introduce secondary plot (often relationship)
+  - provides relief from main tension
+  - often carries theme
+
+fun and games (25-50%)
+  - the promise of the premise
+  - protagonist exploring new world
+  - the "trailer moments"
+  - what audience came to see
+
+midpoint (50%)
+  - false victory or false defeat
+  - stakes raised
+  - context shifts
+  - time clocks introduced
+
+bad guys close in (50-75%)
+  - protagonist's team dissolves
+  - plan fails
+  - antagonist pressures
+  - stakes escalate
+
+all is lost (75%)
+  - apparent defeat
+  - whiff of death (emotional or literal)
+  - hope seems lost
+
+dark night of the soul (75-80%)
+  - protagonist processes defeat
+  - realizes the flaw that caused failure
+  - finds new strength/truth
+  - decides to try again with new approach
+
+break into three (80%)
+  - decision to face final challenge
+  - new understanding applied
+  - gathers what's needed for climax
+
+finale (80-99%)
+  - protagonist faces antagonist/stakes
+  - uses everything learned
+  - demonstrates growth
+  - villain/obstacle defeated
+
+final image (100%)
+  - mirrors opening image
+  - shows transformation
+  - proves theme
+
+
+create your beat sheet
+
+for each beat, identify:
+  [ ] what happens (event)
+  [ ] why it matters (emotional impact)
+  [ ] how it moves story (plot consequence)
+  [ ] word count allocation
+
+example beat sheet entry:
+
+midpoint (word 40,000 / 50%)
+  what: protagonist discovers antagonist is her missing brother
+  why: recontextualizes entire quest - not just defeat him, but save
+       or destroy family. raises personal stakes.
+  consequence: every previous encounter gains new meaning.
+         must choose between mission and family.
+
+
+PHASE 3: CHARACTER ARC STRUCTURE
+
+plot structure and character arc are inseparable. the structure exists
+to force character change.
+
+
+the external arc (what happens)
+
+setup:
+  protagonist has a flaw / wound / lie they believe
+
+inciting incident:
+  something challenges the lie/flaw
+
+journey (act two):
+  protagonist tries to solve problems using the flaw
+  - it doesn't work
+  - things get worse
+  - reaches low point
+
+dark night:
+  protagonist realizes the flaw is the problem
+
+climax:
+  protagonist confronts flaw, tries new approach
+
+resolution:
+  protagonist lives without the flaw
+
+
+the internal arc (how they change)
+
+before (normal world):
+  - flaw protects from wound
+  - lie feels true
+  - coping mechanisms work
+
+journey:
+  - coping mechanisms fail
+  - wound is exposed
+  - lie is challenged
+
+dark night:
+  - must confront wound
+  - must let go of lie
+  - must find new truth
+
+after (new normal):
+  - lives with new truth
+  - wound may remain but response changed
+  - no longer protected by flaw
+
+
+example: pride and prejudice
+
+external arc:
+  elizabeth meets darcy, dislikes him, events force interaction,
+  eventually realizes she misjudged him, they marry
+
+internal arc:
+  flaw: hasty judgment
+  lie: first impressions are reliable
+  wound: father's cynical view of marriage
+  journey: wickham seems good (reinforces lie), darcy seems bad
+          (reinforces lie), darcy's letter reveals truth
+  dark night: realizing she misjudged both men
+  new truth: requires investigation, not assumption
+  new normal: married to darcy, sees clearly
+
+
+structural sync
+
+key structural points MUST correspond to character arc:
+
+break into two:
+  protagonist leaves comfort zone AND comfort zone of old belief
+
+midpoint:
+  external: stakes raised
+  internal: old belief challenged
+
+all is lost:
+  external: defeat
+  internal: old coping strategies fail completely
+
+climax:
+  external: final confrontation
+  internal: must overcome flaw to succeed
+
+resolution:
+  external: world changed
+  internal: character changed
+
+
+PHASE 4: SUBPLOT WEAVING
+
+subplots follow their own arcs but connect to main plot.
+
+
+subplot types
+
+relationship subplot:
+  - often the "b story"
+  - provides emotional counterweight
+  - often carries theme
+  - connects to main plot at key structural points
+
+mirror subplot:
+  - secondary character faces similar challenge
+  - their choices highlight protagonist's choices
+  - serves as warning or inspiration
+
+contrasting subplot:
+  - character faces opposite challenge
+  - shows alternative path
+  - highlights stakes by showing what could happen
+
+thematic subplot:
+  - explores story theme from different angle
+  - may not involve protagonist directly
+  - enriches story's emotional resonance
+
+
+subplot connection points
+
+subplots must connect to main plot at key structural moments:
+
+break into two:
+  - subplot introduced or activated
+
+midpoint:
+  - subplot complicates main plot
+  - or main plot complicates subplot
+
+all is lost:
+  - subplot hits its own low point
+  - adds to protagonist's despair
+
+climax:
+  - subplot resolution aids or complicates final confrontation
+  - secondary character's arc resolves
+
+resolution:
+  - subplot's new status shows theme in another context
+
+
+example subplot weaving
+
+main plot: detective hunting serial killer
+subplot: detective's failing marriage
+
+connections:
+  - act one: marriage already strained (setup)
+  - break into two: case demands more time, creates marital tension
+  - midpoint: killer attacks someone close to detective; spouse says
+               "you're never here, i can't do this anymore"
+  - all is lost: spouse leaves; detective is alone, realizes the cost
+  - dark night: detective chooses to save spouse instead of pursuing
+                 killer immediately
+  - climax: spouse's support provides key to catching killer
+  - resolution: marriage repaired through shared trauma
+
+subplot serves:
+  [ ] shows stakes of main plot (cost to personal life)
+  [ ] creates additional tension
+  [ ] provides emotional motivation
+  [ ] demonstrates theme (justice requires sacrifice)
+
+
+subplot pacing rules
+
+  [1] introduce subplot early or not at all
+      act one is best. later introductions feel forced.
+
+  [2] give subplot its own arc
+      beginning, middle, end - not just random complications
+
+  [3] don't let subplot overshadow main plot
+      subplot serves main plot, not vice versa
+
+  [4] resolve subplot before or with main plot
+      resolution during climax or immediately after
+
+  [5] cut subplot if it doesn't connect
+      if subplot can be removed without affecting main plot,
+      it doesn't belong
+
+
+PHASE 5: SCENE STRUCTURE
+
+every scene is a mini-story with its own structure.
+
+
+scene components
+
+entry:
+  [ ] where are we?
+  [ ] who's present?
+  [ ] what's the situation?
+  [ ] what does scene POV character want?
+
+action:
+  [ ] conflict arises
+  [ ] character pursues goal
+  [ ] obstacles arise
+  [ ] character tries, fails, adjusts
+  [ ] scene builds to turning point
+
+exit:
+  [ ] how has situation changed?
+  [ ] what does character do now?
+  [ ] what's the immediate consequence?
+
+every scene must:
+  [ ] advance plot
+  [ ] reveal character
+  [ ] create/change tension
+  [ ] answer previous question AND raise new one
+
+
+scene types
+
+action scene:
+  - physical conflict
+  - clear goal and obstacle
+  - escalation of stakes
+  - turning point changes situation
+
+revelation scene:
+  - character learns something
+  - information is revealed
+  - context changes
+  - decisions must be made
+
+emotion scene:
+  - character processes experience
+  - internal state is explored
+  - decision or realization
+  - character is changed
+
+relationship scene:
+  - two or more characters interact
+  - relationship dynamics shift
+  - power changes hands
+  - alliances form/break
+
+
+scene structure template
+
+before writing scene, identify:
+
+scene goal:
+  [ ] what does POV character want in this scene?
+
+scene conflict:
+  [ ] what opposes the goal?
+  [ ] who or what is the obstacle?
+
+scene outcome:
+  [ ] does character get what they want? (usually: no, or yes but...)
+  [ ] how is situation different at scene end?
+
+scene consequence:
+  [ ] what must character do now?
+  [ ] what's changed that can't be undone?
+
+scene value charge:
+  [ ] entry value: positive/negative for POV character
+  [ ] exit value: opposite or intensified
+  - if scene starts and ends with same value, cut it
+
+
+PHASE 6: PACING AND TENSION
+
+pacing is manipulation of story time and information.
+
+
+controlling pacing
+
+tools to slow pacing:
+  [ ] longer sentences
+  [ ] more description
+  [ ] internal reflection
+  [ ] dialogue exchanges
+  [ ] detailed action sequences
+
+tools to accelerate pacing:
+  [ ] shorter sentences
+  [ ] fragments
+  [ ] less description
+  [ ] more external action
+  [ ] chapter cliffhangers
+  [ ] time cuts (skip the transitions)
+
+
+pacing by location
+
+act one:
+  - establish world at measured pace
+  - reader needs grounding
+  - speed up toward inciting incident
+
+act two first half:
+  - moderate pace
+  - room for exploration
+  - accelerate toward midpoint
+
+act two second half:
+  - complications come faster
+  - less breathing room
+  - building pressure
+
+act three:
+  - fastest pace
+  - high tension
+  - resolution can breathe again
+
+
+tension building
+
+tension comes from:
+  [ ] reader knowing more than character
+  [ ] character wanting something they can't have
+  [ ] time pressure
+  [ ] limited resources
+  [ ] uncertain outcomes
+  [ ] competing desires
+
+tension creates questions:
+  - will they succeed?
+  - what will it cost?
+  - who can be trusted?
+  - what's really happening?
+
+every scene should raise questions.
+every scene answer should raise new questions.
+
+
+structural tension
+
+the story shape creates macro-tension:
+
+act one:
+  question: will protagonist leave comfort?
+
+act two:
+  question: can protagonist survive the journey?
+
+act three:
+  question: will protagonist triumph?
+
+within these macro-questions, scene-level questions keep reader
+moving forward.
+
+
+time pressure
+
+time clocks create urgency:
+
+hard time clock:
+  - bomb will explode in 24 hours
+  - wedding is in three days
+  - must catch train at midnight
+
+soft time clock:
+  - antagonist is getting closer
+  - opportunity is slipping away
+  - resources are running out
+
+psychological time clock:
+  - character believes something will happen
+  - self-imposed deadline
+  - internal urgency
+
+time clocks work best when multiple clocks converge:
+
+external clock: villain will strike in 48 hours
+internal clock: protagonist's own doubt grows
+relationship clock: spouse will leave if protagonist misses one more
+                 family event
+
+
+PHASE 7: STORY ARCHETYPES
+
+
+the hero's journey (joseph campbell / christopher vogler)
+
+useful for: adventure, fantasy, science fiction, mythic stories
+
+structure:
+  [ ] ordinary world - normal life before change
+  [ ] call to adventure - something breaks normal
+  [ ] refusal - protagonist hesitates
+  [ ] mentor - guide appears with wisdom/tools
+  [ ] crossing threshold - leaves ordinary world
+  [ ] tests, allies, enemies - learns rules of new world
+  [ ] approach to inmost cave - prepares for central challenge
+  [ ] ordeal - faces death/greatest fear
+  [ ] reward - survives, gains something
+  [ ] road back - returns to ordinary world with consequences
+  [ ] resurrection - final test, transformed
+  [ ] return with elixir - brings something back to help ordinary world
+
+not all stories fit this pattern.
+use it only if it serves YOUR story.
+
+
+the mystery structure
+
+useful for: detective stories, thrillers, mysteries
+
+structure:
+  [ ] crime/discovery - body found, mystery begins
+  [ ] investigation - detective follows leads
+  [ ] false solution - seems solved, but isn't
+  [ ] reversal - false solution falls apart
+  [ ] true investigation - with new understanding
+  [ ] final revelation - true solution discovered
+  [ ] confrontation - detective faces killer
+
+key: reader should have same information as detective.
+fair play means reader could solve it too (in theory).
+
+
+the romance structure
+
+useful for: romance novels, romantic subplots
+
+structure:
+  [ ] meet-cute - protagonists meet in memorable way
+  [ ] attraction - initial interest despite obstacles
+  [ ] first kiss / intimacy - relationship begins
+  [ ] midpoint complication - secret revealed, external obstacle
+  [ ] black moment - relationship seems doomed
+  [ ] grand gesture - one character makes sacrifice
+  [ ] reconciliation - relationship restored
+  [ ] commitment - happily ever after
+
+key: external obstacles should mirror internal fears.
+overcoming external obstacles forces internal growth.
+
+
+PHASE 8: STRUCTURAL PROBLEMS AND SOLUTIONS
+
+
+problem: saggy middle
+
+symptoms:
+  - act two drags
+  - story loses momentum
+  - reader gets bored
+  - nothing seems to be happening
+
+solutions:
+  [ ] raise stakes - what's at risk must matter more
+  [ ] add time pressure - create urgency
+  [ ] introduce complications - make protagonist's plan fail
+  [ ] deepen character conflict - internal should match external
+  [ ] tighten scene structure - cut scenes that don't change situation
+  [ ] add midpoint twist - recontextualize everything
+
+
+problem: protagonist is passive
+
+symptoms:
+  - things happen TO protagonist
+  - protagonist doesn't make decisions
+  - other characters drive plot
+  - protagonist is reactive, not active
+
+solutions:
+  [ ] give protagonist clear goal - they must want something
+  [ ] make protagonist make hard choices - choices have consequences
+  [ ] tie external conflict to internal - solving problem requires growth
+  [ ] remove easy solutions - character must struggle
+  [ ] give protagonist agency - their decisions matter
+
+
+problem: predictable plot
+
+symptoms:
+  - reader sees what's coming
+  - no surprises
+  - story feels formulaic
+  - tension never builds
+
+solutions:
+  [ ] subvert expectations - set up one thing, deliver another
+  [ ] deepen characters - complex people aren't predictable
+  [ ] raise emotional stakes - outcome matters more to reader
+  [ ] add twist that recontextualizes - change what we think we know
+  [ ] focus on HOW not WHAT - how happens matters more than what
+  [ ] character reveals truth through action under pressure - they
+       surprise even themselves
+
+
+problem: climax doesn't earn
+
+symptoms:
+  - resolution feels unearned
+  - solution comes from nowhere
+  - character doesn't seem to change
+  - climax is deus ex machina
+
+solutions:
+  [ ] plant seeds early - solution must be established
+  [ ] tie climax to character arc - victory requires growth
+  [ ] make it cost something - real sacrifice
+  [ ] test everything learned - every skill/knowledge piece used
+  [ ] raise stakes to maximum - protagonist must give everything
+
+
+PHASE 9: REVISION CHECKLIST
+
+
+act one check
+
+  [ ] is normal world established?
+  [ ] is protagonist clear and sympathetic?
+  [ ] is flaw/wound/lie established?
+  [ ] does inciting incident disrupt normal?
+  [ ] does protagonist choose to engage? (not forced)
+  [ ] is point of no return clear?
+  [ ] are stakes established?
+
+
+act two check
+
+  [ ] is new world distinct from normal?
+  [ ] are there tests and challenges?
+  [ ] is there a midpoint shift?
+  [ ] do stakes escalate?
+  [ ] does protagonist try and fail?
+  [ ] is there a clear all-is-lost moment?
+  [ ] does protagonist realize their flaw?
+  [ ] does dark night lead to new understanding?
+
+
+act three check
+
+  [ ] does protagonist choose to face final challenge?
+  [ ] is climax the hardest test yet?
+  [ ] does protagonist use everything learned?
+  [ ] is growth demonstrated through action?
+  [ ] does victory cost something?
+  [ ] is transformation clear?
+  [ ] does world show change?
+  [ ] does ending feel earned?
+
+
+pacing check
+
+  [ ] does act one establish before accelerating?
+  [ ] does act two maintain momentum?
+  [ ] does act two accelerate toward climax?
+  [ ] does act three move fast?
+  [ ] do tension levels rise overall?
+  [ ] are there slow moments for relief?
+  [ ] does ending land with right weight?
+
+
+subplot check
+
+for each subplot:
+  [ ] when is it introduced?
+  [ ] what is its arc?
+  [ ] how does it connect to main plot?
+  [ ] how does it complicate protagonist's journey?
+  [ ] when/how is it resolved?
+  [ ] what does it add to theme?
+
+
+character arc check
+
+  [ ] what is the flaw?
+  [ ] what is the wound?
+  [ ] what is the lie they believe?
+  [ ] what is the truth they must learn?
+  [ ] what challenges the flaw?
+  [ ] when does flaw fail them completely?
+  [ ] how do they change?
+  [ ] is change demonstrated through action?
+
+
+PHASE 10: STRUCTURAL EXERCISES
+
+
+exercise 1: reverse outline
+
+take a story you admire and create its beat sheet.
+
+  [ ] identify each structural beat
+  [ ] note word count percentages
+  [ ] examine how subplots weave
+  [ ] trace character arc through structure
+  [ ] identify pacing techniques
+
+goal: internalize structural patterns.
+
+
+exercise 2: the 50-word outline
+
+condense your story into exactly 50 words.
+
+protagonist wants [goal] but [obstacle] stands in way. if they fail,
+[stakes]. they try [plan a] but [complication]. then they try [plan b]
+but [worse complication]. at [low point], all seems lost. finally,
+they [solution] and [resolution].
+
+if you can't do it, you don't know your story.
+
+
+exercise 3: scene cards
+
+create one card per scene.
+
+for each scene:
+  [ ] pov character
+  [ ] scene goal
+  [ ] scene conflict
+  [ ] scene outcome
+  [ ] scene consequence
+  [ ] word count
+
+arrange scenes. can you see the structure?
+
+
+exercise 4: structural stress test
+
+take your outline and identify:
+
+what could you cut without breaking the story?
+  - if nothing, your story is too thin
+  - if everything, your story has no core
+
+what's essential?
+  - these are your structural pillars
+  - everything else serves them
+
+find the minimum viable story. then build from there.
+
+
+exercise 5: the five-minute version
+
+tell your story in five minutes.
+
+  [ ] setup
+  [ ] inciting incident
+  [ ] act two journey
+  [ ] midpoint shift
+  [ ] all is lost
+  [ ] climax
+  [ ] resolution
+
+record yourself. where do you get lost? where does it feel thin?
+
+those are your structural problems.
+
+
+PHASE 11: PLOT RULES (STRICT MODE)
+
+
+while this skill is active, these rules are MANDATORY:
+
+  [1] NEVER force your story into a structure that doesn't fit
+      structure serves story, not vice versa
+      if it's not working, question the structure, not the story
+
+  [2] ACT ONE must end when protagonist leaves comfort
+      not before, not after
+      crossing the threshold is the door into act two
+
+  [3] MIDPOINT must change the context
+      before: problem seems like X
+      after: problem is actually Y
+      if nothing shifts, it's not a midpoint
+
+  [4] ALL IS LOST must feel hopeless
+      protagonist's usual strategies must fail completely
+      this is the bottom
+      only then can transformation occur
+
+  [5] CLIMAX must be earned by everything that came before
+      no sudden powers
+      no convenient coincidences
+      no unexpected solutions
+      the solution must be planted early
+
+  [6] CHARACTER ARC must be tied to plot structure
+      external obstacles force internal change
+      internal change enables external victory
+      they are the same story
+
+  [7] EVERY SCENE must change the situation
+      entry value != exit value
+      if nothing changes, cut the scene
+
+  [8] SUBPLOTS must serve the main plot
+      if subplot can be removed, remove it
+      if subplot doesn't connect, make it connect
+
+  [9] PACING must accelerate overall
+      act one: establish
+      act two: build
+      act three: sprint
+      variations within, but overall curve rises
+
+  [10] STAKES must be personal
+       if protagonist can walk away, they will
+       make it impossible to walk away
+       make it matter to the character
+
+
+FINAL REMINDERS
+
+
+structure is invisible
+
+when it works, reader doesn't notice it.
+they just feel the story working.
+when it fails, everyone notices.
+
+know the rules so you can break them.
+
+templates are tools, not laws.
+learn them, use them, abandon them when necessary.
+the only rule is: does it work?
+
+
+tension is everything
+
+plot is just a machine to create tension.
+everything serves the tension.
+
+if tension drops, fix it or cut it.
+if tension never builds, structure is wrong.
+
+
+character is the engine
+
+plot happens to character.
+character's choices drive plot.
+no character, no plot worth reading.
+
+structure exists to force character to confront their flaw.
+everything else is decoration.
+
+
+the goal
+
+a story that:
+  [ ] grabs reader and won't let go
+  [ ] makes reader feel
+  [ ] feels inevitable and surprising
+  [ ] delivers on promises
+  [ ] leaves reader changed
+
+structure is how you get there.
+
+now go build something that matters.