“Nothing can change the past. Therefore, there’s little to no reader involvement and tension in reading the past.” (Which I think was also in your internal conflict class, but still resonated again).
“Take the information [from the character’s origin scene] and pack it into Motivation of the GMC.” That was really helpful, because I feel I need more motivation in my scenes–also to create more tension for higher stakes–what does she risk losing?
I had the same reaction as Pepper to the Lisa Cron piece, but I did think maybe I should try it. I wrote three backstory scenes for this WIP following Story Genuis (original, confirmation of belief etc), but not three different ones.
I tried to bring my origin scene (her misbelief that seeking that magical connection can be emotionally devastating, so better to be less emotionally involved/better to be off in fictional world) into the dialogue between her and Rory.
And I wasn’t sure if Rory’s comment about Jamie being was too on-the-nose. I wasn’t sure if he should not say it or just start to say it and stop: “That explains . . . ”
Also, I am reading The Art of War for Writers, which you recommended previously, and I love this quote under his chapter title “Speed is the essence of opening”: “Steven Wright wrote: ‘My house is on the median strip of the highway. You don’t really notice, except I have to leave the driveway doing sixty miles an hour.'” Lol.