Lastly, a word about weaving characters into your story. There is a huge difference between weaving a Subjective Character and an Objective Character. In fact, now the weaving of Subjective Characters is much easier. Just through creating scenes based on the Signposts and Journeys in the Main and Impact Character Throughlines, much of their character has been woven into the story. Then, by illustrating these character's Static Story Points (such as Problem and Issue) the job almost finishes itself.

Objective Characters, however, are another matter altogether. Objective Characters have functions, and therefore to be woven into the Overall Story throughline they must exercise those functions. With archetypes it is an easy affair. There are eight archetypes. Each must be introduced so the audience knows what functions they represent. Each must be dismissed so the audience knows how they ended up. And, each must interact to show the audience which problem-solving techniques work better than others. Introductions, Interactions, and Dismissals: Another Rule of Threes again.

The most obvious and important interactions between archetypal characters occur between dynamic pairs, such as the Protagonist and Antagonist or Reason and Emotion. The two sides of each argument between functions must be played against each other to show which archetype fares better.

In addition, each interaction must go through the three steps of development: Set-up, conflict, and resolution. This means you must first establish the argument over the functions between each dynamic pair of archetypes. Then, the approaches must come into conflict. Finally, one of the two opponents must be shown to be better than the other.

Putting all this together, we have eight introductions, eight dismissals, and four interactions with three steps in each. This amounts to twenty-eight character events that must occur in a story using archetypes. As one might suspect, with twenty-eight character events and twenty-eight Storyweaving scenes, it dovetails nicely to put one character event in each Storyweaving scene. Now, you don't have to do this. It's just one simple way of getting the whole job done.

In keeping with this kind of approach, you might choose to touch on theme in each of the scenes, and explore at least one aspect of a Static Story point in every scene as well. This makes sure the entire structure relates. But it also runs the risk of creating a monotonous feel to your story.

Loading up one scene with many story points, then clearing the boards to concentrate on only one story point in the next scene, can liven up your storyweaving. In addition, all of this is based on an assumption of one Signpost or Journey for each Storyweaving scene. Although that is the simple way to Storyweave, there are many more ways to communicate the structure of a story.

Storyweaving complex Objective Characters is a little more involved but follows the same pattern. Instead of relying on the combination of functions represented by each archetype, we must storyweave the introduction, interaction, and dismissals of each character element individually. For example, the motivation element of Pursuit must be introduced, interact with the other elements, most notably Prevent/Avoid, and then be dismissed.

As with archetypal characters, each element interaction should include a set-up, conflict, and resolution. With sixty-four elements to explore, one can begin to see the attraction of the simplicity of archetypal characters. Conversely, the diversity of complex objective characters allows for nuances unavailable in archetypes. Fortunately it's your choice as to how you wish to build your Objective Characters. Find the right combination of complex characters and archetypes that works best for your story.

Complex Characters require more consideration when peppering their events in your scenes. There are far more than the twenty-eight character events created by the character archetypes. Here is a useful trick to storyweaving complex characters: Limit the elements you explore in a given scene—do not explore all of a complex character's characteristics in every scene in which it appears.

For example, Character A is a complex character with the following characteristics: Faith, Control, Proaction, and Chaos Character B is a complex character with the following characteristics: Disbelief, Feeling, Trust, Acceptance, and Order. Imagine a scene in which both Character A and Character B interact. We can choose to illustrate every one of each of their functions, or we can choose to limit the interactions. A limited interaction might show Character A and Character B conflicting over Faith vs. Disbelief. Character A might also discuss the value of being proactive. Character B might suggest acceptance and a the value of trust. This leaves Character A's elements of Control and Chaos and Character B's elements of Feeling and Order open for exploration in some other scene.