By now, we have let our feelings be our guide in setting up a sequence for the twenty-eight Storyweaving scenes. Our next task is to figure out how to illustrate all of our remaining story points within those scenes.

One of the first things we might notice is the nature of each throughline is already expressed in the kinds of material we encoded for each Signpost and Journey. That is because the Types are simply a more detailed breakdown within each Throughline. All the remaining story points, however, will probably have to be addressed directly.

Since we have already woven all the crucial Progressive Story Points into our scenes, what remains is for us to weave the Static Story Points. Static Story Points all share one common quality: They must show up at least once, but can show up as many more times as you like. Again, we have freedom here. As long as we illustrate each story point somewhere, we have fulfilled our obligation to our structure. Anything beyond that is just technique that may make the story experience for our audience a more involving one.

So, let's take Goal. We might spell out the Goal in the first Storyweaving scene and never mention it again. Hitchcock often did this with his famous MacGuffin, which was an excuse to get the chase started. Or, we might bring up the Goal once each act to make sure our audience doesn't lose sight of what the story is all about. In fact, that is another good rule of thumb: Even though once will do it, it is often best to remind the audience of each Static Story Point once each act. As we shall later see, this idea forms the basis of The Rule of Threes, which is a handy writer's technique.

Another thing we might do with a Static Story Point is hint at it, provide pieces of information about it, but never come out and say it. In this manner, the audience enjoys the process of figuring things out for itself. Since we are obliged to illustrate our structure, however, we better make sure that by the end of the story the audience has enough pieces to get the point.

For each kind of Static Story Point, authors have created many original ways in which to weave them into a scene through action, dialogue, visuals, even changing the color of type in a book. We suggest making a list of all your story points and then peppering them into your scenes in the most interesting and non-cliché manner you can. Even if you are not excessively clever about some of them, at least the structure has been served.