Such examples show the freedom writers have in playing with origin damage. They can hint at it and tease it, use it to build empathy, even orient plots around a hunt for it. It’s my experience teaching these principles, though, that it’s valuable for the storyteller to know specifically when and how such damage happened to their principal cast before they start writing. It doesn’t do to be general and say, for example, ‘It’s because their parents didn’t love them enough,’ because such vague thinking can only lead to vague characters.
