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“A simple “no!” may suffice. Returning to our example, Fred may be told after all his arguments and conflict with the banker that he simply will not receive a loan. When Fred walks out of the bank, he has been set back and is in worse shape than he was when he entered, because he has tried to take one of his hoped-for steps toward climbing the mountain, and has been rebuffed. At the very least, he has lost one option. The banker might also, however, thwart Fred – and provide us with a disaster – in another way. He might give Fred a “yes!” answer, but one with so many strings attached that Fred can’t accept it. For example, Mr. Greenback might say, “Well, Fred, all right. You can have your loan. But you must agree to pay 60 percent interest, you must deed your automobile to us, and you must sell your mother’s house and put her in a nursing home so we can be assured that you won’t be messing around trying to help her when you’re supposed to be climbing that mountain.” Such “Yes, but” disasters are often better than a simple “No!” because they put the hero on the horns of a moral dilemma, and in making an ethical choice to turn down the crummy deal, he in effect brings on his own disaster. (Of such stuff are heroes often made.)”

Jack M. Bickham, Elements of Fiction Writing - Scene & Structure
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Elements of Fiction Writing - Scene & Structure Elements of Fiction Writing - Scene & Structure by Jack M. Bickham
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