Tactics to be more influential at work:
What tactics would fit with your characters best?
Which ones wouldn’t work for one of your characters?
Which one(s) would be most effective for one of your characters to influence another of your characters?
Which one(s) would influence your readers most?
In fiction, we remember the deaths that make us sad — ScienceDaily
Meaningful deaths (death of someone that redeemed themselves or sacrificed themselves for someone else).
Happy deaths (The hero finally kills the evil villain).
Varies by genre, but across all genres, people tend to remember meaningful deaths more than others.
Check out This Person Does Not Exist, an AI-driven site that generates fake faces.
Tell the story that needs to be told, in the way it needs to be told, to the length it needs to be told.
Don’t poison a story by insisting it must be an apple when it’s really an orange.
Don’t stunt a story by forcing it beyond its natural growth nor by forcing it to grow in a box too small.
“Genres” and “standard story lenghs” are publisher’s artefacts, not part of storytelling.
Breakthroughs don’t come through abiding by conventions and working in boxes.
“So-called charity, with its implicit assumptions of high and low, is no remedy to injustice, but its willing accomplice. Charity allows the privileged the opportunity to buy the silence of their consciences for a few coins (with the added bonus of much to-do being made of their philanthropy)–rather than wrestle with why, in a world of plenty, they wallow in pampered luxury through no particular virtue of their own, while most of the world is in rags, starving, and living in shacks. Jesus advised the rich man to sell everything he had and give it to the poor. The numerous charities operating under his name ever since have set a significantly lower standard.”
Peter Kropotkin, narrater in “The Watch” by Dennis Danvers