You’ll get a clear breakdown of the Temporal Motivation Theory, revealing a simple formula that explains why you might delay tasks, considering what you expect to achieve, how much you value it, your impulsiveness, and the distance of the reward. This theory offers a refreshing perspective, moving beyond the idea that overcoming procrastination is just about brute-forcing willpower; instead, it shows you how to work with your natural tendencies. You’ll discover that tackling procrastination is a developable skill, where you can actively influence factors like your self-belief, the perceived value of a task, and how you handle distractions or long-term goals. The discussion highlights how embracing these natural human tendencies, like impulsivity or discounting future rewards, can actually free you from shame and provide a more realistic and effective path to getting things done. Motivation equals expectancy times value divided by 1 plus impulsiveness times delay. It's kind of negotiating these other factors within your mind that help you... grease the skids for the behavior to happen naturally as a byproduct of all these things. What is the core idea of Temporal Motivation Theory (TMT)? According to TMT, which two factors are in the numerator and are shown to increase motivation? Temporal discounting, a key concept integrated into TMT, refers to the human tendency to: A significant innovation of TMT highlighted in the discussion is its focus on: Which of the following is identified as a limitation or criticism of the Temporal Motivation Theory? You’ll discover that finding a deep sense of purpose in what you do is actually an incredibly effective, yet often overlooked, way to tackle procrastination and boost your productivity. This clip explains how the existentialist idea that 'existence precedes essence' means you have the power to define what's meaningful for your own life and work. You'll hear how even major corporations, from Nike to Elon Musk's ventures, leverage a sense of higher purpose to motivate employees and drive significant impact. You'll realize that true, lasting motivation comes from an internal 'why' – something you genuinely care about – rather than just seeking external approval or attention. You’ll learn a powerful exercise: playing the 'Why game' with yourself, constantly asking why something is important to truly uncover your underlying motivations. This section guides you in distinguishing between a 'good why' (something bigger than yourself or pure enjoyment) and a 'bad why' (seeking external validation), helping you find what truly sustains your efforts. You'll find encouragement knowing that your 'why' can evolve over time; a superficial reason for starting something can grow into a much deeper and more meaningful purpose. You’re introduced to the brilliant concept of a 'minimum viable action,' a strategy for breaking down overwhelming tasks into such tiny, unintimidating steps that you can’t help but just get started. purpose is the only thing that can take pain and make it feel worthwhile. you do the stuff and as you do it you find the things that feel very meaningful and impactful and then that's where the purpose is What is the primary reason the podcast emphasizes 'purpose' as a solution to procrastination? According to the existentialist view discussed, how is meaning and purpose primarily determined? Which of the following describes a 'good why' for motivation, according to the speakers? The speakers suggest that purpose plays a critical role in transforming motivation from: What is the recommended approach to finding your purpose, especially if you're starting from scratch? You'll hear how Aristotle's ancient insights, centuries ahead of their time, quietly reignited intellectual curiosity across Europe, setting the stage for major shifts in thinking. Discover how a brilliant mind like Thomas Aquinas courageously bridged the gap between cutting-edge philosophy and established theology, creating a synthesis that shaped Western thought for centuries to come. The speaker redefines procrastination for you, emphasizing that it's a 'skill issue' you can improve, rather than a personal or moral failing, which is a huge mindset shift. You'll understand the profound impact of 'self-efficacy' – the belief in your own ability to improve – and how this idea empowers you to take control and achieve better outcomes in your life, challenging fatalistic beliefs. when you're when you want to be more self-compassionate and and kinder to yourself, treat yourself like a friend. it's like okay let's let's actually measure how you treat yourself when nothing is going right because that's actually probably a better more accurate metric of your mental health and your well-being and your life satisfaction and all that stuff. What is the opposite of self-judgment or self-shaming, according to the speaker? According to the speaker, how does self-compassion help in overcoming procrastination? What does the speaker suggest is a 'better, more accurate metric of your mental health and well-being' compared to self-esteem? What is identified as a significant component or step in practicing self-compassion? What is 'self-efficacy' as defined in the transcript, and what is its correlation with success? You'll learn about the 'Minimum Viable Action' strategy, which is all about breaking down overwhelming tasks into steps so tiny they become completely unintimidating, making it easy for you to just begin. This isn't just a trick to start; you'll see how taking even a minuscule step can create powerful momentum, helping you shift from feeling stuck to making real progress, and boosting your emotional state significantly. You'll hear practical, relatable examples—from starting a meditation practice to tackling a book or a workout—that show you exactly how to apply this simple yet powerful concept to almost any area where you're feeling procrastination or overwhelm. The clip highlights that procrastination is often an emotional problem, not a rational one, and you'll understand how this strategy directly addresses the emotional weight and fear that big tasks can trigger. the minimum viable action is always it helps guarantee that something gets done even if it's not as much as you would hope or imagine. it's just that something gets done. what you're really addressing is kind of like this overwhelm that happens when you have this big task in front of you. don't underestimate h like a small win, the the impact of a small win. ...that can have an outsized emotional impact on you, especially if you go from man, I'm just not feeling like I'm getting anything done to even just getting one or two things done. it's a huge don't don't underestimate that. it's not linear. it's it's exponential and how good that feels. What is the primary characteristic of a 'minimum viable action'? According to the speaker, what is the main problem that the Minimum Viable Action strategy helps to solve? What happens after successfully completing a minimum viable action? How does a small win achieved through MVA impact an individual emotionally? You'll realize that writing is less about getting it 'right' on the first try and more about a continuous, evolving process where even published work can still inspire changes. Imagine starting your story with a cosmic, wide-angle shot – you'll understand how this bold opening instantly earns you the right to dive into a more intimate, local narrative. You'll learn that the secret to engaging storytelling lies in meticulously sculpting narrative tension, understanding how to raise the stakes and draw your reader deeper into the drama. The clip walks you through a powerful four-part blueprint for narrative flow: how to hook your reader, gracefully introduce your world, build escalating tension, and finally, untie the dramatic knots in a satisfying way. I want to situate my stories in a mythological framework. If that opening can be kind of cosmic, then you earn the right to tell a local story and let it let it germinate and, and grow into into the, the, the larger frame that you've set for the story. What does a writer want to do from page one to page 400 to manipulate the tension in the reader. Relax the perfectionism that says I need to get this in a perfect final state, let it let it be process. According to the speaker, what is the primary benefit of a 'cosmic' or wide-angle opening in a story? What is the very first part of the four-part tension graph, where tension is 'artificially higher' to draw the reader in? After the 'hook,' what is the next stage in the tension graph where the writer can 'relax the tension a little bit' to introduce characters and setting? What literary term, literally meaning 'the untying' in French, refers to the post-climax phase where consequences are explored and tension is released? The speaker advises writers to view initial frustration with a draft as what? You'll discover that truly effective dialogue isn't about perfectly replicating real-life conversations; it's about artfully stylizing language to meet your audience's narrative expectations. To really nail your dialogue, you'll want to read it out loud. It helps you test the tone, cadence, and emotional impact, ensuring it sounds authentic to your readers. You might be surprised to learn that what we consider 'realistic' dialogue is actually shaped by ever-evolving cultural conventions, so dialogue that feels natural today might have been foreign just a few decades ago. You'll see how different masterful writers approach dialogue, from making characters feel incredibly natural like your neighbor, to using an almost surreal, artificial style to expose the hidden absurdity of how we actually communicate. when we say real or vivid, we're not actually talking about empirically accurate. we're talking about the recognition of certain narrative expectations that we've learned from the kinds of fiction that are viable in our culture. I think you have to hear it out loud because I think that's the way that most readers are actually going to consume the the narrative when when we read we subvocalize... What is the speaker's main point about 'realistic' dialogue in fiction compared to actual human conversation? According to the speaker, what is the most crucial step for a writer to ensure their dialogue feels 'alive' and effective? Why does the speaker suggest authors might find it challenging to listen to audiobooks of their own works? When the speaker states that 'real or vivid' dialogue is not 'empirically accurate,' what does he imply? How does the speaker contrast the dialogue styles of Anne Patchett and Don DeLillo? You'll learn about the 'onion' method for character development, understanding how a character's deepest values influence their outward traits and subtle mannerisms. This clip really helps you grasp how true drama emerges when you force a character to choose between two core values they deeply cherish, creating powerful internal conflict. You’ll see that the most compelling stories, much like real life, often center on those tough decisions where you can't have both of your core values, leading to a truly relatable struggle. I used to teach characterization as an onion. What is, what is your core in value And what one will fall by the wayside when push comes to shove, because you got to choose and the, the scenarios are obvious. According to the 'onion' method of characterization, what is the outermost layer that makes a character 'visual and visible' to the reader? What is the primary purpose of forcing a character to choose between two conflicting core inner values, such as honesty and fidelity? Which of the following is identified by the speaker as a 'core inner value'? The type of drama that arises when a character is forced to cope with the differences and conflicts within their own head, such as choosing between honesty and fidelity, is classified as: In the 'onion' method, how do 'traits' relate to the deeper layers of a character? You’ll dive into the concept of 'man versus himself,' where the real drama comes from having to choose between two values you hold dear, like honesty or loyalty. The clip then brilliantly shows you how this internal conflict escalates into 'man versus man,' where different core values clash, making you ponder whose perspective you align with. You'll discover the 'forgotten' third level of drama: 'man versus nature' or the elements, and why it largely disappeared from literary fiction for a long time. Finally, you'll understand why this 'man versus nature' narrative is powerfully re-emerging in our stories today, reflecting a vital shift in how we see our relationship with the planet. But almost never ventured beyond the human world. Almost never introduced the idea that what we want out of our lives on this planet might not be commensurate with what the planet wants. So the whole third kind of drama was disappearing from literary fiction. Now what happens in the last couple decades is there's a growing awareness that we didn't win that. In fact we're losing in that war and we're in bad shape not just on the climate front but on the species extinction front. And now that drama comes flooding back into the literary novel. According to the speaker, what are the three fundamental levels of drama? Why did the 'man versus nature' drama largely disappear from literary fiction during the late 20th century, according to the speaker? What recent development has led to the 'man versus nature' drama 'flooding back' into literary novels? Which genres, according to the speaker, never abandoned the 'man versus nature' theme, even when literary fiction did? Meet Pulitzer-Winning Stanford Professor (Richard Powers Interview) Richard Powers on the Craft of Writing: A Breakdown This document breaks down the YouTube video transcript into chapters and sections, summarizing key points, highlighting key terms in bold , and using LaTeX for formulas. Timestamps are included where applicable. Chapter 1: The Three Levels of Drama - This chapter explores the three fundamental types of dramatic conflict in storytelling as described by Richard Powers. Section 1.1: Person vs. Person - This section focuses on interpersonal conflict, where characters clash due to differing values and motivations . The example used is the conflict between two individuals with opposing core values (e.g., equality vs. freedom ). This creates interpersonal drama , leading to the sociological or political novel . Section 1.2: Person vs. Self - This section discusses internal conflict, where a character grapples with conflicting core inner values . The example used is a character torn between honesty and fidelity . This creates interior drama , characteristic of the psychological novel . The author emphasizes pushing characters "to the wall" to reveal their true priorities. Section 1.3: Person vs. Environment - This section introduces conflict between humanity and the environment. The author notes a historical absence of this type of drama in literary fiction, particularly in the late 20th century, attributing it to a misconception that humanity had conquered nature. This type of conflict is central to environmental or metaphysical narratives. The author argues for its resurgence due to growing awareness of environmental issues. Chapter 2: Crafting Believable Characters - This chapter delves into the process of creating compelling and realistic characters. Section 2.1: The Onion Analogy - Richard Powers uses the metaphor of an onion to illustrate character development. The outer layers represent physical traits and behavioral mannerisms , while deeper layers reveal core inner values . These values drive the character's actions and motivations. The author emphasizes the interplay between hidden and revealed aspects of the character. Section 2.2: Cultivating Emotional Intelligence - This section discusses the importance of emotional intelligence in character creation. While acknowledging that it's not an innate skill for everyone, Powers believes it can be cultivated through observation and understanding of human behavior. He stresses the importance of finding equivalence and analogies across different ways of knowing the world. Section 2.3: Inhabiting a Role - This section draws parallels between the Stanislavski method of acting and character creation in writing. The author emphasizes the ability to identify with a character's core inner values , even if one doesn't share their experiences or background. The process involves abstracting core elements to inhabit the character effectively. Chapter 3: The Power of Language and Description - This chapter focuses on the use of language to bring stories to life. Section 3.1: The Role of Language in Evoking Emotion - This section emphasizes the power of language to evoke emotion and identification in the reader, surpassing the impact of purely logical arguments. The author cites experiments demonstrating the influence of emotionally charged narratives on behavior, highlighting the importance of affecting the reader's emotional state. Section 3.2: Sentence Structure and Pacing - This section explores the impact of sentence structure on the reader's experience. Powers categorizes sentences into three types based on the placement of the predication (subject and verb): front-loaded, delayed, and split. Each structure creates a unique effect on pacing and suspense. Section 3.3: Descriptive Writing and Anthropomorphism - This section discusses the art of descriptive writing, using the example of vivid descriptions of trees. The author suggests employing subtle anthropomorphism or animism to make descriptions more engaging and memorable. He emphasizes the importance of revision to refine the descriptions and make them appear more effortless. Chapter 4: Structure and Form in Storytelling - This chapter discusses the relationship between narrative structure and dramatic tension. Section 4.1: Beginnings and Mythological Frameworks - This section explores the importance of compelling openings. Powers favors openings that establish a broad context before focusing on specific details, mirroring the wide shot in cinematography. He illustrates this with examples from his own work and classic literature. Section 4.2: The Tension Graph - *This section introduces the concept of a "tension graph," a visual representation of the rise and fall of tension throughout a story. Powers outlines four stages: the hook , exposition , rising action , and resolution (dénouement) . The author emphasizes the importance of manipulating tension to maintain reader engagement.* Chapter 5: Dialogue and Voice - This chapter focuses on crafting realistic and engaging dialogue. Section 5.1: The Illusion of Realism - This section discusses the challenges of writing realistic dialogue. Powers emphasizes that realistic dialogue in fiction is not about empirical accuracy but about manipulating reader expectations and conventions. He stresses the importance of reading dialogue aloud to assess its effectiveness. Section 5.2: Admired Dialogue Writers - This section highlights the diverse styles of dialogue employed by admired writers such as Anne Patchett and Don DeLillo. Powers contrasts Patchett's seamless integration of dialogue with DeLillo's more artificial and surreal approach, demonstrating the range of possibilities within the craft. Chapter 6: The Writer's Process and Solitude - This chapter provides insights into Richard Powers's writing process and his approach to solitude. Section 6.1: The Importance of Solitude and Interaction - This section emphasizes the importance of both solitude and interaction in the writing process. Powers describes his use of solitude to generate ideas and develop scenes, contrasting it with the need for interaction to test and refine his work. He uses the analogy of surfing to describe the balance between these two states. Section 6.2: Composition Methods and Daily Structure - This section explores Powers's diverse writing methods, including dictation, handwriting, and typing. He describes how his daily structure has evolved over time, shifting from a focus on word count to a more holistic approach that integrates observation of the natural world with the writing process itself. Final Summary Richard Powers's insights into the craft of writing emphasize the interconnectedness of various elements. He highlights three fundamental types of dramatic conflict (person vs. person, person vs. self, person vs. environment), the importance of crafting believable characters through understanding their inner values and motivations, and the power of language to evoke emotion and shape the reader's experience. Powers also explores the relationship between narrative structure and dramatic tension, the art of writing realistic dialogue, and the dynamic interplay between solitude and interaction in his writing process. His approach emphasizes a holistic integration of various aspects of the craft, drawing parallels between writing and other creative disciplines like acting and music. The overall message is that writing is a continuous process of discovery, revision, and a constant striving for a balance between different elements to create a truly compelling narrative. You’ll understand why time management systems really took off when work shifted from factories to more nebulous, creative 'knowledge work,' where you had to manage yourself. This clip reveals a powerful insight: constantly seeking the 'perfect' productivity system can actually be a subtle form of procrastination, helping you avoid the uncomfortable feelings associated with getting things done. You'll discover that truly productive individuals don't just adopt systems; they create their own tailored approaches based on their unique personalities, work styles, and emotional tendencies. It’s clearly explained that while time management tools can help you optimize efficiency, they aren't the starting point or the ultimate cure for procrastination, which is often an emotional challenge. I think 90% of the time, this is just another subtle form of procrastination. what people mistake is that that system is not the cause of their productivity. it's the effect. What economic shift in the mid-20th century is cited as a reason for the rise of time management philosophies? According to the discussion, what is a key characteristic of 'knowledge work' that differs from factory work? What makes time management systems so 'seductive' to people, according to the podcast? What do the speakers ultimately identify as the root cause of procrastination? When should individuals ideally start using advanced time management systems and techniques? Meet Pulitzer-Winning Stanford Professor (Richard Powers Interview) Richard Powers: Bringing Characters to Life in Fiction Final Summary: This interview with Richard Powers delves into the craft of writing, focusing on character development, drama, voice, and descriptive writing. Powers emphasizes the importance of understanding the three levels of drama (person vs. self, person vs. person, and person vs. environment), the interplay between character, voice, and drama, and the role of descriptive language in creating vivid and engaging narratives. He also discusses the importance of integrating empirical knowledge with intuitive understanding, the process of rewriting, and the use of different writing tools and methods. Finally, he shares his approach to structuring narratives around tension and his daily writing routine, highlighting the balance between solitude and engagement with the world. Chapter 1: The Three Levels of Drama and Character Development - Summary: This chapter explores the three fundamental types of drama in storytelling: person vs. self, person vs. person, and person vs. environment. Powers uses examples to illustrate how these dramatic conflicts shape character development and narrative structure. He emphasizes the importance of internal conflict and the exploration of core inner values in creating complex and relatable characters. Sections: Person vs. Self: Internal conflict arises when a character grapples with opposing values, forcing them to make difficult choices. This creates compelling internal drama. - Person vs. Person: Interpersonal drama occurs when characters with conflicting values or goals interact. This leads to external conflict and necessitates the reader to evaluate the characters' actions and motivations. - Person vs. Environment: This type of drama involves the conflict between human desires and the natural world. Powers argues that this element has been largely absent from contemporary literature but is crucial for understanding the human condition in its broader context. - The Onion Analogy for Characterization: Powers explains his method of character development using the analogy of an onion, with outer layers representing visible traits and inner layers representing core inner values and beliefs. - Chapter 2: Voice, Language, and Descriptive Writing - Summary: This chapter focuses on how voice is created through language choices, particularly register and syntax. Powers explains how different sentence structures can evoke specific emotional responses in the reader. He also discusses the importance of descriptive writing in creating vivid settings and characters, emphasizing the balance between effort and elegance. Sections: Register and Diction: The level of formality in language significantly impacts the reader's perception of a character and the overall tone of the narrative. - Sentence Structure: Powers categorizes sentences into three types based on the placement of the subject and verb, demonstrating how each structure affects the pacing and rhythm of the writing. - Descriptive Writing Techniques: Powers analyzes examples from his own work, highlighting how careful word choice and sensory details create vivid imagery and engage the reader's imagination. - Rewriting and the Writing Process: Powers emphasizes the iterative nature of writing, highlighting the importance of continuous revision and the role of frustration as a guide in the process. - Chapter 3: Structure, Tension, and the Narrative Arc - Summary: This chapter focuses on the structure of narratives, particularly the manipulation of tension to create a compelling reading experience. Powers describes a four-part tension graph that includes a hook, exposition, rising action, and a resolution (dénouement). He explains how these elements work together to create a satisfying and engaging story arc. Sections: The Four-Part Tension Graph: Powers outlines his approach to structuring narratives, using a tension graph with four distinct phases: hook, exposition, rising action, and resolution. - Dialogue as a Narrative Tool: Powers discusses the importance of dialogue in creating realistic and engaging interactions between characters, emphasizing the balance between natural speech and narrative efficiency. - Admiration for Dialogue in Literature: Powers shares his admiration for the work of authors such as Anne Patchett and Don DeLillo, highlighting their different approaches to dialogue and their ability to create realistic and engaging conversations. - Chapter 4: Solitude, Process, and the Daily Writing Routine - Summary: This chapter delves into Powers's daily writing routine and his approach to solitude as a creative tool. He explains how he balances periods of intense focus and sensory deprivation with periods of engagement with the world, emphasizing the importance of both for his creative process. Sections: The Importance of Solitude: Powers describes his writing process, highlighting the need for solitude to foster creativity and imagination. - The Balance Between Solitude and Engagement: He explains how he balances periods of solitude with engagement with the external world to test and refine his work. - Different Writing Tools and Methods: Powers discusses his use of different writing tools and methods, such as speech-to-text, handwriting, and typing, and how these choices influence his writing. - Daily Structure and Discipline: Powers shares his daily writing routine, emphasizing the evolution of his approach over time. - Meet Pulitzer-Winning Stanford Professor (Richard Powers Interview) Key Terms and Definitions from the Interview with Richard Powers This document outlines key terms discussed in the interview, providing definitions and explanations with examples where appropriate. Timestamps are included for subheadings only. I. Types of Drama in Storytelling Type of Drama Explanation Example Person vs. Person Conflict between two or more individuals. A political debate where candidates clash over ideologies. Person vs. Self Internal conflict within a character, often involving conflicting values or desires. A character struggling to choose between honesty and loyalty to a friend who has done something wrong. Person vs. Environment Conflict between a character and their surroundings, including nature, society, or a larger system. A character fighting against climate change or societal injustice. II. Character Development Character: A complex individual in a story, driven by internal motivations and values. Onion Model of Characterization: A method of building characters by layering traits (outer shell), mannerisms (middle layer), and core inner values (inner core). The outer layers reveal and conceal aspects of the inner layers. For example, a character might have a nervous habit (mannerism) stemming from a deep-seated insecurity (core value). Emotional Intelligence: The ability to understand and manage one's own emotions and the emotions of others. This is crucial for creating realistic and relatable characters. Core Inner Values: Fundamental beliefs and principles that guide a character's actions and decisions. Examples include honesty, fidelity, perseverance, equality, and freedom. These values can create internal conflict when they clash. Voice: The unique way a character speaks and expresses themselves, reflecting their personality, background, and values. Voice is crucial in character development and driving the narrative. III. Language and Style in Writing Register: The level of formality in language, ranging from casual to formal. Different registers reflect different social contexts and character traits. Diction: Word choice; the style of speaking or writing as dependent on word choice. Diction influences tone and style. For example, using words like "mansion" vs. "house" conveys different levels of socioeconomic status. Syntax: Sentence structure; the arrangement of words and phrases to create well-formed sentences in a language. Syntax influences pacing and emphasis. Predication: The heart of a sentence, consisting of the main subject and verb. Understanding predication helps writers control sentence structure and create different effects (e.g., front-loaded, delayed, split). Descriptive Writing: Writing that uses vivid language to create sensory experiences for the reader. It aims to make the setting and characters come alive, but requires careful attention to avoid sounding overdone. Anthropomorphism: Attributing human characteristics or behavior to non-human entities. This can be a powerful tool in creating empathy for non-human characters, but it needs to be handled carefully to avoid cliché. Animism: The belief that natural objects, like trees or animals, possess a spirit or soul. This perspective can enrich storytelling by creating a deeper connection between human and non-human characters. Empiricism: A theory that states that knowledge comes only or primarily from sensory experience. Intuition: The ability to understand something immediately, without the need for conscious reasoning. IV. Narrative Structure and Form Tension: The feeling of anticipation or suspense created by conflict and rising stakes. A well-structured narrative carefully manipulates tension to keep the reader engaged. Tension Graph: A visual representation of the rise and fall of tension throughout a story, typically involving a hook, exposition, rising action, climax, and denouement. Dénouement: The final resolution of the plot of a narrative; the untying of the knot. Dialogue: Conversation between characters. Effective dialogue is not a verbatim transcription of real-life conversation, but a stylized representation that advances the plot and reveals character. V. The Writing Process Solitude: Time spent alone, away from distractions, to focus on writing. Solitude is essential for many writers to generate ideas and develop their work. Revision: The process of refining and improving a piece of writing. Revision is an iterative process involving multiple drafts and feedback. Glossary Character: A complex individual in a story. Core Inner Values: Fundamental beliefs guiding a character's actions. Dialogue: Conversation between characters, stylized for narrative effect. Diction: Word choice, impacting tone and style. Dénouement: The resolution of the plot; the untying of the knot. Descriptive Writing: Vivid language creating sensory experiences. Emotional Intelligence: Understanding and managing emotions. Empiricism: Knowledge from sensory experience. Intuition: Immediate understanding without conscious reasoning. Predication: The main subject and verb of a sentence. Register: Level of formality in language. Revision: Refining and improving a piece of writing. Solitude: Time spent alone for writing. Syntax: Sentence structure, affecting pacing and emphasis. Tension: Anticipation or suspense created by conflict. Tension Graph: Visual representation of tension's rise and fall in a story. Voice: A character's unique way of speaking and expressing themselves.