You have a problem and that problem is resolved. This problem is a prerequisite in all stories. The second element, the problem, brings about these changes of fortune. The principal action, perpetrated by Iago, destroys the Moor with jealousy and a state of tragic misfortune is the result. In 'Othello,' a state of good fortune exists at the beginning. In stories that end unhappily, it's the reverse. Then, the principal action, casting out the Devil, brings about a state of good fortune. In 'The Exorcist,' a little girl is possessed by the Devil and a state of misfortune exists. Or as Aristotle put it: 'The proper magnitude (of a story) is comprised within such limits that the sequence of events, according to the laws of probability and necessity, will admit of a change from bad fortune to good or from good fortune to bad.' an individual, a family, a town, a country, the world, etc.) and that entity goes from a desirable to an undesirable state or condition or the reverse. The first element is the change of fortune. In this article, we will examine the threat and its relationship to the other six critical elements that constitute the very essence of story - that without which there would be no story. What is the essence, or heart and soul, of a great story? There are seven critical elements: the change of fortune, the problem of the story, the complications, crisis, climax and resolution of the classical structure, and the threat, which is by far the most important.
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