How tightly does Archer tie character to plot, and which 'logic' tests does Play-Making apply to character (essential versus auxiliary, incident as trait of character, begged questions, consistency)?

Partially verified: the curator re-read none of the cited sources; S1 rests on the producer's pinned reading. Archer binds character and plot in several separate places. A character is essential if the theme is unthinkable without them, and that status depends on how the theme is defined (Ch. V). Action, character and dialogue are interdependent, so a fixed scenario is an unfavourable sign and room should be left for unexpected developments of character (Ch. IV); how closely character and action are woven depends on the kind of play (Ch. XI). Letting accident do what volition 'or, in other words, of character' could do breaks 'the fundamental law' of the craft (Ch. XIII), and a rifle shot that leads nowhere is a mere scare unless the character knowingly runs the risk, in which case it is a trait of character (Ch. XII). Ch. XV ranks psychological plausibility highest but makes plausibility of uncharacteristic event its precondition. Ch. XVI 'Logic' concerns the theme, but includes two character tests: do not raise a problem and build characters who solve it in advance, and keep a fantasy character's assumed state fixed. The only 'consistency of character' wording is a passing remark in Ch. VII; 'logic of character' is not in the text. Curator qualifications: Partially verified: the curator re-read none of the cited sources; S1 rests on the producer's pinned reading. Curator GET 2026-10-23 of the sources not re-read (mechanical source evidence, not semantic verification): S1: HTTP 200, bytes equal to the producer pin. Evidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.

{
  "citations": [
    {
      "url": "https://www.gutenberg.org/cache/epub/10865/pg10865.txt",
      "note": "Archer Ch. VII"
    }
  ]
}