Here are my two current thoughts on fiction (as part of my ongoing formula for fiction project): the assumption of actual events and possession-illusion.
The assumption of actual events
I've recently realised I've been making a key assumption when considering stories: if I look at a film/story etc I assume that events I see on screen are the actual events - as they happened in chronological order. Maybe that actual film could have been a (dramatised) representation of what really happened? What really happened initially could have been fairly mundane and uninspiring - boring even. Maybe initially the writer could create the mundane events as a kind of template and then exaggerate events?
So, some process could occur that exaggerates the real events. At the moment I consider this could happen by retro-dream or interview-exaggeration.
A retro-dream is when one of the characters from the story re-experiences the initial events in a subsequent dream but the dream inserts 'pockets of dramatisation' into the events. The writer can pick-off good retro-dream events to use in the final story.
One of the story's characters could have been interviewed after the events and exaggerated the actual events. So when a writer starts the creative process of writing a story they could start not by creating the story, but by creating the interview with the character. A sort of alternative entry-point for writing stories.
An individual (I'll call person A) could look at the events in a story for one character - the main character, a minor character or even an uninvolved bystander/witness. Person A would then create an 'inexorable line of events' that chronicles what happened to the chosen individual. Person A then picks a person at random (person B) and has to 'engineer reality' so that person B experiences the inexorable line of events.
Person A does this by possession. Person A can possess anyone except person B. So, if person A possesses all the people around person B (in whatever context or circumstances person B is in) he can make person B experience the inexorable line of events.
Person A can choose any character from the story to form the inexorable line of events and can choose any person as person B. He would choose many different people in many different contexts and also engineer reality so that the person experiences the events over different time periods. So Person A could set himself the challenge "make the paper boy experience the inexorable line of events in ten minutes".
My thoughts on this are that the sequence of events when A possesses B to experience the ILOE may trigger new ideas for inclusion in the final story.