Yeah, I'm a geek. What can I say? All that work clearing out what I mean for the videos is making me think. Organic structure is so...huge. And I know I keep saying that, but I've barely scratched the tip of the iceberg. It's the whole theory behind pantsing, why it works--how to make it flow, and how to shape it later, and I'm only now starting to realize the reason there's been so little work done on it is because pantsers and plotters are vastly different kinds of people.
I always pictured a core event as a bullseye. A center? Made up of bits, pieces, rings and wrappers like Saturn and a Vietnamese spring roll. I'd never put thought into the "mechanism" that pulled the bits and pieces out to interact with the story. If the pieces of your character drive the story, then something needs to go through the core event like a two-pointed arrow with one half pointed inward at the tangled wants, needs and emotions that make up the character, while the other half points out, at the story.
And they spin--because characters aren't static. At any given time, the points that face outward toward the story, aren't the same, which means characters are always in flux.
Jane doesn't just wake up and decide to be jealous, she needs a specific trigger so the point facing outward will hook out the jealousy in reaction. In other words, if Jane met a woman, she'd be indifferent, but if she met a secure, pretty pageant queen she's going to be jealous, because she has self-doubt locked into place by her core event.
Back to the script, because it needs a little work.