Tweak file paths

MarkdownSplitter/Splitter.cs

@@ -210,7 +210,7 @@ private string CleanupMarkdown(string line)
 				{
 					string imageName = tokens[1];
 					imageName = NormalizeImageName(imageName);
-					line = line.Replace($"({tokens[1]})", $"(/media/{imageName}.png)");
+					line = line.Replace($"({tokens[1]})", $"(media/{imageName}.png)");
 				}
 			}
 

docs/Add_Remove_Story_Elements.md

@@ -10,11 +10,11 @@ Add/Remove Story Elements
 
 You can add or remove Story Elements in two ways. There’s a Menu Bar button which opens an ‘Add/Remove Story Elements’ menu:
 
-![](/media/Menu-Bar-1.png)
+![](media/Menu-Bar-1.png)
 
 There’s also a pop-up menu which displays when you right-click on any Story Element node in the Navigation Pane:
 
-![](/media/Story-Element-Flyout.png)
+![](media/Story-Element-Flyout.png)
 
 (Hint: Holding your mouse or stylus over any of the buttons on a menu or pop-up menu will display a tip describing the button.)
 

docs/Antagonist_Tab.md

@@ -8,7 +8,7 @@ parent: Problem Form
 
 Antagonist Tab
 
-![](/media/Problem-Antagonist-Tab.png)
+![](media/Problem-Antagonist-Tab.png)
 
 The problem's antagonist is the source of the opposition to the problem protagonist's goal.
 

docs/Appearance_Tab.md

@@ -13,7 +13,7 @@ The Appearance tab is a companion to the Physical tab.
 Use this note area to describe your character's looks, style of dress and movement, and the impression he leaves.  
 
 
-![](/media/CharAppearanceTab.png)
+![](media/CharAppearanceTab.png)
 
 
 Some writers  will select a photograph of someone which they use when describing the character's appearance.  You and your readers should be able to visualize the character as though he were a real person.

docs/Backstory_Tab.md

@@ -8,7 +8,7 @@ parent: Character Form
 
 Backstory Tab
 
-![](/media/Character-Backstory-Tab.png)
+![](media/Character-Backstory-Tab.png)
 
  Backstory is what happened to your character before the story. It’s usually introduced as explanation  for traits or beliefs- as the root of a character’s motivations or reactions to story situations.
 

docs/Concept_Tab.md

@@ -8,7 +8,7 @@ parent: Story Overview Form
 
 
 
-![](/media/Overview-Concept-Tab.png)
+![](media/Overview-Concept-Tab.png)
 
 A concept is an idea that asks a question that implies conflict.  The answer to that question is your story.  
 

docs/Conflict_Builder.md

@@ -9,7 +9,7 @@ parent: Tools
 Conflict Builder
 
 
-![](/media/ConflictBuilderDialog.png)
+![](media/ConflictBuilderDialog.png)
 
 
 The Conflict Builder tool, invoked by buttons on the Protagonist and Antagonist tabs of the Problem Form.

docs/Conflict_Tab.md

@@ -10,7 +10,7 @@ Conflict Tab
 
 The Conflict tab helps define the drama in a scene.
 
-![](/media/Scene-Conflict-Tab.png)
+![](media/Scene-Conflict-Tab.png)
 
 A scene is a 'small story', which has the same key elements of the overall story: a goal,  opposition to that goal, and an outcome.  The Conflict tab compresses the elements on the Problem form into a single tab.
 

docs/Creating_a_Story_pt_1.md

@@ -24,27 +24,27 @@ To do so in StoryCAD, launch the program. The first time you launch the program,
 
 Back to our story idea. Use the File menu’s  Open/Create file option:
 
-![](/media/File-Open-Dialog-1.png)
+![](media/File-Open-Dialog-1.png)
 
 Click on Create New Story to start a new outline:
 
-![](/media/Create-New-Story-Dialog.png)
+![](media/Create-New-Story-Dialog.png)
 
 Select ‘Folders’ for the Template. If it’s not already there, change the Project path to the folder you’d like to save your outline in (usually the Preferences location) using the Browse button. And finally, assign a Project Name. This will be the file name of the story outline file. In our case, use ‘Danger Calls’. Click on Create project, and you’ll have created your first story outline:
 
-![](/media/Danger-Calls-New-Story-Outline.png)
+![](media/Danger-Calls-New-Story-Outline.png)
 
 Note the green pencil on the Status Bar at the bottom of the page. The green indicates that the story outline has been saved to disk:
 
-![](/media/Tutorial-1-Danger-Calls-on-Disk.png)
+![](media/Tutorial-1-Danger-Calls-on-Disk.png)
 
 Click on the  Story Overview node in the navigation pane:
 
-![](/media/Tutorial-1-Story-Overvew-Node.png)
+![](media/Tutorial-1-Story-Overvew-Node.png)
 
 The content pane will show this node’s (empty) tabs and be sitting on the empty Story Idea tab:
 
-![](/media/Tutorial-1-Empty-Story-Idea-Tab.png)
+![](media/Tutorial-1-Empty-Story-Idea-Tab.png)
 
 You can click on any of the tabs to display that tab’s contents.
 
@@ -58,7 +58,7 @@ At the moment, the story outline for "Danger Calls" exists only in your computer
 
 The indicator will change from red to green, indicating that all changes have been saved to disk.
 
-![](/media/Changed-Indicator-1.png)
+![](media/Changed-Indicator-1.png)
 
 Alternatively, from the File menu, you can select Save Story, or enter the Ctrl+S shortcut keys.  Remember to save your work periodically.
 
@@ -68,7 +68,7 @@ This is a good place to talk about workflow. Workflow is discussed more fully in
 
 Click on the Danger Calls node’s Structure tab. As is described in the Quick Start, this tab is concerned with constraints on the order and form you place on your story, and contains a number of user interface controls for this purpose. Our story idea’s about crime and criminals, so let’s pick a genre for that. Clicking on the down-arrow key on the Genre ComboBox will display a list of choices; we’ll choose Suspense.  Set Type to Short Story (to keep our example brief.) StoryCAD has many drop-down lists. Not all lists are editable, but for the most part they’re not exhaustive, and  are editable: you can enter values other than the provided options. The lists are examples, suggestions; they’re not there to limit your creativity, but to encourage it. 
 
-![](/media/Tutorial-1-Empty-Struture-Tab.png)
+![](media/Tutorial-1-Empty-Struture-Tab.png)
 
 
 The Structure tab on the Story Overview is important not necessarily at the moment of conception, but early in story development, because it constrains other choices. Type affects story length and complexity, and Genre sets reader expectations: to be amused for a humor piece, to have a mystery to solve in a mystery, etc.

docs/Creating_a_Story_pt_2.md

@@ -16,7 +16,7 @@ In the literature of fiction writing, concept is a a term which is often misused
 
 Click on the Concept tab on your Story Overview and you’ll see this:
 
-![](/media/Tutorial-2-Concept-Tooltip.png)
+![](media/Tutorial-2-Concept-Tooltip.png)
 
 
 The note displayed is called a ToolTIp, and you’ll find many of these in StoryCAD. It will be replaced with your text as soon as you start keying into the text box.
@@ -27,7 +27,7 @@ Brooks offers the following example: a story idea might be to write a story abou
 
 For the “Danger Calls” concept, let’s use this:
 
-![](/media/Tutorial-2-Concept.png)
+![](media/Tutorial-2-Concept.png)
 
 
 (Don’t forget to save.) 
@@ -38,7 +38,7 @@ But questions can also be used to refine and test concepts and many other store
 
 Launch Key Questions from the Tool menu (use the wrench icon on the Menu Bar.) With Story Overview selected in the ComboBox, click Next Question until you find the first Concept question:
 
-![](/media/Tutorial-2-Key-Questions.png)
+![](media/Tutorial-2-Key-Questions.png)
 
 
 Key Questions can help you refine any story element or workflow step.
@@ -47,25 +47,25 @@ As is discussed in the Story Elements and Tabs topics in the Quick Start, a stor
 
 We can continue to work on the "Danger Calls" concept from any direction, adding Problem, Setting, or  Scene story elements, but let's start with something implicit in our Concept, some key characters.  Outlines are built by aggregation, adding bits and pieces as they occur to you, or as you reason things out. As a 'cops and robbers' story,  “Danger Calls”  has two obvious character archetypes, cop and criminal. Right-click on the Character Folder. You’ll see a ‘fly-out menu’ open:
 
-![](/media/Tutorial-2-Add-Character.png)
+![](media/Tutorial-2-Add-Character.png)
 
 The icons to the left of the first separator represent different story element types, and clicking on one of them will insert that as a child of the node you right-clicked. Click on the Character icon (if you want to know what a button is, just mouse over it.) You’ll insert a ‘New Character’ Character story element under the empty Characters folder. Click on the ‘New Character’ node and give your character a name. We also know the role we want, so pick that:
 
-![](/media/Tutorial-2-Detective-Role.png)
+![](media/Tutorial-2-Detective-Role.png)
 
 Give him the Story Role of Protagonist and move him to the characters folder.
 
 We can also add a second character, the bad guy, the same way: 
 
-![](/media/Tutorial-2-Add-New-Role.png)
+![](media/Tutorial-2-Add-New-Role.png)
 
 You can set him as the Antagonist.
 
 Notice that the list of roles doesn’t have an entry for Drug Dealer, so this was just keyed in. Most StoryCAD controls have lists of possible entries, but these lists are intended to be suggestions, not limitations. You can key whatever you want into most of these fields.
 
 While we’re at it, let’s add a third character, another detective who’s a partner to Leonard. We’ll give him the name Tony Irwin.
 
-![](/media/Tutorial-2-Third-Character.png)
+![](media/Tutorial-2-Third-Character.png)
 
 Why a third character? There’s no concrete reason at this point in the outline’s development, but policemen often work in teams. Besides, with two detectives, there’s somebody to talk to. At some point in the story we’re likely to need to narrate events, to explain what’s going on and to develop plans of action. ‘Buddy’ roles are good for that. And if we don’t need Tony, a touch of the Delete button can always get rid of him.
 

docs/Creating_a_Story_pt_3.md

@@ -27,13 +27,13 @@ The primary reason your reader reads your story is to find out how it comes out,
 Consider whether the reader should know the story’s outcome prior to the climax scene. In many character-oriented stories the answer should be yes, and the story’s dramatic arc deals with how things happen rather than what will happen. If the answer should be no, the story question is the essential suspense of the story, and your plot must serve to keep the outcome in doubt.
 Focusing on our original idea again, let's say that Charlie is highly mobile, conducting his deals all over town, and that he uses a combination of pagers (yes, I know, old tech) and cellular phones to arrange the deals. Our suspenseful question might be ‘Will Leonard and Tony overcome the cellular phone advantage’ and find out where Charlie Lacas’ next drug deal will be held, so that they can catch him?’:
 
-![](/media/Tutorial-3-Catching-the-drug-dealer.png)
+![](media/Tutorial-3-Catching-the-drug-dealer.png)
 
 As is often the case, one question leads to another. We’re also faced with the question of how the detectives overcome Charlie’s tech. 
 
 We can treat this this issue of overcoming the advantage of the cellular phones as a  complication, by rewording the problem  not as a yes or no (suspense) question but as a ‘how do they overcome?’  Story Question. Your story can (and usually will) contain more than one Problem, and every Problem has its own Premise. Let’s add our ‘how to’ question as a second problem:
 
-![](/media/Tutorial-3-The-'how-to'-complication.png)
+![](media/Tutorial-3-The-'how-to'-complication.png)
 
 Neither of these problems are fleshed out, but we’ll work on that in a minute.
 

docs/Creating_a_Story_pt_4.md

@@ -15,7 +15,7 @@ story elements is  critical. What else is there?
 
 We did throw in the phrase ‘effect a rescue’.  The ‘effect a rescue’ phrase raises the question: rescue from what? We could also ask where this phrase came from and what that phrase is even doing in the Story Question,  but it clearly seems to involve drama and more drama is always good. Your subconscious will often give you what you need, if you let it. Perhaps Lacas ‘gets the drop’ on one or both of our detectives somehow. We can add that as an additional story problem:
 
-![](/media/Tutorial-4-Lacas-gets-the-drop-on-Kraskin.png)
+![](media/Tutorial-4-Lacas-gets-the-drop-on-Kraskin.png)
 
 Rather than ‘gets the drop on the detectives’, I used one detective, so that the other can affect the rescue. But how did Lacas gain the upper hand? 
 
@@ -27,28 +27,28 @@ The outer or external problem we've just added has a physical goal--- to catch C
 
 Click on the Lenard Kraskin node and then click on the Outer Traits tab. The Content Pane contains a button for a tool, Trait Builder, and an empty list of traits. If you click on the Trait Builder tool you’ll see this:
 
-![](/media/Tutorial-4-Trait-Builder.png)
+![](media/Tutorial-4-Trait-Builder.png)
 
 Clicking on Behaviors will give you a list of example behaviors: 
 
-![](/media/Tutorial-4-Behaviors.png)
+![](media/Tutorial-4-Behaviors.png)
 
 And right there is what we’re looking for. Remember, we have no preconceptions about Leonard's character; he's a blank sheet of paper.  He can therefore easily be molded to suit the story, and giving him a character flaw by making him impulsive is a step in that direction.
 
 Click on Impulsive and Copy Trait to add the trait:
 
-![](/media/Tutorial-4-Impulsive.png)
+![](media/Tutorial-4-Impulsive.png)
 
 
 Note that this is an outer rather than an inner trait. Inner traits are aspects of character stemming from psychological and social causes. External traits are habits and behaviors which reflect and illustrate the inner traits. It turns out that Impulsiveness is also a value under the Adventurousness  quality on the Inner Traits tab, so we can select that value as well:
 
-![](/media/Tutorial-4-Inner-Trait.png)
+![](media/Tutorial-4-Inner-Trait.png)
 
 We should remember though, that  to affect the story’s outcome, traits need to be demonstrated as external actions, under the 'show, don't tell' maxim. We need Leonard to exhibit Impulsiveness in an action that puts him in a situation where he needs rescue.
 
 With this change we can now rename our third problem (Lacas gets the drop on Kraskin) to something more precise:
 
-![](/media/Tutorial-4-Renamed-third-problem.png)
+![](media/Tutorial-4-Renamed-third-problem.png)
 
 Both the Conflict Type and the Story Question address the flawed character trait.
 
@@ -73,7 +73,7 @@ The story is beginning to take on substance; we can start to visualize some scen
 
 Character traits are also a means of achieving conflict.  Many stories don't have enough built-in conflict, which leads to contrived plots.  But conflict isn't necessarily limited to the interplay of protagonist and antagonist.  We can create conflict by giving Tony a trait which clashes with Leonard's.  The opposite of impulsiveness isn't necessarily caution, though.  Going back to the Inner Traits tab on Tony's record, we select Thoughtful from the Shrewdness trait:
 
-![](/media/Tony-Irwin-Inner-Traits.png)
+![](media/Tony-Irwin-Inner-Traits.png)
 
 
 

docs/Creating_a_Story_pt_5.md

@@ -17,11 +17,11 @@ Most stories have more than one problem, but an important thing to keep in mind
 
 StoryCAD acknowledges the need for a main story problem by having you pick the Problem that is your story problem, back on the Overview node. Overview’s Premise tab looks like this:
 
-![](/media/Overview-Empty-Premis-tab.png)
+![](media/Overview-Empty-Premis-tab.png)
 
 The Story Problem drop-down lists your outline’s Problem story elements. If you select the problem we’ve been developing you’ll see:
 
-![](/media/Danger-Calls-Story-Premise.png)
+![](media/Danger-Calls-Story-Premise.png)
 
 Note that the Premise here is just a read-only copy of the Premise on the Problem story node’s Resolution tab. Don’t forget to save your work- the red pencil on the Status bar is a reminder that you have unsaved work. You may want to take a look at the various backup and autosave options available in Preferences.
 
@@ -31,11 +31,11 @@ Back when we started, we envisioned a scene in which Lacas walks out of the cour
 
 Right-clicking the Scenes folder displays a fly-out command bar.
 
-![](/media/Danger-Calls-Add-Scene.png)
+![](media/Danger-Calls-Add-Scene.png)
 
 Clicking on the Add Scene icon on the fly-out bar will insert a new scene, which you can click on and rename by keying into the Name field. A sketch might also be added:
 
-![](/media/Danger-Calls-First-Scene-Sketch.png)
+![](media/Danger-Calls-First-Scene-Sketch.png)
 
 
 Of course, one scene isn't a plot. This scene might or might not fit. If it’s something you envision when you’re working through your story idea and concept and premise, trust your intuition and record it. Honor your muse by paying attention to those early thoughts. This goes for any story elements that suggest themselves. If they don’t fit, they can always be trashed.
@@ -44,17 +44,17 @@ Let's put a skeleton of a plot together, using the problems and story premise yo
 
 On the Tools menu there's a sub-menu with several tools to assist plotting.  One of them, Master Plots, could be useful in this situation.  The master plots available from this sub-menu suggest certain events which take place at different places in a story, and can quickly provide a skeleton plot outline which provides a shape for the plot. With the Scenes folder node selected, rather than go through the menus, let's use a shortcut and type in [Ctrl+M].  This will display the Master Plots menu:
 
-![](/media/Danger-Calls-MasterPlots-menu.png)
+![](media/Danger-Calls-MasterPlots-menu.png)
 
 Not all of the master plots are true plot outlines; other master plots suggest common story types which recur in fiction.  But we're looking for an outline, and the first few master plots do just that.
 
 Let's use the first one on the list, the Three Act Play.  Click on the Copy button. 
 
-![](/media/Danger-Calls-Three-Act-Play.png)
+![](media/Danger-Calls-Three-Act-Play.png)
 
 
 The copy function populated the Scene folder with a series of plot points which suggest where in the dramatic progression of a story certain things should happen.  The Notes tabs on these plot points contain some suggestions.  For example, the Notes for 'Narrative hook' looks like this:
 
-![](/media/Danger-Calls-Narrative-Hook.png)
+![](media/Danger-Calls-Narrative-Hook.png)
 
 Although these are Scene story elements, they are not scenes, but placeholders: a reminder of things that your scenes need to do,   and roughly the order they need to do them in. In short, they are the structure of your story, its spine. Since your story is centered on one of your Problems, the main Story Problem, the story’s structure is the structure of that problem.