Interruption
Every cut a host makes, sorted by what the cut does to the stream. A constructive interruption feeds the stream — the speaker’s material continues, repaired, deepened, contested, or leapt from. A destructive interruption severs it — content, time-use, or conduct stops. Destructive names the mechanics, not the value.
The constructive branch
The contribution licenses the cut: something is visibly added, so resentment stays low even at the largest scale.
| Interruption | What it is | Moves | On film |
|---|
The destructive branch
Something stops: the content, the use of time, or the conduct. These are the cuts hosts avoid, and the avoidance is named in the anti-pattern catalog: the Spotlight Drift is an unmade Monologue cut, the Pile-On an unmade floor-guard, the Slow Leak an unmade Stopping.
| Interruption | What it is | Moves | On film |
|---|
The license and the debt
Constructive interruptions are self-licensing. Destructive interruptions must supply a license. Before the cut: Requesting Entry pre-pays, and the announced cut grants a landing strip. At the cut: the receipt — we have your point — confirms the material landed without grading it, and the reason given is the table’s need, never a verdict on the speaker. After the cut: Restoring the Floor repays a turn that was lost, memory work included, and Owning the Foul pays for a cut that landed badly — once, without ceremony.
Interrupting — enter on a word the speaker just said, so the cut reads as attention rather than impatience — is the mechanic under every row; the rows are the reasons for it.
Drill the entry lines with Entry Point; drill the time-cut with Give the Order’s declarative register. The easily confused pairs live in Near Neighbors.