Remember these boxes can be rotated as well as translated, to pose the wrist, or twist the waist, as well as moving the character up and down, side to side. At this stage of the blocking process you are only concerned with creating and keying the primary storytelling poses. These poses become the foundation for the rest of our animation, the framing that the house is going to rest upon. The Constant F-Curve Interpolation option that we selected in the Animation Preferences menu cell during the first tutorial will force your poses to be held up until the frame where the next pose is set. This will allow for maximum visual control of the timing between poses.
Animation is all about timing.
You can have the smoothest animation in the world, with the nicest follow through and secondary action, but if the timing is somehow off, then you will have shattered the illusion you have been trying so hard to create. I like the Constant option because it is a blunt measuring stick as to the effectiveness of your timing decisions executed in the pre-production stage. Pose to pose, pop, pop, pop. Do not obsess about details at this stage, but roughly block in the pose, with proper stance, balance, appeal, and composition. Like a piece of fine literature, you are going to do a rough edit of your outline after writing the first draft.