Alexandra Sokoloff's Blog, page 2

Writing Act III of a book or script: The New Plan

Here, very simply, are the broad strokes of Act III of a book or script:

At the end of Act II: Part 2 (about p. 300 in a 400-page book, about 90 minutes in to a 2 hour movie) everything crashes in an All is Lost Moment, or Black Moment, or Visit to Death.

And then, out of that complete despair comes a Revelation, Clue or Twist for the Hero/ine

That leads to a New Plan for the Final Battle.

The Hero/ine makes that last New Plan

Possibly Gathers the Team (Allies) again and briefs them on the Plan

...

Use that Back to School energy for your writing!

It’s September, and I don’t know about you, but this time of year I always get this rush of nervous, excited, Back to School energy. As writers, we can use this to our advantage! If you’ve been hedging about writing that book or script, now is a great time to commit to it.

 

Photo by Jonathan Borba on Unsplash

And if you’re deep into a book or script already, it’s also a good time to take a step back for a few days and evaluate where you are and what will get you over the finish line.

For ...

Writing Act II: The Third Quarter Drop Dead

In the next few weeks we’ll be breaking down the essential components of Act III of your book or script: The Final Battle.

But before we move on, there’s something else I’d like to point out about Act II: Part 2, the third quarter of your story. I find that right about now is very often when writers hit the wall and abandon their books or scripts.

Let’s face it; it’s easy to write an Act I. It’s new, it’s fresh, it’s exciting—it’s like the first flush of being in love. You’re so high on endorph...

Your Act II Climax: The Dark Night and the Dawn

These two key story structure elements are very, very often the CLIMAX of Act II: Part 2. They almost always occur next to each other, one coming right after—or soon after—the other. There might be a climactic action sequence before or after, but these elements will be the true turning point of the Act. And it goes like this:

After the Hero/ine’s blackest, bleakest moment, there is a moment of insight so profound that the Hero/ine will be able to make a new PLAN and go into the FINAL BATTLE of ...

Creating Character: Your Protagonist’s GHOST, WOUND, or CORE TRAUMA

I got an excellent question this week about how and where to reveal a Protagonist’s Ghost or Wound.

This is perfect timing for our discussion of the third quarter of your book or script—Act II: Part 2—because it’s in this Downward Spiral that the internal Ghost or Wound (which up until now may have been more subtle internal conflict) very often becomes an active opposing force.

The Ghost, Wound, or Core Trauma is an event, condition, or belief that is haunting your protagonist and holding them...

Act II: Part 2 — Visit to the Goddess

As we continue our discussion of Act II: Part 2,I want to make sure you’re aware of this important story element. It can be tremendously useful—and it’s very rarely discussed!

You could characterize the two halves of Act II with these very, very broad strokes:

Act II: Part I (the second quarter of a book or script) is often the daylight Act, where your protagonist takes big, bold, “male” actions.
Act II: Part 2 (the third quarter of a book or script) generally accesses a darker, more mystical...

Act II: Part 2 – The Clash of Inner & Outer Desire

The darker, downward spiraling Act II: Part 2 is a PATTERN in novels and movies that we tend to see often.

I want to say up front, as ever: If you’re writing an Act II: Part 2 that doesn’t fit this pattern, and it’s working for you, that’s all that matters! Only use what works for you and your story.

But it makes sense that things get harder for the protagonist in the second half of the story, doesn’t it? After all, it’s not very dramatic to watch someone just handed their heart’s desire on a ...

Act II: Part 2 – The Downward Spiral

Act II:2 is the third quarter of a book or script, and generally the darkest quarter.

One of the most useful things you can do for your book or script is to start looking at Act II as two very distinct and contrasting Acts, divided by the Midpoint game-changer. (More about this in last week’s post and videos.)

The most significant difference can be summed up simply as:

The Hero/ine starts to lose.

As I keep pointing out, in the first half of Act II, the Hero/ine is usually (not always!) WINN...

The MIDPOINT Game-Changer – Part 2

Let’s talk about that sagging middle. Of your book or script, I mean!

This month we’ll be moving into the third quarter—often the darkest and most difficult quarter! —of a book or script: Act 2: Part 2, what I call THE DOWNWARD SPIRAL. But first I want to make absolutely sure that everyone has absorbed the crucial concepts of the MIDPOINT!

If you’ve noticed a worrisome lull towards the halfway mark of your story, the first thing you need to look at is your Midpoint Climax. Really understanding...

Creating Love Triangles/Second Love Interests

After last week’s post I got a request for a discussion of how to create love triangles/ secondary love interests — and I’m happy to do a post on this excellent question! One of the key elements that makes a love triangle work is:

The two possible love interests clearly represent two different sides of the protagonist, and two very different possible life choices that are both enticing to the protagonist.

One of the books/series I talk about in that last post, Daisy Jones & The Six, is a really ...