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The midpoint moment (which I fully explain in Chapter 5) is the moment that tells us what the novel or movie is really all about.
You see, the character is going to have to face a death of some kind in the story. There are three kinds of death and one or more will confront the character, in bold relief, right smack dab in the middle of your novel.
There are three kinds of death: physical, professional, psychological.
Obviously if your Lead character is in danger of physical death, the stakes are as high as they can be. Usually you find this in the thriller genre.
When the novel revolves around the Lead's calling in life, the failure to win should mean that her career is over, her calling a waste, her training a fraud, her future a cloud. It must mean that there is something on the line here that will make or break the Lead in the area of her life's work.
Make the job and the particular case matter that much.
Imminent danger of dying psychologically if the conflict isn't won.
Psychological death is the key to all romances, isn't it? If the two lovers don't get together, they will each miss out on their "soul mate." Their lives will be incurably damaged.
In mythic terms, Scarlett would like to remain in the "ordinary world." But the outbreak of war forces Scarlett into the "dark world" of Act II. That's why I call this a doorway of no return.
Act II is all about "death stakes." That is, one of three aspects of death must be on the line. Physical, professional or psychological death.
The timing of the first pillar should be before the 1/5 mark of your book. In movies, it's common to divide the acts into a 1/4 (Act I) 1/2 (Act II) and 1/4 (Act III) structure. But in novels it's better to have that first doorway happen earlier.
Have you created a disturbance in the opening pages? - Do you know the death stakes of the story? - Have you created a scene that will force the character into the confrontation of Act II? - Is it strong enough? Can the Lead character resist going into the battle? - Does it occur before the 1/5 mark of your total page count?
Have you created a major crisis or setback the Lead must overcome? Alternatively, is there a clue or discovery that makes a final resolution possible?
thoughts. In a character-driven story, he looks at himself and wonders what kind of person he is. What is he becoming?
How will he have to change in order to battle successfully?
The second type of look is more for plot-driven fiction. It's where the character looks at himself and considers the odds against him.
Scarlett wonders what kind of person she has to become in order to save Tara.
And that's a key word, moment. The true midpoint is not a scene. It's a moment within a scene.
Once you know what the moment is, you can truly write from the middle. Because now you know what sort of transformation happens at the end, and what the character's psychological state was at the beginning, in the pre-story world. There are your three points of The Golden Triangle:
If you know the Mirror Moment, you know what your story is really about. You can then formulate the pre-story background which makes the Mirror Moment necessary.
That's the transformation, but the key to this final point of The Golden Triangle is to show us the transformation. It has to be visual. It has to be a moment we could see if it were being shown on a screen.
Transformation is about change, and change needs to be proven. People can talk a good game. Someone can say he's sorry for stealing and wants to go straight. But until the thief returns the goods, we don't believe he's a changed person.
1. Write a paragraph of inner realization. This should be a free-form, diary-like entry, none of which has to end up in your book, but of course some of it might.
Brainstorm the actions the prove the transformation
you can come up with one powerful action that sums it all up, so much the better.
You may come up with a great visual that seemingly comes out of the blue. But you like it. It resonates. So now all you have to do is plant something about that visual in the first act.
Opening Disturbance. Any kind of change, challenge, trouble, or difference in the Lead's ordinary world. The first scene. • Care Package. Someone the Lead cares about as the story begins, part of the Lead's life in the ordinary world. Show the care happening early in the story. • Argument Opposed to Transformation. A moment where the Lead states a belief that will be overturned at the end. This is the "thematic line."
Trouble brewing. Things may settle for a bit after the disturbance, but then a glimpse of greater trouble coming or hovering "in the air." • Doorway of No Return #1. Thrusts the Lead into the confrontations of Act II. • Kick in the Shins. In trying to solve the problem, achieve the objective, get moving, the Lead suffers a significant setback. • The Mirror Moment. (You know what this is. See chapter 5) • Pet the Dog. During the troubles of Act II, the Lead takes time out to help someone (or animal!) weaker than himself, even at the cost of more trouble.
Doorway of No Return #2. Major setback, crisis, clue, or discovery. Makes final battle necessary and/or possible. • Mounting Forces. The opposition––knowing the battle is really on and that the Lead is committed––mounts larger forces. • Lights Out. The darkest part of the plot for the Lead. It looks like all is lost. • Q Factor. The emotional push that gives the Lead the courage to fight on or make the right choice, by recalling or seeing something of emotional impact from Act I, or hearing from a trusted character about the need to fight or choose rightly.
Final Battle. Outer (will Lead overcome the forces?) and/or Inner (will Lead make the right choice?) • Transformation. Usually the last chapter of your book, confirming the character's change to stronger self or new self, and carrying the emotional resonance you want to leave with the audience.
Ask yourself questions. Why do I want to write this? What is it about my life at this moment in time that attracts me to this idea? Why would anybody want to read this book? How can I make this idea more interesting than any other handling of the same concept by another author?
Who is the character in the middle of the story? What must she become by the end? How does she see herself at this mid-point? How is this the critical moment in her life?
How will the character realize he's probably going to die? What forces are against him? How will he realize
Story Masters conference
Something Unexpected in Every Scene.
we are on his side, because he yearns to do the right things.
Brown's behavior throughout the book is unpredictable, but with an undercurrent of danger. He's like a snake that could bite at any moment, but at other times seems friendly. You're just not sure what he's going to do next, because he is . . . 4. A nasty but charming bad guy
my writing seminar, WRITING A NOVEL THEY CAN'T PUT DOWN, available online.
