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Pinterest57 If all you do at the midpoint is raise the stakes your script has little chance of packing much emotional punch in the climax. Here are the 2 things you should be focussed on delivering around the middle of Act 2. Field said that, in great screenplays he had studied, something important almost always happened around page Typically, he said, the hero would pass a point of no return and the stakes would be raised.
You can have the hero burn their bridges and raise the stakes up the Ying Yang at the midpoint without delivering what the audience really wants — emotional release at the Act 3 climax. But the key to understanding this element of the script and to making it work for your audience is to stop thinking about the midpoint in terms of plot.
And start thinking about it in terms of character. The plot is not the end. The end is transformation of your hero and the midpoint is the fulcrum for that transformation.
In the first act — or the Ordinary World for Campbell devotees — your character will have revealed their flaw. In Act 3, at the climax, they will prove they have addressed that flaw or not, in the case of some, though not all tragedies.
So where does the character actually change? Certainly, in most of the films I love, in the early part of Act 2 the hero is doing everything they can to avoid change. Think Phil Connors in Groundhog Day.
So where does the hero change? The first thing that should happen at the midpoint or the Ordeal is that someone generally the antagonist should hold up a mirror to the hero and make them aware of their flaw — typically in none too subtle terms.
Think about Groundhog Day. In the previous sequence, with his flaw in full flight, he beds and proposes marriage to Nancy. This is easy peasy. Why would he ever change? And she slaps his face. And the next day, she slaps his face again.
And the next day. Slap, goes the antagonist. Wake up to yourself!!! What the hell are you thinking?!? The hero needs to be confronted with their flaw in a way that makes them appreciate that they simply must change. That is an important stepping stone on the way to transformation. But, in each of these wonderful films, the writers push a little harder to produce three of the most memorable, emotionally powerful scenes in all cinema.
In each film, the antagonist not only holds up a mirror to the hero to reveal their flaw. They push them so hard that their ego — which embodies their flaw — shatters into a million pieces and their shining essence is revealed.
Todd emerges from his trance reborn. In An Officer and a Gentleman, up until the midpoint, Zac has been entirely in his identity ego. Again, the antagonist is holding a mirror up to the hero.Putting It All Together.
Long ago, in a galaxy far away, a controlling government called the Empire takes control of planets, systems, and people. There is a difference between emotions and feelings.
Learning the difference can provide you a greater understanding of yourself and the people around you. How to Write a Damn Good Thriller: A Step-by-Step Guide for Novelists and Screenwriters - Kindle edition by James N.
Frey. Download it once and read it on your Kindle device, PC, phones or tablets.
Use features like bookmarks, note taking and highlighting while reading How to Write a Damn Good Thriller: A Step-by-Step Guide for Novelists and Screenwriters. Thinking Outside the Box: A Misguided Idea The truth behind the universal, but flawed, catchphrase for creativity.
Posted Feb 06, Learn how to format your novel manuscript. Knowing how to format a book for submission can be a key to getting your book manuscript noticed.
|Montage Format – Part 1 | Scriptwrecked — screenwriting tips for screenwriters||The difference is important because the way you behave in this world is the end result of your feelings and emotions. Feelings express your true identity, while emotions reveal how you have been taught to respond to events in your life.|
|Rage Against The Page: The 4-Act Story Diamond||Just one guy's quest to unlock the mysterious art of storytelling on screen.|
John August (born August 4, ) is an American screenwriter, director, producer and novelist. He is known for writing the films Go (), Charlie's Angels (), Charlie's Angels: Full Throttle (), Big Fish (), Charlie and the Chocolate Factory () and Frankenweenie (), and the novel Arlo Finch in the Valley of Fire ().