Saturday, November 23, 2013
Nanowrimo: The Third Quarter Drop-Dead
Well, theoretically, anyway. But I find that right about now is when people tend to start dropping during Nano. First of all there's, well, Thanksgiving. Which even though it's a holiday, involves family, and family is never conducive to marathon writing. (They don't like to lose us to a book, it's just the truth. It brings up all kinds of feelings of abandonment and inadequacy. So - pretend you're going shopping and go to a cafe to write, that's what they're for.)
But also, let's face it, it's EASY to write a first act. It's new, it's fresh, it's exciting, it's like the first flush of being in love. You're so high you don't stop to think, and that means you don't get in your own way.
It can even be not so hard to get through Act II, part 1 to the Midpoint. But it's that third quarter where things get murky. You feel like you're not getting anywhere. In fact, you have no freaking clue where you are, or why in the hell you're wherever the hell you are to begin with, and you just want to give up and sleep for a week, or eat turkey and chocolate for a week, or all of the above.
I had a friend in movie development who called it "the third-quarter drop dead."
Well, here's an interesting thing. Structurally, this is EXACTLY the point in your story that your hero/ine is feeling those exact same things. In other words, it's the BLACK MOMENT, or ALL IS LOST MOMENT, or the VISIT TO DEATH, which almost always ends up as the climax or just before the climax of Act II.
It's as if we as authors have to work ourselves into the exact same hopeless despair as our characters, as if nothing good will ever come out of this situation and we might as well give up right now - in order to convey that emotion on the page and feel that exhilaration when the character SOLVES the problem and gets that final revelation and makes that final plan.
So if you find yourself in this situation, you might want to review the elements of Act II: Part 2, and take a look at some of these questions to see if they might help you find your way.
In a 2-hour movie this section starts at about 60 minutes, and ends at about 90 minutes.
In a 400-page book, this section starts at about p. 300 and ends toward the end of the book.
Now, remember, at the end of Act II, part 1, there is a MIDPOINT CLIMAX, which I'll review briefly because it's so important.
In movies the midpoint is usually a big SETPIECE scene, where the filmmakers really show off their expertise with a special effects sequence (as in HOW TO TRAIN YOUR DRAGON and HARRY POTTER, 1), or a big action scene (JAWS), or in breathtaking psychological cat-and-mouse dialogue (in SILENCE OF THE LAMBS). It might be a sex scene or a comedy scene, or both in a romantic comedy. Whatever the Midpoint is, it is most likely going to be specific to the promise of the genre.
And I strongly encourage you as authors to pay as much attention to your midpoint as filmmakers do with theirs.
THE MIDPOINT –
- Completely changes the game
- Locks the hero/ine into a situation or action
- Is a point of no return
- Can be a huge revelation
- Can be a huge defeat
- Can be a huge win
- Can be a “now it’s personal” loss
- Can be sex at 60 – the lovers finally get together, only to open up a whole new world of problems
(More on MIDPOINT).
Act II, part 2 will almost always have these elements:
* RECALIBRATING– after the shock or defeat of the game-changer in the midpoint, the hero/ine must REVAMP THE PLAN and try a NEW MODE OF ATTACK.
What’s the new plan?
A good story will always be clear about the stakes. Characters often speak the stakes aloud.
How have the stakes changed? Do we have new hopes or fears about what the protagonist will do and what will happen to him or her?
* ESCALATING ACTIONS/OBSESSIVE DRIVE
Little actions by the hero/ine to get what s/he wants have not cut it, so the actions become bigger and usually more desperate.
Do we see a new level of commitment in the hero/ine?
How are the hero/ine’s actions becoming more desperate?
* It’s also worth noting that while the hero/ine is generally (but not always!) winning in Act II:1, s/he generally begins to lose in Act II:2. Often this is where everything starts to unravel and spiral out of control.
* INCREASED ATTACKS BY ANTAGONIST
Just as the hero/ine is becoming more desperate to get what s/he wants, the antagonist also has failed to get what s/he wants and becomes more desperate and takes riskier actions.
* HARD CHOICES AND CROSSING THE LINE (IMMORAL ACTIONS by the main character to get what s/he wants)
Do we see the hero/ine crossing the line and doing immoral things to get what s/he wants?
* LOSS OF KEY ALLIES (possibly because of the hero/ine’s obsessive actions, possibly through death or injury by the antagonist).
Do any allies walk out on the hero/ine or get killed or injured?
* A TICKING CLOCK (can happen anywhere in the story, or there may not be one.)
* REVERSALS AND REVELATIONS/TWISTS
* THE LONG DARK NIGHT OF THE SOUL and/or VISIT TO DEATH (also known as: ALL IS LOST).
There is always a moment in a story where the hero/ine seems to have lost everything, and it is almost always right before the Second Act Climax, or it IS the Second Act Climax.
What is the All Is Lost scene?
* In a romance or romantic comedy, the All Is Lost moment is often a THE LOVER MAKES A STAND scene, where s/he tells the loved one – “Enough of this bullshit waffling, either commit to me or don’t, but if you don’t, I’m out of here.” This can be the hero/ine or the love interest making this stand.
THE SECOND ACT CLIMAX
* Often will be a final revelation before the end game: often the knowledge of who the opponent really is, that will propel the hero/ine into the FINAL BATTLE.
* Often will be another devastating loss, the ALL IS LOST scene. In a mythic structure or Chosen One story or mentor story this is almost ALWAYS where the mentor dies or is otherwise taken out of the action, so the hero/ine must go into the final battle alone.
* Answers the Central Question – and often the answer is “no” – so that the hero/ine again must come up with a whole new plan.
* Often is a SETPIECE.
More discussion on Elements Of Act II:2
And here are the elements for Act Three:
The third act is basically the Final Battle and Resolution. It can often be one continuous sequence – the chase and confrontation, or confrontation and chase. There may be a final preparation for battle, or it might be done on the fly. Either here or in the last part of the second act the hero will make a new, FINAL PLAN, based on the new information and revelations of the second act.
The essence of a third act is the final showdown between protagonist and antagonist. It is often divided into two sequences:
1. Getting there (Storming the Castle) (Sequence 7).
2. The final battle itself (Sequence 8)
* In addition to the FINAL PLAN, there may be another GATHERING OF THE TEAM, and a brief TRANING SEQUENCE.
• There may well be DEFEATS OF SECONDARY OPPONENTS (each one of which should be given a satisfying end or comeuppance. (This may also happen earlier, in Act II:2).
* Thematic Location - often a visual and literal representation of the Hero/ine’s Greatest Nightmare
* The protagonist’s character change
* The antagonist’s character change (if any)
* Possibly ally/allies’ character change (s) and/or gaining of desire (s)
* Possibly a huge final reversal or reveal (twist), or even a whole series of payoffs that you’ve been saving (as in Back to the Future and It’s A Wonderful Life)
* RESOLUTION: A glimpse into the New Way of Life that the hero/ine will be living after this whole ordeal and all s/he’s learned from it.
• Possibly a sense of coming FULL CIRCLE – returning to the opening image or scene and showing how much things have changed, or how the hero/ine has changed inside, causing her or him to deal with the same place and situation in a whole different way.
* Closing Image
More on Act Three:
Elements of Act Three
What Makes a Great Climax?
Elevate Your Ending
Now, I'd also like to remind everyone that this is a basic, GENERAL list. There are story elements specific to whatever kind of story you're writing, and the best way to get familiar with what those are is to do (or take a look at story breakdowns on three (at least) movies or books that are similar to the KIND of story you're writing.
What KIND Of Story Is It?
I hope that there's something there to get you through that third quarter, but I'll post a few more brainstorming tricks this week.
In the meantime, good luck with the family! I mean, Happy Thanksgiving!
Screenwriting Tricks for Authors and Writing Love, Screenwriting Tricks for Authors, II, are now available in all e formats and as pdf files. Either book, any format, just $2.99.
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