Two weeks ago, we talked about what goes into the first half of the Middle of a story. This week, we’ll explore what happens after the Mid-Point, what’s waiting for the main character, and other components as we make our way toward the End of the story.
Stronger, Harder, Faster
Your hero might have just achieved a big win, but that only means one thing: obstacles are only going to get more complicated from here. They may be halfway through their journey to achieve their goal, but that only means that the opposition will be in full force as it seeks to destroy the hero by any means necessary. This is where the hero really begins to be put to the test. Do they have what it takes to overcome the challenges and obstacles that await to get where they need to go?
This Is Jeopardy!
The stakes for the hero and their goal are about to increase in magnitude, which means that they will find themselves and others in greater danger if they don’t reach their goal. It’s time to throw some big-time problems and issues at the hero and see how they work to overcome them, how they fight to stay on track, and what they do when those around them are in peril. There’s no point in letting up now. Keeping the audience on the edge of their seat watching or reading as the hero traverses these challenges is important. Will they make it out okay? How will they change as a result of these new and heightened stakes?
The Antagonist Steps-Up Their Game
This is no time for the hero to become complacent. The antagonist certainly won’t. They know that their plans are now even closer to being thwarted and stopped, so they will be throwing everything they have at the hero to prevent them from reaching their goal. Whether it’s an army, henchmen, or a field of poppies that put travelers to sleep, the antagonist will do what it takes to slow down and hopefully stop the hero.
All is Lost
Things are looking up. Your hero has made great strides, overcome obstacles, made mincemeat out of the heightened stakes, and become a stronger person due to the problems they faced. The goal is closer now than it’s ever been. Time to celebrate? Hardly.
The antagonist has one more trick up their sleeve, and this is the moment – the major turning point – when all comes crashing down on the hero. They lose the deal. An attack takes out their defenses. The love interest discovers a truth they can’t handle and leaves. This moment is a true gut punch to the hero. A moment when everything they’ve worked toward seems to evaporate.
This is Turning Point Two. It’s the end of the Middle, and the beginning of the End.
Will the hero have what it takes to overcome and reach their goal?
In Legally Blonde, Elle is propositioned by Callahan, which is seen by Vivian who turns against Elle (they had become friends during the Middle phase of the story). Everything Elle’s done up to this point seems to be stripped away from her. Her confidence. Her abilities. Her relationships. Her very reason for being in the intern program is thrown into doubt as well.
Did Callahan pick her for the wrong reasons? Was she encouraged by him because he thought she would sleep with him to get ahead?
In the aftermath of this moment, Elle has to make choices that will make or break her and her goals.
Check out the clip below:
In two weeks, we’ll see how the hero works through this new and devastating moment and how they use what they learn to get to the End of their story.
Over the past two articles, we discussed what goes into creating the opening of your story.
Today, we’ll start to look at the Middle of the story. You can call it Act Two or even as some writers call it: The Muddle. This is where your hero’s path toward their goal should become increasingly challenging, where they begin to grow and change as a character, and the story continues to create conflicts for the main character.
The Stage Is Set
The Who, What, Where, When, and Why have all been established and your main character and their helpers have been launched from their ordinary existence into a new and challenging adventure. Your main character has a stated goal, and forces prevent them from quickly achieving what they want.
Once they cross over the threshold of Turning Point One, they have no entered a new phase of their journey. They may have to reassess how they are going about achieving their goal. They may realize that they can’t do things on their own and need some help. Maybe the antagonist has taken this moment to up the stakes just a little more, which only motivates the hero to keep going despite the odds.
At this point, you as a writer should know your main character fairly well. What they are willing to do and not do. How far they will go to get what they want. What decisions they will make – good or bad – that will impact them reaching their goal.
And The Hits Keep on Comin’
Obstacles. Lots of obstacles. The Middle of the story needs to present challenges and problems that make the hero challenge who they are and make them work to reach their goal. Think of this section of the story as the main obstacle course for your characters. They have to do things that they may not want to do, may not like, and may have to go outside their comfort zone to get to the next level to get one step closer to their goal.
Reality shows like American Ninja Warrior, Wipeout, and Holey Moley are examples of individuals having to traverse seemingly impossible odds to reach the intended goal and get the prize. Essentially, you are sending your characters through a similar maze filled with hazards, hits, and dangers that they must overcome in one way or another.
It’s okay for them to fail and have setbacks. In fact, that makes your hero more human if they don’t always get what they need or want on the first try. Creating a flawed character who doesn’t give up creates empathy and relatability between the character and the audience.
The Middle is where the bulk of the character arc takes place, mainly since it’s also where the bulk of the story happens. Your main character started out one way when we first met them at the beginning of the story, but now as they face new odds and problems, we should begin to see them develop and grow.
A stagnant and unchanging character lacks relatability. If your character experiences some traumatic event that launches them into the story and has zero effect on them, it’s hard to relate to that character. Now, suppose they are repressing their anger, sadness, or despair, affecting their judgment and ability to problem-solve. This creates an internal conflict that will eventually manifest itself since they will have to overcome those things in order to reach their goal by the end of the story.
Think of Mando’s arc in season one of The Mandalorian. How does he change when he meets and interacts with The Child for the first time? What choices does he make that affect his character arc throughout the season? How do his choices and changes affect the story?
Think about how the events in Jurassic Park affect Alan Grant’s relationships with and views on children. How do his interactions and perspectives change from the start of the film to the finale?
Keep Things in Motion
A story should be in constant motion. Each scene or chapter leading into the next. The protagonist should always be doing something. They should always be active in what’s going on. It is their story, after all.
As you develop the Middle, think about how to map out the story so events keep moving forward. That goal is still out there. The antagonist still exists to prevent the protagonist from reaching their goal. How can you keep your hero moving toward their goal while hitting them with problems that prevent them from reaching it?
Each scene or chapter should give the audience a new piece of the puzzle. Some new information that keeps them reading or watching. The hero is handed a note and reads it. What does it say? We don’t find out until several chapters or scenes later, but our curiosity has been piqued.
Keep the audience interested, and they’ll stay to find out what happens next.
During this time in the story, it can be easy to slowly go off course and get knee-deep in subplots or tangents. And while subplots are acceptable, it’s important not to lose sight of the real reason we’re in this story: to watch the hero go after their goal in the face of opposition.
Work through their story first. If you want to go back and add a subplot that ties into the main story afterward, go for it. Your main goal here is to develop the main character’s arc and their related story arc. It can be very tempting to go and take a detour with the main character’s best friend and see what shenanigans they’ll get themselves into. But unless that directly impacts the main story, hold off and see if that side trip is really necessary.
Think about movies you’ve seen where subplots pop up and then go nowhere, or they have no relation to the main story and just seem to be there to eat away screen time. Avoid these types of subplots and make sure that all roads point back to the hero.
In The Middle of Things
As I said before, the Middle is the longest part of any story. It can be almost an hour of what you see on the screen (and if it’s a long movie, even more). At the halfway point, there’s something known as the Mid-Point Sequence. The outcome affects what the hero does moving forward.
This is a big moment for the hero. After everything they’ve been through and worked through, things seem to be going their way for the most part. They still haven’t reached their goal, but now they are getting a better idea of how to get there.
This is also known as The Point of No Return. Once we get past the Mid-Point of the Middle, it’s now only a matter of time before the protagonist has to confront their antagonist head-on (literally or figuratively).
In Legally Blonde, the Mid-Point of the Middle comes when Elle gets chosen Callahan’s law internship. This is a big moment for Elle since she has been working to prove herself a viable Harvard law school student and future lawyer. Worth noting is that her antagonist, Warner, was also chosen along with his fiancée, Vivian (Selma Blair). I mention Vivian since she is an extension of the antagonist, and therefore can cause problems and issues for Elle on his behalf.
The sequence then leads to Elle, Warner, and Vivian arriving at the internship and finding out about the case they will be assisting on.
Elle is at the Point of No Return. She can’t back out now, and she can’t allow herself to fail without a fight.
Check out the clip below:
In two weeks, we’ll explore the second half of the Middle as we charge toward the End and the Climax of the story!
Most commercial films, TV series, and novels can be boiled down to one simple formula:
Hero + Goal + Opposition = Conflict, which = Drama
Let’s break this down into its respective parts.
The HERO, Heroine, or Protagonist is the main character we follow over the course of the story. Their hopes, dreams, fears, wants, needs, and desires become ours as we vicariously follow them throughout the narrative. They are the character with which the writer wants us to identify with, empathize or sympathize with. They become our avatar, giving us a role within the story through their eyes and experiences.
Now, that main character wants something. They need something. They are after something. And that something (the GOAL) is what sets things in motion for the character, and in turn creates a series of events that the character must experience and surpass in order to reach the intended goal.
What’s preventing the HERO from achieving their GOAL? It’s an obstacle, a unyielding force, and foe, a villain, an antagonist…OPPOSITION. Someone or something is causing them problems on their way to reaching their intended goal. And while there may be a main antagonist for the protagonist to face and defeat, the antagonist will definitely throw plenty of obstacles and other issues the protagonist’s way as they attempt to achieve their goal.
And if you and a protagonist after something and someone or something trying to prevent them from reaching said goal, you will create CONFLICT. It is through conflict that stories create DRAMA. All of these elements are important in order to drive the action and events forward in your story, to create suspense, to create tension, and to give your audience a desire to see what happens next.
Pick a mainstream film genre and this formula fits. Superhero? Yep. Action? Definitely. Sci-fi? You bet. Romantic-Comedy? Uh-huh. Western? Yup.
I’ll use a recent blockbuster as an example: Avengers: Infinity War. (SPOILER ALERT!)
Screenwriters Christopher Markus and Stephen McFeely talked about in an article that Thanos was the true hero of the film. Having that information, and knowing the basic story of the film, we can plug in the following variables:
HERO (Thanos) + GOAL (retrieve all six Infinity Stones to implement final plan) + OPPOSITION (The Avengers and The Guardians of the Galaxy) = CONFLICT (plenty of teams of superheroes trying to stop Thanos from getting all the stones), which = DRAMA (plenty of dramatic and tragic moments befall everyone as Thanos moves toward his goal)
We are following Thanos on his journey. It’s his character arc that is center stage, and therefore he is the main character of Avengers: Infinity War. And, as the screenwriters state: “This is the hero’s journey for Thanos,” McFeely explained. “By the end of the hero’s journey, our main character, our protagonist — at least, in this case — gets what he wants.”
So, as you begin to construct your story, try and plug in these basic elements first as a foundation to build on. Hey, if it works for a film that made $2,046,626,158 worldwide, it’s a safe bet it’s a tried and true formula for creating a strong story.