Writing Tip of the Week: Story Structure – The Middle, Part One

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 WarriorWipeout, 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.  

Ch-Ch-Ch-Changes

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.

Staying Focused

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!  

Happy writing!

Check out the articles on The Beginning, here:

Writing Tip of the Week – Story Structure: The Beginning, Part One

Every story has a starting point, a place where the writer has decided to begin the story and launch the characters into an adventure that differs from the day-to-day normalcy of their lives.  Over the next few weeks, we’ll explore the different aspects of the Beginning, Middle, and End of a story and what components go into each.

Let’s get started.

Where Are We?  Location, Location, Location.

The opening chapter or scene sets the stage for what’s to come.  Give us the location, the time period, and the current circumstances.  Is this a contemporary story?  Are we in Victorian England?  In a galaxy far, far away?  Give the reader descriptors that help orient them into the world of the story.  Your characters occupy a specific space at a particular time.  The beginning is where to establish these things and make sure the reader has a clear understanding.

Read the first chapter of a few novels and see how those authors establish location and time while also moving the story forward.

Who Are We With? Who’s the Story About?

Whose journey are we following?  Knowing your main character and who they are before the Inciting Incident is a key factor to ensure you know how they will react and actively pursue their goals when the new events begin to unfold.  What’s their name?  Their profession?  What relationships do they have?  What conflicts do they have in their lives?  What’s their personality?  

In his book, The Story Solution, Eric Edson lays out nine “personality traits and story circumstances that create character sympathy for an audience” (Edson 14).  These don’t all have to be used, but they are a great way to help your reader/viewer connect with your main character at the beginning of your story:

•          Courage – “brave people take action, and only action can drive the plot forward.” (15)

•          An Unfair Injury – placing your “character in a situation where blatant injustice is inflicted upon her…[it] puts the hero in a position where [they’re] compelled to DO something, take action in order to right a wrong.” (16-17)

•          Skill – “It doesn’t matter what your hero’s field of endeavor might be as long as [they’re] an expert at it.” (17)

•          Funny – “if you can bestow upon your hero a robust and playful sense of humor, do it.” (19)

•          Just Plain Nice – “We can easily care about kind, decent, helpful, honest folks, and we admire people who treat others well.” (19)

•          In Danger – “If when we first meet the hero [they’re] already in a situation of real danger, it grabs out attention right away.” (20)

•          Loved by Friends and Family – If we see that “the hero is already loved by other people, it gives us immediate permission to care about them, too.” (21)

•          Hard Working – “People who work hard have create the rising energy to drive a story forward.” (21)

•          Obsessed – “Obsession keeps brave, skilled, hard-working heroes focused on a single goal, which is enormously important to any story.” (21)

These are just a few points from the book, which I highly recommend. You can pick up a copy at the link below:

Active or Passive Protagonist?

In modern commercial fiction, the protagonist is almost always active.  This means that when things happen, they react and actively pursue a goal.  Mando in The Mandalorian is actively working to keep Grogu (aka Baby Yoda) safe from those who wish to harm him.  Mando’s inciting incident was meeting Grogu; he now has an active goal to protect him.  His actions move the story in a new direction.

Katniss in The Hunger Games actively volunteers her life to save her sister’s during the Hunger Games lottery.  She is actively involved in the decision that launches the story in a new direction.

A passive protagonist just allows things to happen around them, or they don’t do enough to try and fix what’s happening.  Even in disaster movies where the elements are out of the hero’s hands, they still are active in their attempts to save their own lives and the lives of others.  When you watch TwisterDante’s PeakSan Andreas, or Volcano, notice that while what’s happening is out of the main characters’ control, they are still actively pursuing a goal: survival.

What actions can your protagonist take to try and resolve their newfound issues?  What is their active goal, and what steps will they take to reach it?  They can try and fail, but they should be active in their attempts.

Is It Really “The Beginning”?

A story begins at a point that shows the reader/viewer the protagonist in their normal element.  We, as an audience, have to assume that this character existed before this story. We are about to see a series of events markedly different and far more interesting than a typical day in their life. 

You want to give your readers a glimpse of this world before things begin to change and move the protagonist into a new direction that they didn’t see coming.  We need to know who they are before this story starts so we can witness how the events of the story impact and change their lives by the end.

A character’s story is on a continuum.  What we are writing about and what the reader/viewer is experiencing is something out of the ordinary.  Steve Rogers (Captain America: The First Avenger), Elle Woods (Legally Blonde), and Mando (The Mandalorian) all were just doing their normal thing until a new set of circumstances took them to a new level of existence, which is…

What Starts the Journey? The Inciting Incident.

Things are pretty normal for your main character.  They’re just living their life as always when suddenly…something big happens to alter their life for the better or worse.  This is the Inciting Incident, the moment where the protagonist has to begin making choices that will launch them and us into a new storyline apart from what they are familiar with.

Your main character could be all set to go into the boss’s office to get a promotion and get fired instead.  Your main character could find out something devastating about their family that requires them to act and discover the truth.  It can be anything that jolts the main character out of their normal life and takes them on a new path.

Brainstorm some ways a character’s ordinary world can suddenly change and how your character would react to new information and their potential paths forward.

Homework

Now that you have the basics about the Beginning of a story, watch the first 15 minutes of a few movies or read the first few chapters of some novels and see how events, characters, and Inciting Incidents are introduced.  How does the main character react when something new happens?  What’s the first thing they do?  How do their actions at that moment propel the story forward?  What traits from Edson’s book are present in the main character when we first meet them?

Happy Writing, Reading and Viewing, and I’ll see you next week with more on story beginnings.

Don’t be Afraid to Give Your Protagonist Negative Traits and Flaws

I recently came across this clip of Daisy Ridley being interviewed about her character Rey in the latest Star Wars trilogy, and her perspective piqued my interest.  Have a look:

As a writer, I respectfully disagree with Ridley’s view on characters not needing flaws or faults and her perspective that Rey doesn’t have any.  Why are character flaws and negative traits important even in a protagonist?  Let’s talk about it.

Flaws and imperfections give a character depth and dimension.  They humanize the character and create empathy or sympathy between the reader/viewer and the character.  Flaws give the character something to overcome or cope with as they work through the narrative.  

Just like in real life, there are external events we have to deal with, and at the same time, we have to work through any internal issues we may be facing.  Sometimes the two can conflict, which can be frustrating in real life but makes excellent story material.

A perfect character is a BORING character.  You want your characters to feel relatable, and negative traits are a great way to do that.  This doesn’t mean they have to be evil or do illegal things.  There is a wide range of emotions, traits, and flaws you can give a character that will help your reader see them as a person and not just a vessel through which a story is being told.

Think of some of your own personal traits that might be seen as unfavorable or even your own flaws.  Do they make you a bad person?  Probably not.  How do you cope with them?  How do you work through them daily?  By incorporating internal struggles and flaws, you can add dimension to your characters. 

Think of your favorite film, TV series, or book characters.  Are they perfect?  Probably not.  Do they have flaws?  More than likely, a lot of them.  But even with these faults, flaws, and struggles, we identify with them, root for them, empathize with them and watch the character evolve as the story unfolds.

You know, that whole character arc thing.  Pretty important.

Daisy Ridley’s proclamation that Rey has no flaws starts with the writing.  If J.J. Abrams and Rian Johnson created a flawless character for Ridley to play, that’s an error in judgment on their part, not Ridley’s.  She’s merely performing what’s on the page and interpreting it based on what the director – and Disney – wants.  

Rey should have flaws, doubts, imperfections, and negative traits.  It doesn’t make her a bad person; it doesn’t make her less likable.  It HUMANIZES her, giving the audience someone to follow and root for.  

These issues enable the character to have an arc, to strive toward being better as they traverse the obstacles thrown at them by the story.  If you listen to the clip, Ridley lists several things that she feels people can overcome – “anger and jealousy” – and she’s right.  They can.  That’s called personal growth in real life.  Or a character arc in a story.  

Just like the characters in the original Star Wars trilogy.

If you look at the original trilogy, Luke, Leia, Han, and even Darth Vader all have negative traits and flaws, but they overcome them throughout the trilogy.  We watch, and we have a vested interest in who they are and what will happen to them.  Is it because they’re perfect, flawless humans?  Quite the opposite.

So, as you create characters for your stories, remember that it’s okay to have them possess negative traits and have flaws.  This gives them something to work on, something for the audience to identify with, and presents the reader/viewer with a dimensional character worth their time.

Apologies for the late post. I will be back to the earlier post time next Sunday!

Keeping Your Characters Off-Balance

Should your main characters ever feel comfortable?  Should they ever feel like everything is okay and their life is going just fine?  Of course, the answer to these questions – especially when dealing with fictional characters – is an emphatic NO.  Over the course of the story, it is your job as a writer to keep them as off-balance as possible.

In the real world, we often have a strong desire for balance and calm in our daily lives.  Too much stress or anxiety can take its toll on the human mind, body, and spirit, so we often escape to places where we can refresh and recharge.  With fictional characters, this sense of calm should be a constant struggle to obtain.  It not only can make them more in-depth as characters, it can also make for a better story.

The old adage is that Conflict = Drama.  And drama is what drives the story forward.  Like most writers, I tend to want to protect my main characters from harm.  But in doing so you do a great disservice to your characters and your readers.  Putting your characters in harm’s way, giving them impossible situations to get out of, and relentlessly giving them obstacles to overcome makes for a better story and can help strengthen and add dimension to your characters.

This is where the concept of the Character Arc comes into play.  Your characters should evolve and change over the course of the story, and keeping them off-balance and having to find ways to try and resolve their problems helps them grow as characters.  Don’t forget that your main character should go through some sort of change or metamorphosis over the course of the story.

Granted, you want to give the reader a sense of what is a normal day for your characters before the inciting incident turns their world upside down.  That’s fine.  It’s what Joseph Campbell refers to as The Ordinary World.  But once that Ordinary World is thrown off, it’s time to take your characters on a very bumpy ride. 

Your main character’s primary goal – aside from the goals your set forth for them once the story gets underway – is to return to their normal as fast as possible.  Don’t let them get there.  And even once the goal of the story has been achieved and their world seems to be back to normal, the journey they have taken over the course of the story has forever changed them ion some significant way.

They can never return to the Old Normal they had before the story began.  And that’s a good thing.  They have grown as a character.  They have overcome seemingly insurmountable obstacles.  And they have come out the other side a stronger, more realized person because of their journey.

It is often during times of great stress or trauma that real people show their true colors.  It is your job as a writer to create these types of situations for your characters to keep them off-balance.  It doesn’t have to be a life-threatening event, but it should be something that will forever change them for the better…or worse.

What do you think?  Leave a comment and let me know.

Also check out my article: “Don’t Be Afraid to Rough-Up Your Protagonist.”

Make Every Character Count

When creating characters for a story, whether it’s a novel, short story, screenplay, play, etc., remember that every character you introduce must serve a purpose in the story.  It’s pointless and a waste of time for you and your audience to have to deal with characters that have no reason for existing within the context of the story being presented.

Yes, there are different types of characters in a story that serves a multitude of purposes.  But even Henchman #3 has a reason to be in the story. If he’s just there doing nothing and has no purpose in fighting the main character or helping to escalate the obstacles for the main character than they should be removed ASAP.

Your main character is surrounded by supporting characters.  Those characters exist to help the main character, to support the main character, to give exposition and context to the main character and their world. They, in essence, ground the main character in the reality of the story. 

The antagonist exists to upend the world of the main character, and the characters associated with them are there to cause chaos for the protagonist as well.  They serve a purpose in the story: to help drive the action and conflict of the narrative and create obstacles for the main character.

Utility characters are those that the main character interacts with that often help the main character in some basic way: a cab driver; a cop; a barista; a witness who heard something.  They help propel the story forward but they aren’t integral to the main character’s overall growth over the course of the narrative.  On TV shows, these are also usually the random characters that pop up in an episode only to be killed off so the main cast can stay in-tact.

If you are taking the time to create and write about a character, they must serve a purpose that serves the main character on their journey.  Don’t spend hours creating a random character who appears in one chapter who is fascinating and clever, only for them to never be seen again.  If this does happen when you’re writing, maybe save that character for another story or integrate them more into what you’ve written.

It’s okay to have crowd of people in a story, but don’t get too focused in on who they are as individuals unless the ones you select to describe more have a purpose later on.  For example, if you have a group of protesters, you can give us an idea of what they look like and what they are doing/protesting, but naming them and giving them backstories is only worth your time and the audience’s time if we will see those particular characters later.

The most important characters are your main character and the antagonist.  Everyone else exists to serve them or oppose them over the course of the story.

How do you make sure you are keeping your story focused and on track?  We’ll talk about that topic on Monday!

A Closer Look: Antagonists, Part Three

As writers, much like actors, we are given the unique opportunity to live as many different lives as we can imagine and create.  It’s a power that enables us to explore new lands, create jaw-dropping scenarios, and live vicariously through the senses of those whom we could never be in real life.

And that’s why as a writer you should embrace your antagonist 100%.

This is your chance to live in the skin of someone who can do and say things you wouldn’t do and say.  This is your chance to cause chaos and in a peaceful world.  This is your chance to disrupt your main character’s normal life and give them a reason to fight for their return to normalcy. 

Think about your favorite movie, TV, or book antagonists. Someone had to create them, and someone definitely had fun writing them.  This is your chance to have the same level of fun.  It doesn’t mean that you have to agree with or condone the character’s actions, but you can explore what it would be like to engage in those actions and see the resulting chaos that ensues.

This is why it’s important to enjoy what you write and enjoy the characters that you write. 

In that rough draft, don’t be afraid to “go there” with your characters.  You can make your antagonist as heartless, as nasty, as evil, and as morally reprehensible as you want.  Then, if you feel it’s too much, scale it back when you revise the story.  Never edit or second-guess yourself as you write a rough draft. 

Allow your creative mind to take that journey into darkness with your antagonist.

In doing this, you will help mold and shape a stronger force for your main character to challenge and battle as the climax of the story nears.  You want your audience to believe that the main character has truly met their match, and that there may be no way to defeat this opposing force no matter how strong the protagonist appears to be. 

Give us a reason to doubt that the protagonist will win in the end.  This creates a sense of tension and suspense in the audience’s mind, which draws them even deeper into the story.

Whether it’s a story about a pie baking contest or one with world-ending stakes, the main character needs a strong, dimensional, and intriguing antagonist to compete against in order to create strong conflict and dramatic tension. 

Embrace your antagonist as much as you do your protagonist and your story will be all the better for it.

A Closer Look: Antagonists, Part Two

Should you like your antagonist?  Short answer: Yes.  Now, this doesn’t mean that you have to agree with their actions, their ideas, or their lack of moral clarity, but as a writer you need to be able to live inside the character’s head and give their actions as much meaning and importance as the main character. 

Another reason to like your antagonist: you will be living with them for a while, especially if you are writing a script or novel, so you have to be able to “work with them” in order to create an effective story. If you have created a character that you find so morally repugnant and repulsive that you can’t write scenes or chapters with them, then maybe it’s time to change the character or scale back what you don’t like about them. 

If they are in your story, they deserve your time and attention. 

Also remember that the antagonist feels that they are in the right on their side of the story.  They feel that what they are doing is necessary and just as important as whatever the main character is up to.  If they didn’t feel this way they wouldn’t be so strongly opposed to the main character getting what they want. 

All stories are a matter of perspective.

And while you have created a compelling and dimensional main character for us to follow over the course of the story, your antagonist should also be compelling and dimensional.  When you begin to develop this character, ask yourself:

  • What was their life like before the story began? 
  • How did they get to this point in their life?
  • What motivates them?  What are their hopes, dreams, fears, likes and dislikes, etc.?
  • What do they want in the story, and why?
  • Why do they oppose the main character’s goal?
  • What happens if the antagonist doesn’t achieve their goal?

Using these questions as a starting point, you can start to create a more realized and fully formed antagonist for your main character to deal with.  There is always a story behind why a character has evolved into who they are at this point in time when your story begins.  It’s your job as a writer to understand that story and use it to create a stronger antagonist.

On Friday we will continue or exploration of antagonists.

A Closer Look: Antagonists, Part One

Antagonists.  At the very base level they are the character that prevents your main character from reaching their desired target, which results in the dramatic conflict the propels the protagonist – and in turn, the story – forward.  It is for this reason that this character needs to be given some attention by you, the writer, in order to make sure that your main character doesn’t have an easy time achieving their intended goal.

At the root of the word, “antagonist,” is the word “antagonize,” and the dictionary definition of this root word is: “to incur or provoke the hostility of,” or “to act in opposition to.”  Either one of these works in describing the main reason for his opposing character’s existence in your story.  They are there to initiate the change that turns your main character’s world upside down. 

This doesn’t mean that this character has to be some egomaniacal supervillain, especially if you are writing a real-world story.  It just means that this particular person’s actions must be contrary to your main character’s in order for there to be conflict throughout your narrative. 

When you begin to dig deeper into your antagonist, I would suggest using the basic formula presented a couple posts ago, but placing the antagonist in the “hero” spot.  What does your antagonist want?  What is their goal in the story?  Why does the main character oppose what they are doing and what their goal is? 

By giving depth and dimension to your antagonist, you can make them and their goals feel more real to the audience.  Yes, we are supposed to be rooting for the main character, but you as a writer need to get inside the opposition’s head and find out what makes them tick, makes them want what they want, and who they were before the story began.

I feel it’s a cop-out to spend tons of time on your main character and then just toss in an opposing force that is one-dimensional with no real development as a character.  Even if you don’t dig into the antagonist’s backstory in the narrative, you still need to know for yourself why they are how and they are and why they are doing what they are doing.

Wednesday, we will continue this conversation as we explore more about developing a strong antagonist for your story.

A Closer Look: Story Antagonists

Starting this Monday, we will explore the exciting and complex world of story antagonists.  No matter what you call them in your story, they are the primary character in opposition to your main character; the one ultimately preventing your protagonist from achieving their goal.  

Until then, who or what is your favorite fictional antagonist and why?  Leave a comment and let me know.  I look forward to your responses.  

Have a great weekend!

The Basic Story Formula: An Effective Template

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.