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

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.

Happy writing, and I’ll see you in two weeks!

Check out Part One of The Middle below:

Writing Tip of the Week: The Importance of Conflict in Your Story

People generally do all they can to avoid Conflict in their everyday lives. We will often go to great lengths to stay out of situations that make us uncomfortable, make us confront an issue, or even deal with someone who makes us feel anything but peaceful. For the most part, humans prefer a sense of neutrality.

But not in fiction.  

Fiction requires Conflict as an essential ingredient to make a narrative move forward. There has to be something or someone driving the protagonist to act; to get them out of their neutral state and make them work toward a goal that looks impossible to achieve on the surface.

Let’s explore a little about Conflict and its role in fiction.

Conflict = Dramatic Tension

Your protagonist wants something. Another character wants something else. Only one of them can get what they want in the scene or chapter. And so, this Conflict creates Dramatic Tension between the two characters, and – hopefully – the Conflict and dramatic tension pique the audiences’ interest. Who will get what they want? How will they negotiate to get what they want? What are they willing to do or say to achieve their goal?  

Watch any film or TV show, and you will see this played out on either a small or a larger level. If you watch Law & Order: Special Victims Unit – or most procedurals – you can see this play out in almost every scene. There is a conflict between the detectives over how to interrogate a suspect. There’s Conflict between the suspect and the detectives interrogating them. There’s Conflict while a witness is being questioned. All of which creates Dramatic Tension and leaves the audience curious and wanting more.

Comedy is also rife with Conflict. Yes, Dramatic Tension does exist in sitcoms and comedy movies as well. It’s what helps keep the story moving forward and the audience engaged. On I Love Lucy, Lucy Ricardo wants to be in a TV commercial. Her husband, Ricky, says she can’t do it. A Conflict between the two characters has now been created. It then evolves into Dramatic Tension, which in this case is played for laughs.

Conflict Isn’t Always Good vs. Evil

When we picture Conflict, we think of Batman vs. The Joker or some other large-scale epic showdown between good and evil. But that is not the case. While this is a clear-cut example, conflicts are often between best friends, or kids and parents, or employees and employers.  

Maybe the characters just have a minor disagreement about how to punish their child for their bad behavior. Perhaps it’s a conflict between and father and son over what type of first job the son should apply for. Small conflicts between characters that aren’t an explosive battle of wills destroying Gotham City can be just as impactful, just as exciting, and just as engaging.

Conflict Should Be Organic

The source of the Conflict that occurs should have sense and logic to it within the story you are telling. Have you ever watched an action movie where a car chase or bar fight just happens for no reason? If there’s no reason for the Conflict to arise, it feels forced and out of place.

All characters want or need something. When your characters each want something different, a conflict is formed. In Avengers: Infinity War, Thanos wants the Infinity Stones to achieve his goal. The Avengers have an opposing goal: stop Thanos from acquiring the Infinity Stones. It’s a basic conflict, but it makes sense and is logical within the confines of the story being told.

There should be a reason for Conflict to exist at that moment in the story. If there’s no conflict present, figure out why and what’s causing a lack of Conflict between the characters involved. At the same time, don’t force Conflict to happen. If you cut the scene or chapter, would it impact the story?  

Conflict Ups the Stakes for the Protagonist

Imagine a story where nothing goes wrong for the protagonist. No matter what, everything goes right. Now, take that same character on her way to a big job interview, when someone runs into her, shoves a device in her hand, and seconds later, the office building she was headed to explodes and collapses. As she comes back to the reality of the chaos around her, she discovers there’s a detonator in her hand. Her fingerprints are all over it. Someone notices the device in her hand and calls out. Panicked, she gets up and runs.

She’s now wrongly accused of blowing up a building that she was headed to, with her fingerprints on the detonator and people screaming that she caused the explosion.

Talk about Conflict and Upping the Stakes!

While this is an extreme example, giving the protagonist a – even to them – life and death situation to deal with gives them motivation to achieve a goal despite the odds. Katniss in The Hunger Games ups the stakes on herself when she volunteers to take her sister’s place in the games. The stakes continue to mount as the games continue, and she must do all she can to survive—plenty of Conflict.

In Legally Blonde, Elle Woods wants to go to Harvard Law School. Based on what we know about Elle at this point in the film, even we think she’s creating stakes that seem impossible.  

Both The Hunger Games and Legally Blonde show us two strong protagonists actively putting themselves into situations where the stakes could not be higher for either one of them. The stakes up the Conflict, which increases the Dramatic Tension, which keeps the audience engaged.

Internal and External Conflict

Characters can have inner conflicts, wants, needs, desires, and motivations. These can help add dimension to a character and help lead to their growth and arc through the narrative.  

External conflicts are opposing forces outside the inner life of the character.  

In Lethal Weapon (1987), Sergeant Martin Riggs is depressed and suicidal (Internal Conflict) after the death of his wife (External Conflict). His new partner, Sergeant Roger Murtaugh, is melancholy about his age and retiring from the LAPD (Internal Conflict). He is not very happy to be saddled with a new partner who’s a live wire (External Conflict). Two characters with conflicting internal and external conflicts then have to face a conflict even larger than them. No wonder the movie was such a hit!

Giving your characters Internal Conflicts that must be dealt with during their External Conflicts is an excellent way to up the Stakes and add to the overall Dramatic Tension.

Creating Conflict between characters in your writing is a fun way to see how your protagonist and others respond to someone entering their space and destabilizing the neutral world they – like all of us in the real world – so desperately desire. Take a few of your characters and write a couple pages of Conflict between them and see if you discover anything new about them.

And, the next time you watch a movie, a TV show, or read a novel, observe what the Conflict is in each scene, what the stakes are, and how those conflicts and stakes lead to the dramatic tension in both the scene and the narrative as a whole.  

Happy writing, and I’ll see you next week!