(I’m not sure what happened with the scheduling of this post, but I apologize for the delay and for the fact that it’ll be two today with another one this afternoon.)
If you’ve been following, you’re totally bored with the following:
If you’ve just arrived, I’m doing this series explaining the story blueprint I use. I’ve got a link to the file on my download page–see tab above. Click here for Part 1.
But now it’s over and we can move on to our focus today:
Step 5: Main Plot Points
- What is the Second Plot Point?
- How does the SPP event or sequence of events force the main character into the climax of the story?
- What is the First Plot Point? What is the event or sequence of events that brings the characters into the story world?
- What is the Midpoint of the story?
- How does the MP change everything? How does it put your characters into attack mode?
That’s it. I’m just asking you to come up with 3 things today. But they’re really important things.
This all comes out of a brilliant series of articles on Story Structure by author, Larry Brooks. Click here for Part 1. Read the whole series, then buy his book on the subject and read some more. If you want to know how to make a series of unfortunate events that makes a story, rather than a pile of them that makes a mess of dreck, reading Larry is great place to start.
Ok, so there’s no sense in me repeating everything I just linked to. So to boil down what you need to know for this part, I’ll explain that we’re talking about a classic 3-Act structure, in which the middle act is broken down into two parts, separated by the midpoint. Because that’s awkward to talk about, for now until the end of time, we’ll be talking about the story in terms of 4 parts. These parts will be separated by 3 key plot points. So the story goes like this:
- Part 1
- First Plot Point (FPP)
- Part 2
- Midpoint (MP)
- Part 3
- Second Plot Point (SPP)
- Part 4
Now, especially since these are out of order, you’ll probably have a much easier time understanding what I’m asking of you if you go read through the Storyfix series and come back. But I’ll do my best to explain what these things are and include.
Part 1 is the setup of your story. While it will have a something that hooks the reader, things will happen in there that are important, etc, the story hasn’t actually started in part 1. Grasping this, by the way, has been huge for me. In part 1 you’ll need to be introducing most or all of your characters. You’re giving us a sense of where your protagonist is, both in terms of place and place in the world. What is his life like now, before everything changes? What does he need? What does he want? What does he have to lose?
Did I mention that everything changes? That’s your FPP, and it’s the most important moment in the story. This is the thing that pulls your character from where he is and sets him on the path toward his destiny (which is the story’s end). And it’s probably going to be something your character is reluctant to do because, hey, scary, plus there are probably things in his life he doesn’t want to risk. But whatever happens at the FPP is such that he MUST move forward into the story world.
After the FPP, your hero and your story move into Part 2 in which your hero makes an effort but…let’s face it: if he were man enough to take this on, the story would be over. He’s got a lot of work to do. There are some different ways to approach part 2, as failed attempts to deal with the problem, as avoidance, as gathering a team to combat the problem or focusing on training…
Part 2 ends at the MP. And this is a big turning point in your story. There’s something that happens here that puts a different spin on things, shows everything in a new light, changes everything again. Again, endless options and you’ll want to go and read more about midpoint elsewhere. But it’s something that really changes things for your character and puts him into attack mode.
Because that’s what part 3 is about. Your hero really stepping up his game and approaching this problem with a new outlook or commitment or whatever.
Part 3 ends with the SPP. The Second Plot Point is the thing that sets the wheels in motion for the sequence of events that lead to the climax. Sometimes it’s the last piece of the puzzle falling to place. That bit of information the hero was lacking to really go after the villain, whether that’s knowing the villain’s location, discovering his weakness, or the hero finally getting the right size gear to finish his giant mecha warrior robot beast. I don’t know. You figure it out.
I do this backward because, like I talked about in the last post, I need to know that where I started is going to get me to where I’m going in an effective way. I probably either know the FPP or have a good idea of what kind of FPP I need. So I focus on the SPP first, trying to figure out what kind of scene I will need to plunge these characters into the series of scenes that leads to and makes up my climax. From there I can sort of refine whatever idea I had about the FPP to give me a starting point. Then I can work on the MP and try to figure out how things escalate, what big deal will happen in the middle, and how it will change my characters.
The order in which you choose to do this doesn’t really matter. I think it’s really something you work on all at once and keep refining as you work deeper into the story.
If, after reading the Story Structure Series over at Storyfix, you still feel a little unsure of how that works and need more examples, poke around at the site some more. Larry’s also been doing deconstructions of movies as examples of how the structure works and how to recognize the main points. (Then get his book and read it.)
By now you’re getting a good, solid idea about what your story is and how it’s going to play out. You might want to take a little time to let that marinate. Meantime, since you know what it’s about enough to talk about it now, we’re going to go on to some Pitch and Blurb stuff next time.