More Lessons from Screenwriting to Help Your Novel's Plot

In previous blog posts I’ve written about how an understanding of screenplay story-telling structure can help you structure your novel’s plot.. so as to avoid it being meandering or almost plotless. Even with a decent plot, this understanding can help you raise the stakes and the satisfaction for your reading audience.

 

I have discussed the Inciting Incident (which happens fairly early and gets the story/plot rolling), and I have discussed Midpoint (a visual moment in the film/novel that shows character growth).

 

In this post, I want to discuss the idea of what in an academic screenwriting setting is called Plot Point II. In a movie, this happens at the end of the second act/beginning of the third act… so in a two-hour movie about 90 minutes into the movie. In your novel? Probably right around 75% of the way in.

 

Now, remember, for a relatively new form of story-telling (movie-making), screenwriting reaches way back to Aristotle’s understanding of dramatic story-telling for its structure. (And, don’t quote me, but I’ve heard that he was a pretty smart fella).

 

Really, before any of this, you need to really know your character’s goal. In screenwriting theory that’s often called the MDQ or the Major Dramatic Question. It’s a simple yes or no question that doesn’t really deal with all of the subplots or themes or subtle growth. The MDQ is answered by the events associated with the climax. It’s answer again is yes or no… it’s not debatable.

 

For instance, in the 1977 Star Wars, the MDQ would be, “Will Luke blow up the Death Star?”

 

For your novel, the question might be: “Does Susan find her missing son?” or “Do they escape the lair of the vampire with their lives?” Notice, these are yes or no questions.

 

Well, here’s where Plot Point II comes in, which is either a major setback for the protagonist (the M.C.) or a major victory for the Antagonist. It’s something that makes it look like it will be nearly impossible for the MDQ to be answered “yes”… (if yes to that answer is indeed a major goal for your character.)

 

In the above examples… the private eye Susan hired, and who has been making some headway in the search for her son, is unexpectedly killed. Or, in the second scenario, a character that the group was relying on and who was leading them out of the vampire’s lair falls into a pit and shatters both of his legs.

 

Yes, Plot Point II is usually pretty bad. It should be the worst thing that’s happened to your character… especially on their quest to meet their goals.

 

Notice how Plot Point 2 puts more pressure on the M.C. to find the strength within themselves to accomplish the goal. Susan must carry on in her quest without the P.I.’s help. She has to take what she’s learned by his approach and clues he’s assembled to find her son on her own. In the vampire story, the group must carry on without their leader… and here your M.C. finds the strength within to begin leading the group.

 

This is satisfying for the audience. Rather than seeing some outside force (send in the cavalry!) come and save the day, instead they revel in your character’s story arc. They get to see the character grow into the hero that’s been hinted at throughout the book. Characters change and grow and succeed, but these things should come from within.

 

Look at Star Wars again. What’s Plot Point II? Well, it’s when Darth Vader strikes down Obi Wan Kenobi (in front of everyone!). It’s a blow! Luke has lost his mentor in the Force. Early in the movie, via hologram, Princess Leia even says, “Help me Obi Wan Kenobi. You’re my only hope.”

 

 

And now, hope is lost! How do they possibly succeed? How can they destroy the Death Star without the guidance and skill of one of the few remaining Jedi? Well, unknown to them, there is a “new hope” in Luke. And, Luke’s been showing himself to be a pretty skilled pilot and some natural ability with the Force, especially in his Midpoint scene (swinging across the chasm and rescuing the Princess).

 

And, of course, like Obi Wan promised Darth, if he was struck down, he would only come back stronger… and he does in the form of a guiding voice in Luke’s head. But it is still Luke who saves the day.

 

Think about your own novel’s plot. Do you have a clear goal for the M.C. (and MDQ?). Okay, what’s going to be a major setback to the M.C. accomplishing that goal that will happen about ¾ of the way through your book?

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