PianoPlayerPeter
New member
- May 4, 2025
- 10
- 5
@authoraaronryan recently asked a question about whether anyone else makes "Book Trailers," which got me thinking. I knew what he meant, but the purist in me was picturing a trailer full of his newly-published books that he would sell as he went from market to market. It might sound like a comic image, but there is a point to it. I subscribed to his Youtube Channel, by the way, and though we don't trust Google-YouTube, I encourage you to as well if you are unfortunate enough to have a "Toobs Of Ewe" account as I do.
Why on earth would one need a video commercial for a novel? The answer is simple and painful; nobody reads books anymore. The fact is, most literary and film works today simply aren't worth watching. We see most of them and we're angry that our precious time and money has been wasted.
And yet, if we write a truly great story, word of mouth will sell the story for us. The sad reality is that most of what we - meaning humanity in general, both Christian and Secular - write just doesn't pass the bar of what is worth other people's time. At the end of the day, what we need to do is write cinema-worthy stories. Because the truth is, video production done correctly is hard. Anybody can smash a bunch of stock footage together vaguely related to a story concept - but that's what the 24-hour Fake News Cycle does every day, and it hasn't fared well for Cable TV.
In an effort to help you get on better story footing, I wanted to provide just a handful of the resources I sometimes use myself to construct a story. These are not original resources; they're just some of the freely-available notes compiled from a wide variety of sources that help me keep my writing on track. However in an effort to help you create a more perfect story, here's to them helping you create something that audiences will definitely feel was worth the read - or the watch. Keep in mind that these are not intended to be constraints for your writing, but a guide to make sure that if you feel something isn't working, you might be able to better diagnose what the missing element might be. As a disclaimer, these guides come via various internet sources and all deal with the realm of story design and plot structure.
As an aside, we can debate whether Joseph Campbell and the Bible can exist in the same universe of Story Theory and Philosophy; however if you watch any Christian movie at all, you'll notice even they work because they fit neatly into a kind of Hero's Journey paradigm, as do most Christian novels which become adapted into films. So perhaps, just perhaps, there's something in it.
If you're more of an audio-visual learner, start here. Again, all story theory ideas are the properties of their respective authors, and I did not principally author any of this content freely available online.
Hero’s Journey: Departure, Initiation, Return
CHRISTOPHER VOGLER’S VERSION OF HERO’S JOURNEY
The Ordinary World. The hero’s everyday life is established.
The Call of Adventure. Otherwise known as the inciting incident.
Refusal of the Call. For a moment, the hero is reluctant to take on the challenge.
Meeting the Mentor. Our hero meets someone who prepares them for what lies ahead — perhaps a parental figure, a teacher, a wizard, or a wise hermit.
Crossing the First Threshold. The hero steps out of their comfort zone and enters a ‘new world.’
Tests, Allies, Enemies. Our protagonist faces new challenges — and maybe picks up some new friends. Think of Dorothy on the Yellow Brick Road.
Approach to the Inmost Cave. The hero gets close to their goal. Luke Skywalker reaches the Death Star.
The Ordeal. The hero meets (and overcomes) their greatest challenge yet.
Reward (Seizing the Sword). The hero obtains something important they were after, and victory is in sight.
The Road Back. The hero realizes that achieving their goal is not the final hurdle. In fact, ‘seizing the sword’ may have made things worse for them.
Resurrection. The hero faces their final challenge — a climactic test that hinges on everything they’ve learned over their journey.
Return with the Elixir. Having triumphed, our protagonist returns to their old life. Dorothy returns to Kansas; Iron Man holds a press conference to blow his own trumpet.
A character is in a zone of comfort... This is the establishment of the status quo.
But they want something... This 'want' could be something long-standing and brought to the fore by an inciting incident.
They enter an unfamiliar situation... The protagonist must do something new in their pursuit of the thing they want.
Adapt to it... Faced with some challenges, they struggle then begin to succeed.
Get what they wanted... Usually a false victory.
Pay a heavy price for it... They realize that what they 'wanted' wasn't what they 'needed'.
Then return to their familiar situation... armed with a new truth.
Having changed... For better or worse.
Opening Image – 1% [1]. The first shot of the film. If you’re starting a novel, this would be an opening paragraph or scene that sucks readers into the world of your story.
This is a snapshot that instantly introduces us to the present world of the hero. In a film, this is an actual visual image whereas, in a novel, you need to conjure up a vivid scene that draws your reader in and sets the tone of what is to come.
1A POINT – 0% - WE ENTER PROTAGONIST’S WORLD
Set-up 1-10% [1-10]. Establishing the ‘ordinary world’ of your protagonist. What does he want? What is he missing out on?
This beat introduces the central idea, or life lesson, that the hero will discover over the course of the story.
2A POINT: 0%-3% - GETTING TO KNOW PROTAGONIST’S WORLD
Here comes a deeper, more detailed look at the status quo of the hero’s world, before it is violently shaken up. Crucial details about the character flaws they might be working on the outcome will show up here too.
2B POINT: 3% - ANTAGONIST COMES TO THE FOREFRONT
(really 2B POINT) Theme Stated BY WAY OF TRAGIC INCITING INCIDENT 5% [5]. During the setup, hint at what your story is really about — the truth that your protagonist will discover by the end.
Here comes a deeper, more detailed look at the status quo of the hero’s world, before it is violently shaken up. Crucial details about the character flaws they might be working to overcome will show up here too.
Catalyst 10% [12]. – Is the catalyst different from the inciting incident which this also says happens at 5% at same time as theme? Probably. 5% is soft reveal or foreshadowing of Catalyst.
Also known as the inciting incident in other structures, this major plotpoint t is the single moment that sets the hero on the course they will pursue over the story.
Debate 10%-20% [12-25]. The hero refuses the call to adventure. He tries to avoid the conflict before they are forced into action. (Refusal of the call?)
Following the inciting incident, the hero resists the challenge presented by the inciting incident. Main character is torn, perhaps fears for safety or about becoming “hypervisible” if she steps into the fray/conflict.
Break into Two 20% [25]. The protagonist makes an active choice and the journey begins in earnest.
After their moment of doubt, the hero decides to take on the challenge that’s been thrown their way and sets about dealing with the fall-out of the inciting incident.
POINT 6A: (20%?) Taking Up The Challenge – This point, perhaps, should call back to the 11% mark, where the hero made a pro-active soft-entry into the conflict; but now by 25%, he’s COMMITTED – no turning back.
ACT IIA (which technically begins at 25% mark) – but we backtrack a little here by way of explanation).
B Story (22%???)[30]. A subplot kicks in. Often romantic in nature, the protagonist’s subplot should serve to highlight the theme.
The B story, or subplot, is introduced fairly early and continues to run alongside the main plot for most of its duration. The B story usually involves a character (often a romantic interest) who’s integral to helping the hero undergo their transformation.
NOTE by Peter Vadala: 22% is where Save the Cat puts this; however – however – in order to dovetail the two acts so they don’t seem disjointed – lightly tease B-story or subplot before the end of Act 1, in the same way that we must SEE all the main characters within the first five minutes of the movie (Syd Field)
HOWEVER – 25% is where Act 1 has completely culminated in that there is no turning back for the main character, and the trajectory of the story has thus been “spun around” irreversibly, and thus, this is where the hard story and events of the hitherto teased B-story principal OR subplot begin in a tangible and concrete way, with our full focus shifted to that B-plot – if only for a few percentage points worth of time. This B-story might introduce the hero’s mentor or goddess (Campbell) who bestows gift for journey. - Vadala
The Promise of the Premise [30-55]. Often called the ‘fun and games’ stage, this is usually a highly entertaining section where the writer delivers the goods. If you promised an exciting detective story, we’d see the detective in action. If you promised a goofy story of people falling in love, let’s go on some charmingly awkward dates.
Despite the label, this beat might not actually entail any fun for the characters involved, and is also often referred to as the ‘promise of the premise’. Here is where that action or central conflict that was promised, often in the hook of the story description, is delivered on.
In a superhero story, this is where we get to see them beat up some low-level bad guys; in a detective story, 'fun and games' is where the gumshoe will start tracking down some clues.
Peter Vadala: Here, the hero or protagonist directly pursues what he thinks he wants however will discover in ACT IIB that what he was pursuing here (ACT IIA/25%-50%) wasn’t quite what he actually wanted but was, in his future post-ACT IIB discovery hindsight, a necessary step toward discovering what he actually wanted on a deeper level. By the end of Act IIB, the Hero achieves his topical goal – the way he thought he was supposed to solve the problem presented in the inciting incident, however by the 50% mark has achieved his ostensible goal which he consciously set out to solve; however—HOWEVER – there’s still a restlessness or sense of unease because the ostensible goal has been solved but main character unhappy because the underlying premise if flawed – and so solving the ostensible goal does not fix the true moral problem presented by the story, or truly resolve the thesis.
Midpoint (50%) [55]. A plot twist occurs that ups the stakes and makes the hero’s goal harder to achieve — or makes them focus on a new, more important goal.
This point signals the culmination of the action of the ‘fun and games’. Stakes are raised by a plot twist that likely takes the form of a false victory — a moment where the hero mistakenly believes they have won.
9A POINT. Our hero takes a stand (75%)
Bad Guys Close In (50%-75%) [55-75]. The tension ratchets up. The hero’s obstacles become greater, his plan falls apart, and he is on the back foot.
In the wake of the midpoint, tension mounts and things really start to go downhill for the hero.
10A POINT. Our hero faces hostility (76-85%)
All is Lost (75%) [75]. The hero hits rock bottom. He loses everything he’s gained so far, and things are looking bleak. The hero is overpowered by the villain; a mentor dies; our lovebirds have an argument and break up.
11A POINT – ISOLATION – 86%
Dark Night of the Soul 75%-80% [75-85-ish]. Having just lost everything, the hero shambles around the city in a minor-key musical montage before discovering some “new information” that reveals exactly what he needs to do if he wants to take another crack at success. (This new information is often delivered through the B-Story)
In the face of defeat, the hero has a moment of reckoning where they take stock of what they have lost.
12A POINT – DESPERATION MOMENT – 87%-88% - temptation toward evil or maybe easy way out, antithesis or antimoral –
Break into Three 80% [85]. Armed with this new information, our protagonist decides to try once more!
13A POINT – HOPE REIGNITED – 91%
Finale 80%-99% [85-110]. The hero confronts the antagonist or whatever the source of the primary conflict is. The truth that eluded him at the start of the story (established in step three and accentuated by the B Story) is now clear, allowing him to resolve their story.
The hero overcomes the problems they were facing with the help of their newly discovered truth.
14B POINT – Protagonist stands up for the thesis and wins.
Final Image 100% [110]. A final moment or scene that crystallizes how the character has changed. It’s a reflection, in some way, of the opening image.
This final moment gives a clear impression of the transformation that has taken place in the hero’s life, and will often mirror the opening image.
Seven-Point Story Structure (aka the 8-segment structure/8-reel structure(Vadala))
A slightly less detailed adaptation of The Hero’s Journey, the Seven-Point Story Structure focuses specifically on the highs and lows of a narrative arc.
According to author Dan Wells, who developed the Seven-Point Story Structure, writers are encouraged to start at the end, with the resolution, and work their way back to the starting point: the hook. With the ending in mind, they can have their protagonist and plot begin in a state that best contrasts the finale — since this structure is all about dramatic changes from beginning to end.
Structure
The Hook. Draw readers in by explaining the protagonist’s current situation. Their state of being at the beginning of the novel should be in direct contrast to what it will be at the end of the novel.
Plot Point 1. Whether it’s a person, an idea, an inciting incident, or something else — there should be a "Call to Adventure" of sorts that sets the narrative and character development in motion.
Pinch Point 1. Things can’t be all sunshine and roses for your protagonist. Something should go wrong here that applies pressure to the main character, forcing them to step up and solve the problem.
Midpoint. A “Turning Point” wherein the main character changes from a passive force to an active force in the story. Whatever the narrative’s main conflict is, the protagonist decides to start meeting it head-on.
Pinch Point 2. The second pinch point involves another blow to the protagonist — things go even more awry than they did during the first pinch point. This might involve the passing of a mentor, the failure of a plan, the reveal of a traitor, etc.
Plot Point 2. After the calamity of Pinch Point 2, the protagonist learns that they’ve actually had the key to solving the conflict the whole time.
Resolution. The story’s primary conflict is resolved — and the character goes through the final bit of development necessary to transform them from who they were at the start of the novel.
Why on earth would one need a video commercial for a novel? The answer is simple and painful; nobody reads books anymore. The fact is, most literary and film works today simply aren't worth watching. We see most of them and we're angry that our precious time and money has been wasted.
And yet, if we write a truly great story, word of mouth will sell the story for us. The sad reality is that most of what we - meaning humanity in general, both Christian and Secular - write just doesn't pass the bar of what is worth other people's time. At the end of the day, what we need to do is write cinema-worthy stories. Because the truth is, video production done correctly is hard. Anybody can smash a bunch of stock footage together vaguely related to a story concept - but that's what the 24-hour Fake News Cycle does every day, and it hasn't fared well for Cable TV.
In an effort to help you get on better story footing, I wanted to provide just a handful of the resources I sometimes use myself to construct a story. These are not original resources; they're just some of the freely-available notes compiled from a wide variety of sources that help me keep my writing on track. However in an effort to help you create a more perfect story, here's to them helping you create something that audiences will definitely feel was worth the read - or the watch. Keep in mind that these are not intended to be constraints for your writing, but a guide to make sure that if you feel something isn't working, you might be able to better diagnose what the missing element might be. As a disclaimer, these guides come via various internet sources and all deal with the realm of story design and plot structure.
As an aside, we can debate whether Joseph Campbell and the Bible can exist in the same universe of Story Theory and Philosophy; however if you watch any Christian movie at all, you'll notice even they work because they fit neatly into a kind of Hero's Journey paradigm, as do most Christian novels which become adapted into films. So perhaps, just perhaps, there's something in it.
If you're more of an audio-visual learner, start here. Again, all story theory ideas are the properties of their respective authors, and I did not principally author any of this content freely available online.
Hero’s Journey: Departure, Initiation, Return
- Call to adventure
- Refusal of call- hesitancy. After this Christopher Vogler’s writer’s journey inserts “meeting with the mentor” —
- Supernatural aid- hero embarks on his quest, receiving help in the form of allies, information, or tools.
- Crossing of the first threshold- the familiar is left behind and the unknown lies ahead
- Belly of whale -obstacles block hero’s path, forcing tough decisions and choices along the way
- Road of trials - 3 tests - and the protagonist will not succeed in all three.
- Meeting with goddess- hero meets figure who will guide him further
- Woman as the temptress- - another obstacle emerges — temptation - should the protagonist take the easy way out?
- Atonement with the Father - something within the hero prevents his success. He must overcome this before he can continue. ;
- Apotheosis - as old skin is shed, a new one emerges- protagonist ready for biggest challenge - protagonist reaches toughest test yet
- Refusal of return - protagonist not the same as they were in the beginning, they have been transformed
- Magic flight- hero takes journey home, transformed forever
- Rescue from without - “but” protagonist still needs assistance in his final escape
- The crossing of the return threshhold - the hero returns home
- Master of two worlds- through trials, hero lives in old world but transformed
- Freedom to live - through death and rebirth, there is a new status quo
CHRISTOPHER VOGLER’S VERSION OF HERO’S JOURNEY
The Ordinary World. The hero’s everyday life is established.
The Call of Adventure. Otherwise known as the inciting incident.
Refusal of the Call. For a moment, the hero is reluctant to take on the challenge.
Meeting the Mentor. Our hero meets someone who prepares them for what lies ahead — perhaps a parental figure, a teacher, a wizard, or a wise hermit.
Crossing the First Threshold. The hero steps out of their comfort zone and enters a ‘new world.’
Tests, Allies, Enemies. Our protagonist faces new challenges — and maybe picks up some new friends. Think of Dorothy on the Yellow Brick Road.
Approach to the Inmost Cave. The hero gets close to their goal. Luke Skywalker reaches the Death Star.
The Ordeal. The hero meets (and overcomes) their greatest challenge yet.
Reward (Seizing the Sword). The hero obtains something important they were after, and victory is in sight.
The Road Back. The hero realizes that achieving their goal is not the final hurdle. In fact, ‘seizing the sword’ may have made things worse for them.
Resurrection. The hero faces their final challenge — a climactic test that hinges on everything they’ve learned over their journey.
Return with the Elixir. Having triumphed, our protagonist returns to their old life. Dorothy returns to Kansas; Iron Man holds a press conference to blow his own trumpet.
A character is in a zone of comfort... This is the establishment of the status quo.
But they want something... This 'want' could be something long-standing and brought to the fore by an inciting incident.
They enter an unfamiliar situation... The protagonist must do something new in their pursuit of the thing they want.
Adapt to it... Faced with some challenges, they struggle then begin to succeed.
Get what they wanted... Usually a false victory.
Pay a heavy price for it... They realize that what they 'wanted' wasn't what they 'needed'.
Then return to their familiar situation... armed with a new truth.
Having changed... For better or worse.
SAVE THE CAT Structure
Opening Image – 1% [1]. The first shot of the film. If you’re starting a novel, this would be an opening paragraph or scene that sucks readers into the world of your story.
This is a snapshot that instantly introduces us to the present world of the hero. In a film, this is an actual visual image whereas, in a novel, you need to conjure up a vivid scene that draws your reader in and sets the tone of what is to come.
1A POINT – 0% - WE ENTER PROTAGONIST’S WORLD
Set-up 1-10% [1-10]. Establishing the ‘ordinary world’ of your protagonist. What does he want? What is he missing out on?
This beat introduces the central idea, or life lesson, that the hero will discover over the course of the story.
2A POINT: 0%-3% - GETTING TO KNOW PROTAGONIST’S WORLD
Here comes a deeper, more detailed look at the status quo of the hero’s world, before it is violently shaken up. Crucial details about the character flaws they might be working on the outcome will show up here too.
2B POINT: 3% - ANTAGONIST COMES TO THE FOREFRONT
(really 2B POINT) Theme Stated BY WAY OF TRAGIC INCITING INCIDENT 5% [5]. During the setup, hint at what your story is really about — the truth that your protagonist will discover by the end.
Here comes a deeper, more detailed look at the status quo of the hero’s world, before it is violently shaken up. Crucial details about the character flaws they might be working to overcome will show up here too.
Catalyst 10% [12]. – Is the catalyst different from the inciting incident which this also says happens at 5% at same time as theme? Probably. 5% is soft reveal or foreshadowing of Catalyst.
Also known as the inciting incident in other structures, this major plotpoint t is the single moment that sets the hero on the course they will pursue over the story.
Debate 10%-20% [12-25]. The hero refuses the call to adventure. He tries to avoid the conflict before they are forced into action. (Refusal of the call?)
Following the inciting incident, the hero resists the challenge presented by the inciting incident. Main character is torn, perhaps fears for safety or about becoming “hypervisible” if she steps into the fray/conflict.
Break into Two 20% [25]. The protagonist makes an active choice and the journey begins in earnest.
After their moment of doubt, the hero decides to take on the challenge that’s been thrown their way and sets about dealing with the fall-out of the inciting incident.
POINT 6A: (20%?) Taking Up The Challenge – This point, perhaps, should call back to the 11% mark, where the hero made a pro-active soft-entry into the conflict; but now by 25%, he’s COMMITTED – no turning back.
ACT IIA (which technically begins at 25% mark) – but we backtrack a little here by way of explanation).
B Story (22%???)[30]. A subplot kicks in. Often romantic in nature, the protagonist’s subplot should serve to highlight the theme.
The B story, or subplot, is introduced fairly early and continues to run alongside the main plot for most of its duration. The B story usually involves a character (often a romantic interest) who’s integral to helping the hero undergo their transformation.
NOTE by Peter Vadala: 22% is where Save the Cat puts this; however – however – in order to dovetail the two acts so they don’t seem disjointed – lightly tease B-story or subplot before the end of Act 1, in the same way that we must SEE all the main characters within the first five minutes of the movie (Syd Field)
HOWEVER – 25% is where Act 1 has completely culminated in that there is no turning back for the main character, and the trajectory of the story has thus been “spun around” irreversibly, and thus, this is where the hard story and events of the hitherto teased B-story principal OR subplot begin in a tangible and concrete way, with our full focus shifted to that B-plot – if only for a few percentage points worth of time. This B-story might introduce the hero’s mentor or goddess (Campbell) who bestows gift for journey. - Vadala
The Promise of the Premise [30-55]. Often called the ‘fun and games’ stage, this is usually a highly entertaining section where the writer delivers the goods. If you promised an exciting detective story, we’d see the detective in action. If you promised a goofy story of people falling in love, let’s go on some charmingly awkward dates.
Despite the label, this beat might not actually entail any fun for the characters involved, and is also often referred to as the ‘promise of the premise’. Here is where that action or central conflict that was promised, often in the hook of the story description, is delivered on.
In a superhero story, this is where we get to see them beat up some low-level bad guys; in a detective story, 'fun and games' is where the gumshoe will start tracking down some clues.
Peter Vadala: Here, the hero or protagonist directly pursues what he thinks he wants however will discover in ACT IIB that what he was pursuing here (ACT IIA/25%-50%) wasn’t quite what he actually wanted but was, in his future post-ACT IIB discovery hindsight, a necessary step toward discovering what he actually wanted on a deeper level. By the end of Act IIB, the Hero achieves his topical goal – the way he thought he was supposed to solve the problem presented in the inciting incident, however by the 50% mark has achieved his ostensible goal which he consciously set out to solve; however—HOWEVER – there’s still a restlessness or sense of unease because the ostensible goal has been solved but main character unhappy because the underlying premise if flawed – and so solving the ostensible goal does not fix the true moral problem presented by the story, or truly resolve the thesis.
Midpoint (50%) [55]. A plot twist occurs that ups the stakes and makes the hero’s goal harder to achieve — or makes them focus on a new, more important goal.
This point signals the culmination of the action of the ‘fun and games’. Stakes are raised by a plot twist that likely takes the form of a false victory — a moment where the hero mistakenly believes they have won.
9A POINT. Our hero takes a stand (75%)
Bad Guys Close In (50%-75%) [55-75]. The tension ratchets up. The hero’s obstacles become greater, his plan falls apart, and he is on the back foot.
In the wake of the midpoint, tension mounts and things really start to go downhill for the hero.
10A POINT. Our hero faces hostility (76-85%)
All is Lost (75%) [75]. The hero hits rock bottom. He loses everything he’s gained so far, and things are looking bleak. The hero is overpowered by the villain; a mentor dies; our lovebirds have an argument and break up.
11A POINT – ISOLATION – 86%
Dark Night of the Soul 75%-80% [75-85-ish]. Having just lost everything, the hero shambles around the city in a minor-key musical montage before discovering some “new information” that reveals exactly what he needs to do if he wants to take another crack at success. (This new information is often delivered through the B-Story)
In the face of defeat, the hero has a moment of reckoning where they take stock of what they have lost.
12A POINT – DESPERATION MOMENT – 87%-88% - temptation toward evil or maybe easy way out, antithesis or antimoral –
Break into Three 80% [85]. Armed with this new information, our protagonist decides to try once more!
13A POINT – HOPE REIGNITED – 91%
Finale 80%-99% [85-110]. The hero confronts the antagonist or whatever the source of the primary conflict is. The truth that eluded him at the start of the story (established in step three and accentuated by the B Story) is now clear, allowing him to resolve their story.
The hero overcomes the problems they were facing with the help of their newly discovered truth.
14B POINT – Protagonist stands up for the thesis and wins.
Final Image 100% [110]. A final moment or scene that crystallizes how the character has changed. It’s a reflection, in some way, of the opening image.
This final moment gives a clear impression of the transformation that has taken place in the hero’s life, and will often mirror the opening image.
Seven-Point Story Structure (aka the 8-segment structure/8-reel structure(Vadala))
A slightly less detailed adaptation of The Hero’s Journey, the Seven-Point Story Structure focuses specifically on the highs and lows of a narrative arc.
According to author Dan Wells, who developed the Seven-Point Story Structure, writers are encouraged to start at the end, with the resolution, and work their way back to the starting point: the hook. With the ending in mind, they can have their protagonist and plot begin in a state that best contrasts the finale — since this structure is all about dramatic changes from beginning to end.
Structure
The Hook. Draw readers in by explaining the protagonist’s current situation. Their state of being at the beginning of the novel should be in direct contrast to what it will be at the end of the novel.
Plot Point 1. Whether it’s a person, an idea, an inciting incident, or something else — there should be a "Call to Adventure" of sorts that sets the narrative and character development in motion.
Pinch Point 1. Things can’t be all sunshine and roses for your protagonist. Something should go wrong here that applies pressure to the main character, forcing them to step up and solve the problem.
Midpoint. A “Turning Point” wherein the main character changes from a passive force to an active force in the story. Whatever the narrative’s main conflict is, the protagonist decides to start meeting it head-on.
Pinch Point 2. The second pinch point involves another blow to the protagonist — things go even more awry than they did during the first pinch point. This might involve the passing of a mentor, the failure of a plan, the reveal of a traitor, etc.
Plot Point 2. After the calamity of Pinch Point 2, the protagonist learns that they’ve actually had the key to solving the conflict the whole time.
Resolution. The story’s primary conflict is resolved — and the character goes through the final bit of development necessary to transform them from who they were at the start of the novel.
Attachments
Last edited:
