Screenwriting Masterclass | The Mid Point Reversal (MPR)

The Mid Point Reversal is such an important moment in your story, that some leading story experts recommend you should start writing your story from the middle outward.
This class is a compressed version of the 1-hour masterclass on the topic, covering some of the key aspects of this story point, using video clips from more than 20 different classic film and TV hits.
In the part about The Lives Of Others (around 6:30), I show one of the most powerful MPR's you'll ever get to see). In this clip, the importance of the music is probably on par with the agent learning about the playwright's mentor's suicide. I call the playwright the hero, but you may consider this a 'dual protagonist story', as the transformational hero is really the Stasi agent. The MPR works on two levels: the agent's job (his 'outer journey' mission) and his emotional response to art (the 'inner journey').
Check out this great analysis of the film by Stuart Voytilla (author of the book MYTH AND THE MOVIES):
www.thestorydepartment.com/he...
To enrol in our weekly live masterclasses on 50+ screenwriting topics, check out mc.screenwriting.courses.
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VIDEO CONTENT
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Karel
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Screenwriting Masterclass | The Mid Point Reversal
• Screenwriting Mastercl...
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[@alexanderdurig4474]

you had me the moment you used the phrase 'emotional logic' TQ~~

[@BeccaLaughsAtBecca]

im in midpoint therapy right now for my pilot lol & this is helpful thanks!

[@TheStoryDepartment]

All the best with the pilot!

[@olefosshaug5565]

This video is my midpoint, this was an eyeopener
Subscribed ✔

[@Tarazed609]

Thanks, I've learned a lot from this :)

[@MorrisFilmPhoto]

Thanks ⭐️ 4 these Great Scenes! Seen 70% of them; and all of them has,been "revelationary" 😎🖐

[@FlipArt57]

I been ignoring my central characters "reversal " all year, I been concentrating more on his desire, until watching this video. Now I realize my story is less complex when I have him lower his standards and have him acknowledge that he doesn't have what to continue in the pretentious direction he is going. This opens up a more interesting ideas for me. I'm going to watch this tonight in more depth tonight. Thanks MPR!

[@TheStoryDepartment]

I'm pleased you found value in this, Chyn! Good luck with the further development of your story.

[@rebecalopez-v7409]

I’m glad I found your channel.

[@sebastianconrad6823]

this is the best explanation of the midpoint I have come across... thank you!

[@TheStoryDepartment]

Thank you, Sebastian. Spread the word! :)

[@olefosshaug5565]

I second that!

[@grizzly228]

Thank you for the great examples

[@mercurious6699]

wonderful, thank you

[@dijonstreak]

been checking out your outstanding videos....man...what a Gold Mine of screencraft savy.....huge help...AND a great approach used in your presentation,,,,,S. thankful and gratefle for your screencraft insights....VERY helpful....getting me over the hump and stagnation. !!

[@TheStoryDepartment]

Glad you like them!
Cheers,
Karel

[@djohns9295]

Great video.

[@TheStoryDepartment]

Thanks for the comment!

[@DanielAVphotomassacre]

Great video :)

[@TheStoryDepartment]

Glad you enjoyed it

[@stevielove4778]

In CATFISH, the midpoint “Kiss” is arriving at the home, and meeting the woman’s “sister” (the little girl); at this point, Max thinks he has proven that the little girl IS real, she really paints, and she DOES have this older sister he’s been talking to (even though she isn’t there at the time…) -- and then the SLAP is finding out the mother has been ACTING As the older sister.

[@TheStoryDepartment]

Hey Stevie,
That's a great analysis!
And it's a rock solid structure for that documentary.
Thank you for your comment!
Cheers,
Karel

[@stevielove4778]

@@TheStoryDepartment ..at least, if I’m remembering correctly! It may not actually fall in the MIDDLE of the run time, (I’m suspecting there’s more time given to the first part of Act Two), but I think that’s the real FALSE-WIN, and then tonal shift as they grow suspicion which leads to confronting the woman.
Thanks for your work, you describe structure in a way that makes clear both story-beats and emotional-growth, I really value it 💙💙

[@plisskenetic]

1:36 - This approach is rubbish in that a main character doesn't always have to have an internal obstacle/ flaw that supposedly works against - it can be something external. The way these quote unquote classes always structure their lectures is as if all films must have their main character be something internal - it's never always a must for it to be that. All this internal flaw nonsense is better suited to genres like rom-coms and love stories.

[@TheStoryDepartment]

Thanks for your feedback. On what evidence do you base your claim? I agree that the MC can have only external obstacles but if you look at films that made a return on their investment, you won't find many. Could you give a few highly successful films where in your view the MC doesn't have a flaw/internal obstacle?