It’s sounds like stunning surprise one at 25% and stunning surprise two / declaration of war at 75% But I think a story starts with knowing your main character’s WANT, BELIEF, and FEAR
I really like the idea of brainstorming first the event that propels the character (or story) into the main problem, and second, the event that propels the character (or story) into the solution. And build out from there. Cool insight...
Great talk! I'm in the throngs of the first draft of a novel and I think about what is driving the characters forward all the time. How would they react over what I need them to do. Thank you!
I tend to hate flash-forward intros to movies. When you circle back to the scene the scene is dead and pulls you out of the movie; it turns what should be emergent action into a chore to be skipped past. If you want to front-load some action to balance out how slow the rest of the beginning is, gone the audience a bit of a "there will be action later, just be patient" tease, it's better to have a side-vignette of totally different characters that touches on the same themes without spoiling the ending of the core characters.
![“อ.เบียร์ คนตื่นธรรม” มาตามคำเรียกร้อง แหกศาสตร์ฮวงจุ้ย เตือนสติอย่างมงาย | แฉ 7 พ.ย. 67 [1/3]](http://i.ytimg.com/vi/5fc4S3xBNfc/mqdefault.jpg)
How important is it for you to know these two story points before you begin writing out your story?
It’s sounds like stunning surprise one at 25% and stunning surprise two / declaration of war at 75%
But I think a story starts with knowing your main character’s WANT, BELIEF, and FEAR
I really like the idea of brainstorming first the event that propels the character (or story) into the main problem, and second, the event that propels the character (or story) into the solution. And build out from there. Cool insight...
Plot point 1: Beginning to middle.
Plot point 2: Middle to end.
This is definitely going to make me revisit what I've got already
Karen is the best! Gotta love Film Courage
Great talk! I'm in the throngs of the first draft of a novel and I think about what is driving the characters forward all the time. How would they react over what I need them to do. Thank you!
For those who are interested, the two plot points are mentioned at 2:52.
Midpoint and resolution/climax are more important to me
The mid-point reversal is the biggest reversal… I’m guessing his second plot point is the climax
Is he talking about the inciting incident and midpoint?
I tend to hate flash-forward intros to movies. When you circle back to the scene the scene is dead and pulls you out of the movie; it turns what should be emergent action into a chore to be skipped past.
If you want to front-load some action to balance out how slow the rest of the beginning is, gone the audience a bit of a "there will be action later, just be patient" tease, it's better to have a side-vignette of totally different characters that touches on the same themes without spoiling the ending of the core characters.
This guy writes for the terrible TV show Tracker?
pass
Checked it out and he has a writing credit for only 1 episode.
First!