How To Use A Midpoint
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- Опубліковано 2 лис 2020
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A lot of writers struggle with the long Second Act of their screenplays. One way to help focus your Second Act is to use a Midpoint. In this video, I examine the function of a midpoint and how you can use it to build a strong turning point right in the center of your story.
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#Screenwriting #Midpoint #HowToUseAMidPoint - Фільми й анімація
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Dunno if you guys cares but if you're stoned like me atm then you can watch pretty much all of the new movies on instaflixxer. Have been streaming with my brother for the last months :)
@Grayson Aydin Yup, I have been using instaflixxer for months myself :D
Besides philosophical conflict, the midpoint is the biggest thing that I realized I hadn't been utilizing in my writing. Thanks for the video!
I agree. Same for me.
So you mean it’s also important to incorporate some sort of philosophical problem?
@@johns8065 Yes, i guess you watch the other videos in the playlist so you know that by now.
The Dark Knight - The joker gets caught.
Correct!
best series about filmmaking on youtube
Not film making, story writing. He very rarely touches on actual film making, just the story, with an emphasis on film story and structure.
But yes, he is indeed one of the best and most informative channels on this platform
Jurassic Park
Before the Midpoint: characters were amazed by caged dinosaurs. This is reaction.
Midpoint: dinosaurs broke out.
After the Midpoint: characters were busy running away from dinosaurs. This is action.
I think you have it backward - action before the midpoint is _active._ It's when the hero or heroes approach the conflict with naive optimism, deciding on their own to go about the journey, one which they can walk away from at any point. In the case of Jurassic Park, the team decides to go on the tour. They can just go back anytime they want before the t-rex breaks out. But after that, the must _react_ to this midpoint development.
In the case of Star Wars, Luke decides to go with Obi_Wan to deliver the Death Star plans. He could have left and went back home at any point until their ship was captured by the Death Star, which is the midpoint. He was active before then. After that. he must _react_ to this new development.
Can the protagonist change during the movie? For example, in Psycho, the protagonist changes in the middle of the film.
According to Tyler, the Harmon circle can be used to analyze an entire movie or even each act. I read the book "Into The Woods" by John Yorke, and he says that each act has an inciting incident. Does this mean that each act has an inciting incident, two plot points, and even a midpoint?
What structure do you use besides the Harmon circle? The 3-act structure by Syd Field? The 5-act structure? Or which one?
All stories have 3 acts? I know Quentin Tarantino uses a 5-act structure.
How do you combine the Harmon circle with different beat sheets like Save The Cat or The Syd Field Paradigm?
How do plot points, pinch points, and other timing elements work in long movies like The Lord of the Rings, Harry Potter, or The Hunger Games? I understand that in 90-minute movies like Terminator, it's easy to identify where the plot points, pinch points, and others are recommended (inciting incident at 15 minutes, first plot point at 30, etc.).
I often think about the midpoint when I think about a new story idea. Parasite had the most obvious midpoint I have ever seen but it was also the best. I knew it was the previous nanny at the door because we were at the midpoint and now they would have to pay for getting what they wanted. Predictable to me but I loved every minute of it. And it affirmed my understanding of midpoint.
P.S.: Whoever disliked this video just isn't ready.
Ay maybe predictable that the nanny would be involved but no way predictable about the room, at least imo
@@sondertales6762 To You. To me, I expected from my understanding of the craft. Two totally different people. As soon as the doorbell rang, I muttered, "Uh oh. She's back."
Everything seems so easy when you start using the story circle.
It definitely helps!
Operative word being seem. I’m still working out my story issues. It’s a maze.
The story circle makes my workflow a lot easier. I start with that usually.
not for me, whenever i try using the story circle, it doesn't feel right(not that i am saying you shouldn't use it,it's great,but doesn't work for me), for me, i reccommend first collecting story ideas and then using them in the circle,if you start right away with story circle,you are gonna be in pain!
@@ashutosharyan3000 I'm not saying that I start with the story circle. I always start with the story that I want to tell and then I put it in the story circle.
My whole writing journey has just been finding that one random video that gives me a lightbulb moment that seems obvious in hindsight. This video was more than that for me. I had even done research into harmons circle before but still struggled with outlining my mid point. This video really helped me wrap my mind around the ideas i was struggling with for a while.
This pyramid is actually the normal drama structure we learn in school in germany, contrary to the 3 act structure. It is applied to the dramas of goethe, shakespeare etc.
Shakespeare plays always have a five act structure. The midway point of Romeo and Juliet is their wedding.
This partially explains why European films feel different to us Americans
Honestly, I've never struggled to write second acts. They've usually the easiest and best parts of my writing for me. Where others see the danger of getting unfocused, I see the opportunity to play around, brainstorm, select the best ideas, arrange them in the best order and write it. This has had great effects on my writing, but I'll take this piece of advice you just gave me.
Same, however, I kinda had a hard time figuring out the build up to the 3 (unexpected event) now though, I just write down ideas from my character's wants and desires which helps show my characters' traits and such.
Can the protagonist change during the movie? For example, in Psycho, the protagonist changes in the middle of the film.
According to Tyler, the Harmon circle can be used to analyze an entire movie or even each act. I read the book "Into The Woods" by John Yorke, and he says that each act has an inciting incident. Does this mean that each act has an inciting incident, two plot points, and even a midpoint?
What structure do you use besides the Harmon circle? The 3-act structure by Syd Field? The 5-act structure? Or which one?
All stories have 3 acts? I know Quentin Tarantino uses a 5-act structure.
How do you combine the Harmon circle with different beat sheets like Save The Cat or The Syd Field Paradigm?
How do plot points, pinch points, and other timing elements work in long movies like The Lord of the Rings, Harry Potter, or The Hunger Games? I understand that in 90-minute movies like Terminator, it's easy to identify where the plot points, pinch points, and others are recommended (inciting incident at 15 minutes, first plot point at 30, etc.).
The goat has returned
I was writing a story a few months ago and one day I realized that the beginning wasn't good, then I turned my midpoint in my "break into 2". My Act 1 became amazing! But I found myself completely lost about the rest of the story. That day I understood how important the midpoint is. Now, it's the 3rd thing I define when I'm writing, right after the end and the beginning.
Thank you so much! Your videos came into my life just as I was beginning my first screenplay. You have saved me years of mistakes and frustration.
Keep up the good work, these videos are super helpful for me as I’m trying to become a better writer
3:33 Ah this explanation made better sense of the terms Rising and Falling for me, as just different directions on either side of a turning point.
I think this can seem counterintuitive at first because the story line going up to a central peak, and then sloping downward toward the dénouement, can be confused for the level of intensity, the conflict and stakes.
But obviously most stories won't have a gradually descending drama until a low energy conclusion. So having this other visual 1:30 of the story path being diverted in a surprising new trajectory makes more sense.
I think it helps for teaching to disassociate things like this from up & down language or visuals, if it's not supposed to be thought of as some sort of increase vs decrease or a hierarchy.
The shoot out in "Heat" is a perfect example. Or Sarah Conner breaking out of the mental word in Terminator 2 Judgement Day. Thank you for this video. I'm just passing the midpoint of my script.
Thanks from Russi. your lessons more infrom, then Russian cinemaschools !!!!
Meet you in Hollywood after 7 years. when i be there
need a watch party where you tell us while we watch on our on tv mid points and all the good stuff?would be cool
I think the Midpoint is the unsung hero of many great films. A common problem I had in my scripts before watching your content was “saving” the big turn for the end of Act II. This resulted in boring, dull, meandering second acts of hollow “character development.” Placing an important turn sooner gives the story more momentum, and challenges the writer to further develop characters, and themes, with how the conflict evolves.
The end of Act II should be about the characters grappling with the consequences of the midpoint.
Very good breakdown. So happy I’m not rushing my story.
so glad i came across this. i'm close to reaching the midpoint in my family drama feature. appreciate the refresher, Tyler.
One of the best channels on UA-cam! I love what you do. This is so captivating and useful. I read and watched a lot but only after your videos I understood how to make a story better. I can't say thank enough! BTW your advice - just finish your first draft no matter how it'll be - awesome! Tyler, you are the best!
Thank you for the video. Even though I write novels (trying to), what you teach is still relevant. There is so much to take in, so many POVs of thinking and processing story structure. You have to find a POV that works for you and then STOP and just write. Of course, there's more to learn, but it's the place to start. It's the foundation.
Genuinely thank you so much for making these videos. They are top-shelf and extremely helpful, I could not be more grateful.
Fantastic!! Thank you for this great video!!
This is great. I like your well organized lessons
even if it's not the first time I've heard certain points, it's useful to get a concise review that pulls together a bunch of lessons I may have gradually picked up piecemeal.
Thanks Tyler, keep it up :)
Extremely helpful, as always, thank you.
Great video! Kind of unfortunate that 3-Act structure is the dominant way of understanding story. It inherently obscures the importance of the midpoint by subsuming it within all the shenanigans of the 2nd act. I prefer the 4-Act structure, which basically splits the traditional 2nd Act in two at the Midpoint and thus, better conveys the way the story shifts at that key moment.
And then you can go more granular with things like the Harmon wheel - which is essentially 4-Act structure with each act further bisected into two halves. Really really really makes it all feel less dauting to have concrete targets to hit along the way. NOW GO WRITE!
Not a film but the eclipse in berserk is a very strong midpoint
this video is super well done. voice over is clear and the editing is top notch.
I've never written a midpoint climax before and I'm very excited to try it in my next script!
This is do very good, I know Google is listening to my conversations, and that's how I came across your video.
A godsend if you ask me.
I am about to enroll on a journey to production of short animated movies and your videos have been amazing so far.
Really getting to the point of all the questions I have in my mind.
I'm going to finish watching the series, and I will use all the information to write the story.
If I am unable to do so I will book the free consultation call with you.
Thank you so much from the bottom of my heart for doing all this.
I really appreciate.
Well done. Very helpful.
great timing, just got to act 2 in my screenplay
Midpoint = *false* climax. Hero or heroes almost get what they want, but it turns out they don't, and instead are drawn even deeper into the conflict in a way they cannot walk away from.
- Luke arrives at Alderann to deliver Death Star plans, but Alderann is not there and they are captured by the Empire.
- The beaches open for the 4th of July and everything is okay, but Chief Brody's son is attacked by the shark and nearly killed.
The action _before_ the midpoint is *active,* the action _after_ the midpoint is *reactive.*
This is a really great, easy to understand video, thanks! this will definitely help me understand and write my story better
A couple of questions you might have fun elaborating on just if you would like some topics to answer:
All I have a clear visualization of for my screenplay is the initial conflict that sets the plot off. How can I explore this, create more depth, and strengthen every point in general? I’ve sat with this idea for so long and am getting discouraged by being unable to work on this.
Second: If there is a concept I don’t know much about that plays a big role in my story, how can I research and apply it efficiently?
I can’t begin to describe to you how much inspiration and help I’ve gathered from your content. Thank you!
Ah yes, Act 2 is the most hard to fit into the narrative, but can you please make a video about writing believable romantic subplots
ah yes, i need this so much, writing romantic story sometimes fall short when the romances makes it sounds like a halucinatic person who writes it
@@nilanavesa exactly and we don't want the viewer feel that
@@moriahmars1462 I do that too.
Well, you ever heard that saying _"Write what you know"?_ If you've never been in love, do NOT write a romance. Because if you try to write a romance just based off of what you've seen from other films and stories, you'll fall into the same trap as George Lucas, Stephanie Meyer, and E.L. James. It'll be an excruciatingly painful wormhole of clichés.
@@cjkalandek996 But how do fiction writers write fiction then?
thank you so much for this video. My screenwriting professor swears by Save The Cat, and it's been fucking me up, creating a really bad block for how to get from act 1 to 3 even though I already have all my beats outlined. This just hit me like a mack truck and gave me so much inspiration, now I know exactly how to go about the next several dozen pages!
Love your educational videos
another great analysis! Thanks Tyler!
Love your work! Keep it up!
Very well done details, Tyler. Keep up the good work. :-)
Thank you!
Thank you again Tyler!
That was super awesome! I really enjoyed this video.
Thank you so much for this Video Tyler. Parasite is one of my favorites. PS. could we get to see the " how to sell a screenplay?" video by you.?
Bollywood movies are the best examples for understanding midpoint. Indian films have intervals in films. Best examples are Drishyam, Andhadhun etc.
Thanks for this vid!! I always look forward to stuff from this channel haha 🙌 📖 :D
Thank you Tyler
had a “aha” moment watching this video. Super helpful.
This dude Tyler is awesome.
thank you so much
good video dude!
Wait, I confused this new upload for an older video you had with the exact same title. Great lesson still, very insightful.
Super helpful video
wonderful, thank you
amazing
GOOD INFORMATION
Thank you so much
Amazing ✨💯
This was really helpful, thank you. Is this situation similar to the false defeat or false victory
Like I said in the last video, "Make one on creating a kickass villain"...!
My favourite movie midpoints are Harry Potter and the deathly hallows part 2, Parasite, Gone Girl, the Dark Knight, Psycho, Oblivion, Get Out, Fight Club(not sure if that counts because the twist is quite close to the end’, Harry Potter and the prisoner of Azkaban, and Dreamgirls,
Waves, wave's climax is at the middle too
TYLER: Major misspelling in the graphic at 0:38. You spelled "beginning" as BEGGINGING. Great series btw!
La dolce vita - thunder plays on the sound recorder at the exact midpoint of the film.
"Psycho": Marion Crane dies.
I'd love to see more videos on act 2 and meaningful sub plots
The midpoint is the point where when watching a bad movie in the cinema, I check my phone for time, and audibly groan.
Hi tyler! I have a question! When writing a series/sitcom/show (I'm not sure how you say that in the US) is it common/okay to end seasons in mid points? Your videos are so educational and they're helping me a lot in the process of writing my story. Thank you and love from brasil :)
Damn your videos are so adictive, i have school tomorrow
Just in time, you've given me some ways to sharpen my novel in its (I hope) final revision. Thanks!
I do have a midpoint change of direction, but I think it can be more powerful.
Hi and happy new year! so, the midpoint is an external plot event but it should also cause an internal reaction/introspection in the character as well? not unlike the second plot point at 75 percent?
additionally, when you mention Indiana jones's midpoint when the Nazis steal the arc, that kind if feels womp womp, like its a forced event (even though it makes scene in the story) just to keep the story going longer. so should we have better/stronger midpoints? should our midpoints also provide the story with other things, besides just the continuing of a story/new direction? maybe character development? please help!
having acquired the arc to have it stolen is not that different than the first act - since he didn't have it then either
May i ask if this applies to short-film as well? let say a 8~10minute short-film
Can you do a video about movies that don't use a midpoint
I'm still confused, perhaps somebody can help me. Does midpoint event has to be something external happening to the character, a matter of fate and not really a decision,action? In Indiana Jones 1st movie, Indiana found the ark. That was his will, his desire, nothing fallen from the sky. In The dark knight, if I remember correctly, Joker is caught,but without the sinergy of Batman and Gordon that could not have been happened.
By the way, thank you so much for your incredible and helping contents,Travis!
You're really good-looking.
Big problem with your videos is avoiding spoilers. Parasite is one I don't want to ruin.
Oh boy
Yes! This is the false resolution. All R called, all R saved. Using my snakes and ladders ' method', this is the longest ladder so far. It gets our characters out of the red zone and up to number 7 ( outer) but then, almost immediately, there's the oh S moment. The longest ladder, so far, is followed by the longest snake ( longer than the last ladder) Damnation is at hand. All is lost, for all time.Or IST it? I guess that's why endings R the most difficult.I call this the pre payoff payoff. With our clever solution( hopefully) this ladder catapults us from the lowest red zone line up to and exceeding the yellow line- equilibrium ( number 7) all the way up to the green zone above equilibrium (#8), straddling three zones. The best example I can come up with is Bk to the future where Marty goes bk to a positively transformed future( except for his kids.)The payoff.
Can someone explain how this ties in with other plot points? Doesn't a three act structure usually have plot points at the ends of the first two act, or am I wrong?
Yes, there are plot points at the ends/beginnings of acts but in the second act there is also a plot point at the middle. It can be a midpoint that changes everything or a midpoint that raises stakes.
I've always preferred using a 4 act structure over a 3 act one, in part because I often found myself floundering halfway through the second act. Other than that, I just feel 50% of the book being a single act is just not that satisfying to read or write. The method discussed in this video is effectively a 4 act structure, because "act 2" is much different in the second half than it was in the first act. I like the concept of using the mid-point for the major shift in direction, though. I wonder if I have been doing this without realizing it, because I can think of a shift in focus happening in at least two of the 4 stories I have written the entire first draft of. Maybe that is what kept me invested in writing them to completion, instead of drifting off halfway through.
Can the protagonist change during the movie? For example, in Psycho, the protagonist changes in the middle of the film.
According to Tyler, the Harmon circle can be used to analyze an entire movie or even each act. I read the book "Into The Woods" by John Yorke, and he says that each act has an inciting incident. Does this mean that each act has an inciting incident, two plot points, and even a midpoint?
What structure do you use besides the Harmon circle? The 3-act structure by Syd Field? The 5-act structure? Or which one?
All stories have 3 acts? I know Quentin Tarantino uses a 5-act structure.
How do you combine the Harmon circle with different beat sheets like Save The Cat or The Syd Field Paradigm?
How do plot points, pinch points, and other timing elements work in long movies like The Lord of the Rings, Harry Potter, or The Hunger Games? I understand that in 90-minute movies like Terminator, it's easy to identify where the plot points, pinch points, and others are recommended (inciting incident at 15 minutes, first plot point at 30, etc.).
Would Psycho fit into this?
could this way of storytelling work for a tv show which is what I'm used to writing.
I get why the midpoint is called a "climax", but since the word is so often associated with a dramatic final action, might "apex" be a better word?
What about The Low Point?
its just "Raiders of The Lost Ark" , his name wasn't added till the 2nd movie. i think future copies of the movie added the name on for recognition.
Hello guys I was trying to breakdown the Film 'SOUL' can anyone say what is Midpoint in the film.
How do you write a thriller?
I've never liked the "fun and games" part of a story beat sheet. It always sounded kinda lame
Agreed!
Usually the Fun and Games is showing the protagonists journey, kind of what we see in the movie trailers.
Not 3 acts, but 4 quarters (3 action + 3 emotion scenes each) with a Half Time Show. Overtime makes for a great action movie.
@@ETERMAX. Yup. Why make the 2nd and 3rd quarter an "Act" with two parts split by a midpoint? A quarter can be 22-48 minutes and have 5-8 hero goal sequences. It's the function of story that drives a film to these results.
What is the midpoint of Star Trek 2: (1) Khan reveals himself to Kirk; or (2) Khan takes the Genesis device from the cave?
❤❤❤❤❤❤❤
The indian film industry has always only told stories with mid points since we have an interval here. We dont follow the three act structure. It's the two halves
technique*
How is this different from inciting incident?
The inciting incident is what "starts the story" it would be between points 2-3 in the story circle.
Hi brother
But isn't Freitag's model based around the notion of a 5 act structure used by Shakespeare, rather than the 3 act structure of most modern screenplays?
Why does that matter? They both have a middle act.
@@melodyclark1944 I'm not an expert in either system, but I think it kind of does because in one the midpoint functions as the climax of the story, on the other is just a point where the focus of the conflict shifts... Like I'm not an expert on any of these, but I remember that watching Ran (basically King Lear), it really stuck with me that what seemed like the dramatic climax (the king loosing everything for his hubris) happens midway... For the rest of the film, the king is mad and doesn't really do anything... I think it could be fair to say that it uses a 5 act structure (though maybe there is some other explanation)... I can't say I've seen many films where that happens, where the main conflict is basically resolved by the midway point... But honestly I'm still super hazy on all of these concepts, so if you know better, please educate me! I'd love to learn more!
@@pedrokenzo4670 I'd say King Lear/Ran actually does adhere to the screenwriting conventions outlined in this video. When Lear loses everything in the middle that is functionally the 'midpoint', rather than the climax - even if it is perhaps the most memorable and exciting part of Kurosawas film, anyway - it works as a traditional midpoint. It changes the trajectory of the story and soon after consequences follow as the children start infighting. Both play and film maintain a separate climax toward the end with the battle and King Lear's losing his only loving child just as he realised that he wronged her/him, completing his tragic arc.
No one gonna mention the fact that Harmon and Freytag bear a striking resemblance with each other?
Are u saying a good midpoint is a twist or a reveal?
It can be. It should be where the character gets what they want, but then are thrown off track.
@@TylerMowery To expand on this, they get what they want, but NOT what they NEED
yes, a twist or a reveal are good examples of a midpoint
@@TylerMowery are you going to do some videos on writing series? I know you talk about how the Harmon circle can be applied to big and small stories and scenes etc. But I still find it hard to apply a solid structure to an episode and it still flow as a cohesive whole.