I've only recently had this discovery that the midpoint is arguably the single most important of all the plot structure points. I now understand Freytag's diagram. it's the tentpole moment. So many screenwriting books do not emphasise the importance of the midpoint. The realisation has made the understanding of story fall into place and seem far less daunting.
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!
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. !!
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 ..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 💙💙
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.
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?
I love how you showed the variety of types of midpoints! Especially as you showed it across different genres and ways those genres changed it up too!
Bravo. Well done. Superb video. Thank you.
Thanks ⭐️ 4 these Great Scenes! Seen 70% of them; and all of them has,been "revelationary" 😎🖐
This has been very helpful! Thank you!
Your advice is excellent and as a producer, writers (like myself now) will benefit from your insights. You are absolutely worth following.
I appreciate that! Thanks so much for your kind feeddback.
I've only recently had this discovery that the midpoint is arguably the single most important of all the plot structure points. I now understand Freytag's diagram. it's the tentpole moment. So many screenwriting books do not emphasise the importance of the midpoint.
The realisation has made the understanding of story fall into place and seem far less daunting.
Thanks for your note and for joining the MPR club! :)
Cheers,
Karel
you had me the moment you used the phrase 'emotional logic' TQ~~
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!
I'm pleased you found value in this, Chyn! Good luck with the further development of your story.
This video is my midpoint, this was an eyeopener
Subscribed ✔
This is amazing content. I can’t say how much it’s a blessing and is so engaging. Thank you 🙏🏼
Glad you enjoy it!
Thank you for the great examples
I’m glad I found your channel.
Thanks, I've learned a lot from this :)
im in midpoint therapy right now for my pilot lol & this is helpful thanks!
All the best with the pilot!
this is the best explanation of the midpoint I have come across... thank you!
Thank you, Sebastian. Spread the word! :)
I second that!
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. !!
Glad you like them!
Cheers,
Karel
wonderful, thank you
Great video.
Thanks for the comment!
great video
Glad you enjoyed it!
Great video :)
Glad you enjoyed it
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.
Hey Stevie,
That's a great analysis!
And it's a rock solid structure for that documentary.
Thank you for your comment!
Cheers,
Karel
@@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 💙💙
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.
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?