Did you ever write a script and got it green lit ? If you’re so good with screenwriting as you portray, why don’t you have good scripts to your name ? Why even do this UA-cam thing ? Why don’t you just keep writing scripts ? See what I’m getting at ? It’s like those dudes who advertise how to be rich. If they’re so rich, why charge so much on these classes on how to be rich ? TELL US WHY SHOULD WE LISTEN TO YOU WHEN YOU HAVE NO SCRIPTS TO YOUR NAME ?
@@factualca if you’re not helped by my UA-cam channel then no need to check out the site. If the channel has been helpful, then the site may also be. Good luck to you!
Watching these videos is like being at a collage seminar. But it's straight to the point, no mountains of homework, and easily accessible. Thanks Tyler
What I like about video essays (especially yours) is that they can deliver such GREAT advice, but they deliver it in a way thats easy to understand. There are a lot of teachers and writers that could learn from this. X3
I was literally sitting over my draft working on the middle parts, figuring out how to do them more exciting - and just enjoyable at this point really. This gave me so many ideas. I have seen many of your videos and my nootbook is just drafts and notes from you. Thank you for your work
@@NomisArchives nice, you could connect the time travel to the start of the film and link it with some key elements of the film which are maybe made a mystery? Sounds interesting.
I’m an editor and find these breakdowns extremely enjoyable. It’s almost journalistic; you’re telling the information the consumer expects from the title and needs to understand the concept with as little fluff as possible. You’re concise but you do round it out well enough that your point is well built. You don’t scrimp. You also don’t add a ton of time by having excessive intros or outros in regards to the UA-cam thing, not many repeated calls to action. I did notice one script mistake, but for how many pages your script would have been, one is completely forgivable. Solid job. I subscribed and will point people in your direction. I don’t deal with scripts, but many of the same points translate closely or perfectly for print. Kudos, Tyler, and good luck in the future.
Great video. It's been suggested by a few screenwriting teachers that the three act story isn't engraved in stone. That many stories, when broken down, can be seen as being made up of five or more acts. This video represents another viewpoint. And that's what I think is important. Not to limit oneself to just one approach to story telling. I think the story circle is more freeing in that it shows that what's most important in storytelling is how the story progresses, not necessarily "when". Thanks for the inspiration.
The script for Parasite is 141 pages long (script-pdf.s3-us-west-2.amazonaws.com/parasite-script-pdf.pdf). Page 71: KI-JUNG (to Ki-Tek) Shit. You’re going to clean this up, right? CHUNG-SOOK (laughing) I didn’t believe him for one second. KI-WOO Really? I thought he was really going to kill you. CHUNG-SOOK He could never do that. Your father hasn’t a single backbone in his body. The epitome of a spineless mo-- They are all laughing uproariously when -- The DOORBELL rings loudly throughout the house. ---- Absolutely exquisite storytelling.
Great explanation of the midpoint! Although, I'd argue the midpoint for The Dark Knight isn't the Joke being captured, but the press conference where Bruce doesn't admit his true identity as Batman when Harvey publicly takes the fall. The midpoint should serve as a mirror of the climax and the moral choice the protagonist makes, solidifying his arc. Let me explain my argument: In the beginning, Batman wants to clean up Gotham well enough so Bruce can hang up the cowl and turn over that responsibility to Harvey Dent. The midpoint changes that. By witnessing Harvey's noble sacrifice, Bruce learns that Batman MUST exist because he serves as a symbol for hope for the city, despite the city hating him for it; he can't simply reveal his true identity because everyone needs him. In the climax, Batman doesn't let Harvey take the fall for his crimes; he realizes Batman must take the blame because he's more than a man, he's a symbol that can be hated and decried by the public. I'd love to hear your thoughts!
You could be right about that. The midway point by the minute is where Dent tells everyone he's Batman. The Joker isn't captured until ten minutes later.
I love your style: dense and detailed information concisely delivered with nuance in 10 minute segments. Not a wasted beat. It's perfect for the commute home or the drive to the store. Bravo!
Thanks for this. Not too many channels focus or communicate the importance of the midpoint. This video gives the midpoint gives the midpoint a clearer definition.
I am in film school right now and we do learn the same stuff. This channel it’s like doing reviews of what I been learning in filmmaking but more in depth... It’s awesome that now you can find this info well taught and explain in UA-cam. Really like your UA-cam videos 👍 now I am working in my thesis film that I am about to shoot this month and I was still stuck with some points in my script and this channel has come really handy for me.
This is the most "repetitive" problem I encounter and I put that word in quotes for a reason. I always fear to be that word in my 2nd act. This video is surely going to help me cleaning 2nd act mess in my first rewrite. Thanks.
The key eliment is not just the protagonist but the journey of all the major characters changes at the midpoint and some time the journey even reverses for intances Furiosa's in Mad max furry. Well narreted Tyler also it's a pleasure being part of you're email list, thank you.
As a film theory student I can say you would be an incredible professor. Your examples, so cut throat and clear. I’m glad you decided to do this UA-cam channel and pursue your goal/passion. We can tell
So, by the logic of Harmon's story circle, in Dark of the Moon autobots get what they want which is Sentinel and who's space bridge can help the autobots gain advantage over the decepticons, but they pay a heavy price for it when Sentinel kills Ironhide and reveals what he had made a deal with Megatron back on Cybertron.
Loved the video, but I must say that Blake Snyder's Fun and Games actually comes BEFORE midpoint. As in Vogler Trials, it's the part in which the protagonist discovers the new world, and explores the promise of the premise, and THEN he's thrown into chaos by the midpoint. I personally see the Midpoint as a "burning the bridges" point, in the sense that there's no coming back road possible for the protagonist.
Thank you so much Tyler, I want my novels to be transformed in scripts and your videos really help me to understand how to do that. I'm happy that I've found your channel
me too. have you found the function of the midpoint in novels and movies are similar? I don't find that false-defeat/false-victory is in both. what I'm mostly confused about is that in the midpoint, the character is supposed to have some sort of change/epiphany that they realize that makes their progress towards the goal even more important. A recommitment to the goal is often said. Im confused because if the introspection happens at the midpoint - they realize that they need to change and take steps with that newfound growth - then how is that different than the plot point 2/turning point2? I also learned that at the second plot point is where the character is supposed to have the epiphany/realization they need to change and do it towards the climax. I see examples all over such as bilbo in the hobbit, his dwarf friends get captured by spiders at the midpoint, so it's then he realized he has to be brave. that happens at the midpoint, not the second plot point. so confused!
Feels like a mix between an inciting incident and a climactic event. With multi-layered narratives & characters, there's always going to be ebbs and flows - I don't think a midpoint is a definitive landmark
Hey Tyler. Just thought I’d share my own revelation about little miss sunshine. The story revolves around olive but it’s really about Richard. Yes. Olive achieved something but that’s completely an outer goal. She’s still the same person as influenced by grandpa from beginning to end with a little bit of doubt thrown which comes through from Richard as impeding on her gift for being just plain old olive. Richard hurts the most from his fathers death and actually no REVERSE is necessary when seen from this perspective. After all. He got what he wanted. An answer about his book deal where it’s a no go. His heavy price is a type of ego death embodied by his father; that higher self calling to fulfill his mission for his death. His projects that winner mentality into this event. Getting them there by any means necessary. And it’s only when HE PERFORMS that there is a sense of completeness. Olives performance is unothordox and funny and seems to be the bigger highlight but it’s just spectacle. What’s really at play is olives tenacious ability to continue performing and her fathers decision to allow her to which culminates his realization that winning is about doing or what have you. Oh and that falling action is what Michael hauge would see in Richard as him retreating from his essence back into his wound. Anyways that’s my shpeal. Great video as always!
Just a point, in The Dark Knight, Batman wants Harvey Dent to take over for him "in the light" so he can retire and be with Rachel, it isn't actually Rachel's death that is the climax here, it's Harvey's fall to becoming two face. It's that moment that make's Batman's plan of retirement impossible. This becomes a bit clearer with the beginning setting up talks of Batman stopping, and the story coming along that Harvey is Batman's hope. Great video, it's a small point about that specific story and doesn't effect the message here, I just wanted to point it out.
Thank man, I deeply enjoy these videos. I recently got interested in storywriting because I'm starting to realize stories are a powerful educational tool and that's what I like about your videos - you always end up talking about the root of the story which is meaning and morality. Now I'm struggling to understand one thing - what is the meaning of a midpoint? Why does it need to happen? What does it mean if it happens? Wondered if you could me answering this question. :)
Great video. I love your stuff! In the Martian, it bugged me with the door blowing open. It would have been better if it was linked to something he intentionally did, and not just the Plot God intervening because things couldn't be that easy. The two other examples were better. But it doesn't matter - thanks for your videos 😁❤
In LITTLE MISS SUNSHINE, would you agree the father, Richard (Greg Kinnear) is the protagonist? On page 62 of Michael Arndt's screenplay, Richard says: "If there's one thing Grandpa would've wanted, it's to have Olive perform at the Little Miss Sunshine pageant. I believe we'd be doing a grave disservice to his memory if we gave up now. There's two kinds of people in the world: winners and losers. And what's the difference? Winners don't give up. So what are we here? Are we winners? Or losers?" Though Richard is the key protagonist, this is still a mulit-protagonist story - his decision forces them all to commit to making it to the pageant rather than turning back - the very definition of the mid-point. It's also an illustration of his commitment to his family, which has been lacking to this stage. I think the midpoint is not the death of the grandfather, but the DECISION by Richard to carry on to the pageant (his character arc midpoint) and though there has been chaos and conflict to this point, stealing the body and carrying on to California is certainly chaotic!
This was a great and very helpful video, but there’s just one question I have (it’s a very nitpicky one that doesn’t effect your overall video tbh) - the way you described midpoints, would TDK’s midpoint not be the false victory of them capturing the Joker, but Rachel’s death? It’s her death that sends the other protagonists on the paths they lead in the second half. Capturing the Joker feels more like it would be in the Rising Action section still. Nevertheless, I enjoyed the video very much - keep making these!
In Little Miss Sunshine, they find temporary unity but only because the father is more determined than ever that his daughter should compete. However, if you consider the father as the true protagonist (the one who must grow) and the daughter as the central character (the two can be different) then his choice to plow on is merely a more forceful action in response the negative turn of the grandfather's death. Generally, a strong midpoint should make things deeply personal for the protagonist, establish a ticking clock on solving the problem and put their soul into dire jeopardy.
hi, good insight. have you found the function of the midpoint in novels and movies are similar? I don't find that false-defeat/false-victory is in both nor the only way to do a midpoint. what I'm mostly confused about is that in the midpoint, the character is supposed to have some sort of change/epiphany that they realize that makes their progress towards the goal even more important. A recommitment to the goal is often said. Im confused because if the introspection happens at the midpoint - they realize that they need to change and take steps with that newfound growth - then how is that different than the plot point 2/turning point2? I also learned that at the second plot point is where the character is supposed to have the epiphany/realization they need to change and do it towards the climax. I see examples all over such as bilbo in the hobbit, his dwarf friends get captured by spiders at the midpoint, so it's then he realized he has to be brave. that happens at the midpoint, not the second plot point. so confused!
@@danielburns1556 In The Hero's Journey, the protagonist receives an elixir that they don't yet know how to use. This is the thing you are referring to. Consider in The Matrix, when Neo meets the Oracle - he learns of the phrase "Know Thyself," but it means little to him at that time. Neo gets a false victory for his desire when The Oracle tells him he's not The One, since Neo "Doesn't believe in this fate crap." Then immediately after, things get personal and the stakes rise when he learns Morpheus will sacrifice himself and that Neo will have to make a choice to save one of their lives. However, it's not until he stands ready to unplug Morpheus that he actually begins to believe in the power of fate. That is his epiphany moment, propelling him into the 3rd act to "Storm the fortress." and 'save the princess" (Morpheus, lol).
@@danielburns1556 Exactly. In the beginning of the 2nd Act, the protagonist enters a new world and learns new skills to navigate it. However, it isn't real growth. The midpoint reveals just how far they have to go. As things get harder, often the protagonist doubles-down on their old ways to try and push through. In Little Miss Sunshine, the father doubles-down on his drive to win the competition. That's why the epiphany usually comes at the end of the 2nd act. They've driven themselves so far into the ground with their flaw that they have to either change or die (this can be a death of the soul if not actual death).
@@oddballl9128 Thanks again! If you don't mind, I have one other questions concerning the midpoint. So in the hobbit, I believe the midpoint is the dwarves getting capture by the spiders, and so Bilbo realizes he will have to become brave in order to rescue them so they can continue on their journey. he shifts from timid to brave. after that, the dwarves praise him rather than see him as incompetent. This change seems, the way plot points are explained, to be more of a 75% mark type of character change, where they realize they need to change in order to accomplish the goal. Is it ok to have your character realize they need to change at the midpoint, especially if the way they've been approaching things hasn't been working? maybe they don't know how they need to change, but understand at the midpoint that they are going to have to?
I am writing a novel. I already have what i want to write as the beginning (through it now), the end and even the midpoint. Now, I am struggling in how to connect the beginning to the middle and to the end. Also, word count :') I am kinda underwriter :')
Vertigo kind of revolves around the middle... Almost like a new movie starts... Psycho is similar in that the central shift takes place at the shower scene and the sinking of Marion Crane’s car... The Godfather is similar in that the Hospital scene is the power shift in the family and the story. The Searchers gets right to business but the middle is a great long set up for the ending. That’s a great movie about the process being supreme. Taxi Driver... When Travis almost runs over Iris.
I have heard of false victories at the midpoint, but my story has a major negative reversal at the midpoint, and I haven’t heard much about how to handle those. Does the falling action need to be treated differently? Is it a matter of switching #5 and #6?
I do not understand why is it "Falling action" when the action actually keeps on rising even after the midpoint; at least that's how it should be according to the principle that the effort should always be greater. Otherwise won't the story actually deflate right before the III part? Can you help me there?
Tyler, if you were to write a 7 book series, would you expect to have 7 midpoints etc...or could you spread them out over the expanse? 700K words = 50% done.
I am not Tyler, but I just hope my opinion helps. The Harry Potter books series, despite having a continuity from one instalment to the next, has midpoints for each entry of the series. There is also a conflict for each book. There's a climax for each book. However, if the series is viewed as one continuum, there still seems to be a midpoint: either Harry getting a father figure, Sirius Black at the end of Prisoner of Azkaban, or Lord Voldemort's return at the end of Goblet of Fire.
Perhaps it's a matter of terminology, but I think you could have spent a little time explaining why this major turning point in the middle of the screenplay does not define an act break--that is, what unifies the two halves of the second act.
There's a part of this that doesn't make sense: Mark doesn't get what he wants but pays a heavy price. He gets what he wants - ensured survival - and then loses it shortly after.
Does Watny really "pay" for growing crops and communicating with NASA? It's a good contrast but, it seems like the storm would have just happened anyways. The storm that wrecks his garden doesn't happen because he planted potatoes. Paying for it would be more like .... the potatoes were poisoned or something and he got sick from them. The garden doesn't affect the storm at all. I guess it still works as a story device though.
So if the midoint in Django Unchained is the duo simply reaching Candy land, that doesnt exactly constitue as a bold midpoint? Or is the midpoint more specifcally the conversation Django has with Broomhilda before the dinner scene where Candy and Dr. Schultz die? Thanks! Appreicate all your vids!
All movies are Predictable and its all because of the midpoint. The all hope is lost moment. I know whatever the hero wants will appear to be lost in the middle of the film. In pixar its always 2 character fight then seperate then 5 minutes later they come back together. They should get rid of the midpoint.
Except the story circle is not Dan Harmon's model. It's Joseph Cambell's. :) You know, the founding father of storytelling ;) Good content though! Thanks!
Keep strong. Dont forget that despite the evil in this world, God is full of justice, mercy and love. Justice said we broke His perfect law - causing the world's previous perfection to be destroyed - and therefore we deserve Hell (like a punishment in any legal system but this is eternal as His perfect law is eternal too). Don't think you fit in that category? Ever done one of these?: lying, stealing - regardless of how small the object EVER, hating others - which is murder in God's perfect law, lusting (plus God sees our entire thought life). Justice says "the soul that sins shall die". BUT, mercy said "I dont want to give them what they deserve. I don't want them to be cut off from Me. I love them despite all they have done/will do against Me. I want to give My children another chance. I want them to come home and live in My love again". And love said "Jesus, God's Son, came down as a Man, our representative, suffering every temptation, pain and struggle we have ever faced, yet without sin. He took all our sins (past/present/ even future) to the cross and then crucified EVERY ONE on our behalf. Justice was paid on the cross so that we can be free from Hell's punishment, experience Gods mercy of forgiveness of sin and live in His love. If we turn from the sins we have committed and repent (turn away from our sin and pursue the opposite direction of love through Christ) He will, overtime, recreate us back into that previously perfect image through The Holy Spirit which Jesus sends to all who accept Him as their personal Lord and Savior of their life. He is in Heaven right now preparing a place for us so that He can take His faithful, believing children home with Him when He returns. He will ressurrect us from death when He returns, giving mercy to those who accept His love, instruction and teachings in their life, and give justice to those who refuse it. He doesn't want ANY of us to go to Hell and die for continuing in evil and rejecting His way to life, thats why He died FOR us. He wants us to be His and begin to follow His life of love and service through Him (not ourselves as it's impossible without depending on His power and instruction). So long as we keep our hearts near to Christ through His strength, strive to obey His will of perfect love revealed in the Bible, and ask Him to help us in the midst of (very certain) pitfalls and struggles, we will, in time, win the victory over sin, pain and DEATH through Christ. Even if you are willing to be made willing, or struggling or doubtful, simply be honest and tell Him that. He is not intimidated by ANY sin or struggle you are facing. ANY. He hears and will answer. If we pray for Him to come in, regardless of the condition, then He will. NOTE: You are NEVER too sinful or messed up that God cannot turn your life around through Jesus. EVER. If you have any questions let me know Xx
Help I've got too much story. if paced well the script will be easily 3 and a half hours long, and it's a drama. And there's nothing I can remove from the narrative
Maybe I'm slow but are Midpoint and climax the same thing? I did a script writing class years ago and the teacher was shit. He didn't explain midpoint very well.
So basically, something happens, the character adapts and figures it out, things are going good - midpoint - everything goes to shit - end, things don't end up so shit.
So I've never watched or heard of Little Miss Sunshine, so I thought it was going to be a cute movie about this little girl entering a beauty pageant but *_then they put their dead grandpa into the van and keep driving to the pageant? Excuse me but whAT_*
I don't know if the Batman analogy sticks. The Joker continually raised the stakes, with the climax near the end being the biggest threat yet. It doesn't seem fit the pyramid structure you propose whatsoever.
Get Practical Tools to Write Your Great Screenplay: www.practicalscreenwriting.com
Did you ever write a script and got it green lit ? If you’re so good with screenwriting as you portray, why don’t you have good scripts to your name ? Why even do this UA-cam thing ? Why don’t you just keep writing scripts ? See what I’m getting at ? It’s like those dudes who advertise how to be rich. If they’re so rich, why charge so much on these classes on how to be rich ? TELL US WHY SHOULD WE LISTEN TO YOU WHEN YOU HAVE NO SCRIPTS TO YOUR NAME ?
NO THANKS! CHATGPT KNOWS MORE THAN YOU!
@@factualca if you’re not helped by my UA-cam channel then no need to check out the site. If the channel has been helpful, then the site may also be. Good luck to you!
@@fernando749845 hahaha the ultimate insult 🤣
Watching these videos is like being at a collage seminar. But it's straight to the point, no mountains of homework, and easily accessible. Thanks Tyler
Wait... you haven’t been doing the homework?
It would be a lot funnier if it went "In Little Miss Sunshine, they get what they want when Grandpa dies."
ua-cam.com/video/GER4PaXscUE/v-deo.html
What I like about video essays (especially yours) is that they can deliver such GREAT advice, but they deliver it in a way thats easy to understand. There are a lot of teachers and writers that could learn from this. X3
I was literally sitting over my draft working on the middle parts, figuring out how to do them more exciting - and just enjoyable at this point really. This gave me so many ideas.
I have seen many of your videos and my nootbook is just drafts and notes from you.
Thank you for your work
Glad it was helpful!
Your videos help me very much with my script, currently on page 27 of my first draft!
same with mee but i am at 29th page
That’s great! Keep moving!
May I ask what it's about? Maybe just a brief synopsis? But keep going man.
@@arjunjai1852 In the year 2136 a mercenary is tasked to retrieve a dangerous piece of technology that turns out to be a time machine
@@NomisArchives nice, you could connect the time travel to the start of the film and link it with some key elements of the film which are maybe made a mystery? Sounds interesting.
The Martian is one of my favourite films!!!
I’m an editor and find these breakdowns extremely enjoyable. It’s almost journalistic; you’re telling the information the consumer expects from the title and needs to understand the concept with as little fluff as possible. You’re concise but you do round it out well enough that your point is well built. You don’t scrimp. You also don’t add a ton of time by having excessive intros or outros in regards to the UA-cam thing, not many repeated calls to action.
I did notice one script mistake, but for how many pages your script would have been, one is completely forgivable. Solid job. I subscribed and will point people in your direction. I don’t deal with scripts, but many of the same points translate closely or perfectly for print.
Kudos, Tyler, and good luck in the future.
Great video. It's been suggested by a few screenwriting teachers that the three act story isn't engraved in stone. That many stories, when broken down, can be seen as being made up of five or more acts. This video represents another viewpoint. And that's what I think is important. Not to limit oneself to just one approach to story telling. I think the story circle is more freeing in that it shows that what's most important in storytelling is how the story progresses, not necessarily "when". Thanks for the inspiration.
Dude, this was finally a break thru for me. Freytags triangle is how I can punch thru the middle. Yes. Thank you.
In parasite the middle point is went the old housekeeper ring the doorbell
Correct!
More specifically when we head down the stairs and realize the man is hiding down there. That’s the true dramatic revelation.
The script for Parasite is 141 pages long (script-pdf.s3-us-west-2.amazonaws.com/parasite-script-pdf.pdf).
Page 71:
KI-JUNG
(to Ki-Tek)
Shit. You’re going to clean this
up, right?
CHUNG-SOOK
(laughing)
I didn’t believe him for one
second.
KI-WOO
Really? I thought he was really
going to kill you.
CHUNG-SOOK
He could never do that. Your
father hasn’t a single backbone in
his body. The epitome of a
spineless mo--
They are all laughing uproariously when --
The DOORBELL rings loudly throughout the house.
----
Absolutely exquisite storytelling.
The examples helped my understanding a lot - and cool that you included both the external events and the themes, like “unity”
Glad to hear it was helpful!
Great explanation of the midpoint! Although, I'd argue the midpoint for The Dark Knight isn't the Joke being captured, but the press conference where Bruce doesn't admit his true identity as Batman when Harvey publicly takes the fall. The midpoint should serve as a mirror of the climax and the moral choice the protagonist makes, solidifying his arc. Let me explain my argument:
In the beginning, Batman wants to clean up Gotham well enough so Bruce can hang up the cowl and turn over that responsibility to Harvey Dent. The midpoint changes that. By witnessing Harvey's noble sacrifice, Bruce learns that Batman MUST exist because he serves as a symbol for hope for the city, despite the city hating him for it; he can't simply reveal his true identity because everyone needs him. In the climax, Batman doesn't let Harvey take the fall for his crimes; he realizes Batman must take the blame because he's more than a man, he's a symbol that can be hated and decried by the public.
I'd love to hear your thoughts!
You could be right about that. The midway point by the minute is where Dent tells everyone he's Batman. The Joker isn't captured until ten minutes later.
I love your style: dense and detailed information concisely delivered with nuance in 10 minute segments. Not a wasted beat. It's perfect for the commute home or the drive to the store. Bravo!
Thanks for this. Not too many channels focus or communicate the importance of the midpoint. This video gives the midpoint gives the midpoint a clearer definition.
I am in film school right now and we do learn the same stuff. This channel it’s like doing reviews of what I been learning in filmmaking but more in depth... It’s awesome that now you can find this info well taught and explain in UA-cam. Really like your UA-cam videos 👍 now I am working in my thesis film that I am about to shoot this month and I was still stuck with some points in my script and this channel has come really handy for me.
This is the most "repetitive" problem I encounter and I put that word in quotes for a reason. I always fear to be that word in my 2nd act. This video is surely going to help me cleaning 2nd act mess in my first rewrite. Thanks.
Glad it was helpful!
I love how you explained this ! Finally someone who gives a clear simple example of the midpoint turn. 👏🏻👏🏻
YES! This is what i need. I always thought my story have a weak, supple midpoint.
The key eliment is not just the protagonist but the journey of all the major characters changes at the midpoint and some time the journey even reverses for intances Furiosa's in Mad max furry. Well narreted Tyler also it's a pleasure being part of you're email list, thank you.
Please make a video on horror movies script writing process.....
This helped me a lot! Thank you so much Tyler! Lots of love and respect! ❤
As a film theory student I can say you would be an incredible professor. Your examples, so cut throat and clear. I’m glad you decided to do this UA-cam channel and pursue your goal/passion. We can tell
This video was really helpful, thanks Tyler.
The most helpful screenplay channel I've come across. The circle really helped me navigate my screenplay.
Glad to hear it!
Thank you! I've been struggling with this in the screenplay I have been working on for a while. Back to the grind!
What a fantastic video. Thank you!
Hello fellow SFMer, what brought you here 1 year ago?
So, by the logic of Harmon's story circle, in Dark of the Moon autobots get what they want which is Sentinel and who's space bridge can help the autobots gain advantage over the decepticons, but they pay a heavy price for it when Sentinel kills Ironhide and reveals what he had made a deal with Megatron back on Cybertron.
Very informative for understanding the midpoint and climax difference.
Great video thank you Tyler. I hope you will succeed in Hollywood!
Loved the video, but I must say that Blake Snyder's Fun and Games actually comes BEFORE midpoint. As in Vogler Trials, it's the part in which the protagonist discovers the new world, and explores the promise of the premise, and THEN he's thrown into chaos by the midpoint. I personally see the Midpoint as a "burning the bridges" point, in the sense that there's no coming back road possible for the protagonist.
Thank you so much Tyler, I want my novels to be transformed in scripts and your videos really help me to understand how to do that. I'm happy that I've found your channel
me too. have you found the function of the midpoint in novels and movies are similar? I don't find that false-defeat/false-victory is in both. what I'm mostly confused about is that in the midpoint, the character is supposed to have some sort of change/epiphany that they realize that makes their progress towards the goal even more important. A recommitment to the goal is often said. Im confused because if the introspection happens at the midpoint - they realize that they need to change and take steps with that newfound growth - then how is that different than the plot point 2/turning point2? I also learned that at the second plot point is where the character is supposed to have the epiphany/realization they need to change and do it towards the climax. I see examples all over such as bilbo in the hobbit, his dwarf friends get captured by spiders at the midpoint, so it's then he realized he has to be brave. that happens at the midpoint, not the second plot point. so confused!
Huh, now I get how and why Your Name works! It practically changes genre at the midpoint!
Feels like a mix between an inciting incident and a climactic event. With multi-layered narratives & characters, there's always going to be ebbs and flows - I don't think a midpoint is a definitive landmark
youre an absolute legend dude thank you for these videos
Great videos dude. Keep up the good work.
Thank you for this! This is a brilliant way of turning it (the middle) around.
Hey Tyler. Just thought I’d share my own revelation about little miss sunshine. The story revolves around olive but it’s really about Richard. Yes. Olive achieved something but that’s completely an outer goal. She’s still the same person as influenced by grandpa from beginning to end with a little bit of doubt thrown which comes through from Richard as impeding on her gift for being just plain old olive. Richard hurts the most from his fathers death and actually no REVERSE is necessary when seen from this perspective. After all. He got what he wanted. An answer about his book deal where it’s a no go. His heavy price is a type of ego death embodied by his father; that higher self calling to fulfill his mission for his death. His projects that winner mentality into this event. Getting them there by any means necessary. And it’s only when HE PERFORMS that there is a sense of completeness. Olives performance is unothordox and funny and seems to be the bigger highlight but it’s just spectacle. What’s really at play is olives tenacious ability to continue performing and her fathers decision to allow her to which culminates his realization that winning is about doing or what have you. Oh and that falling action is what Michael hauge would see in Richard as him retreating from his essence back into his wound. Anyways that’s my shpeal. Great video as always!
Just a point, in The Dark Knight, Batman wants Harvey Dent to take over for him "in the light" so he can retire and be with Rachel, it isn't actually Rachel's death that is the climax here, it's Harvey's fall to becoming two face. It's that moment that make's Batman's plan of retirement impossible. This becomes a bit clearer with the beginning setting up talks of Batman stopping, and the story coming along that Harvey is Batman's hope. Great video, it's a small point about that specific story and doesn't effect the message here, I just wanted to point it out.
Thank man, I deeply enjoy these videos.
I recently got interested in storywriting because I'm starting to realize stories are a powerful educational tool and that's what I like about your videos - you always end up talking about the root of the story which is meaning and morality.
Now I'm struggling to understand one thing - what is the meaning of a midpoint? Why does it need to happen? What does it mean if it happens?
Wondered if you could me answering this question. :)
Your videos are so helpful, thank you so much!
Glad you’ve been helped by them!
Great video. I love your stuff!
In the Martian, it bugged me with the door blowing open.
It would have been better if it was linked to something he intentionally did, and not just the Plot God intervening because things couldn't be that easy. The two other examples were better.
But it doesn't matter - thanks for your videos 😁❤
You deserve more views holy shit
Love your work dude..keep doing what you do!
Thank you!
Very helpful video.Thanks.
This is really good. Helped me so much.
Wow man. You're absolutely awesome! Thank you!
Sooooo helpful!!! Thank you!
In LITTLE MISS SUNSHINE, would you agree the father, Richard (Greg Kinnear) is the protagonist?
On page 62 of Michael Arndt's screenplay, Richard says:
"If there's one thing Grandpa would've wanted, it's to have Olive perform at the Little Miss Sunshine
pageant. I believe we'd be doing a grave disservice to his memory if we gave up now. There's two kinds
of people in the world: winners and losers. And what's the difference? Winners don't give up.
So what are we here? Are we winners? Or losers?"
Though Richard is the key protagonist, this is still a mulit-protagonist story - his decision forces them all to commit to making it to the pageant rather than turning back - the very definition of the mid-point. It's also an illustration of his commitment to his family, which has been lacking to this stage. I think the midpoint is not the death of the grandfather, but the DECISION by Richard to carry on to the pageant (his character arc midpoint) and though there has been chaos and conflict to this point, stealing the body and carrying on to California is certainly chaotic!
Great vid. Thanks!
Exactly what I needed!! Thanks!!!
You’re welcome!
This is my fav channel 😋
thank you for you work man! Very helpful.
This was a great and very helpful video, but there’s just one question I have (it’s a very nitpicky one that doesn’t effect your overall video tbh) - the way you described midpoints, would TDK’s midpoint not be the false victory of them capturing the Joker, but Rachel’s death? It’s her death that sends the other protagonists on the paths they lead in the second half. Capturing the Joker feels more like it would be in the Rising Action section still. Nevertheless, I enjoyed the video very much - keep making these!
Good video, thanks Tyler! 👏🏻
great way to connect the two toguether. great exploration of genious.
Thank you so much ! Your videos are so helpful
Great videos man!🙌🏻🙌🏻
cheers, will be looking into that email list!
I love this.
Your so underrated
In Little Miss Sunshine, they find temporary unity but only because the father is more determined than ever that his daughter should compete. However, if you consider the father as the true protagonist (the one who must grow) and the daughter as the central character (the two can be different) then his choice to plow on is merely a more forceful action in response the negative turn of the grandfather's death. Generally, a strong midpoint should make things deeply personal for the protagonist, establish a ticking clock on solving the problem and put their soul into dire jeopardy.
hi, good insight. have you found the function of the midpoint in novels and movies are similar? I don't find that false-defeat/false-victory is in both nor the only way to do a midpoint. what I'm mostly confused about is that in the midpoint, the character is supposed to have some sort of change/epiphany that they realize that makes their progress towards the goal even more important. A recommitment to the goal is often said. Im confused because if the introspection happens at the midpoint - they realize that they need to change and take steps with that newfound growth - then how is that different than the plot point 2/turning point2? I also learned that at the second plot point is where the character is supposed to have the epiphany/realization they need to change and do it towards the climax. I see examples all over such as bilbo in the hobbit, his dwarf friends get captured by spiders at the midpoint, so it's then he realized he has to be brave. that happens at the midpoint, not the second plot point. so confused!
@@danielburns1556 In The Hero's Journey, the protagonist receives an elixir that they don't yet know how to use. This is the thing you are referring to. Consider in The Matrix, when Neo meets the Oracle - he learns of the phrase "Know Thyself," but it means little to him at that time. Neo gets a false victory for his desire when The Oracle tells him he's not The One, since Neo "Doesn't believe in this fate crap." Then immediately after, things get personal and the stakes rise when he learns Morpheus will sacrifice himself and that Neo will have to make a choice to save one of their lives. However, it's not until he stands ready to unplug Morpheus that he actually begins to believe in the power of fate. That is his epiphany moment, propelling him into the 3rd act to "Storm the fortress." and 'save the princess" (Morpheus, lol).
@@oddballl9128 Thank you replying! so, at the midpoint, the character doesn't realize they need to change - like they do at the end of the second act?
@@danielburns1556 Exactly. In the beginning of the 2nd Act, the protagonist enters a new world and learns new skills to navigate it. However, it isn't real growth. The midpoint reveals just how far they have to go. As things get harder, often the protagonist doubles-down on their old ways to try and push through. In Little Miss Sunshine, the father doubles-down on his drive to win the competition. That's why the epiphany usually comes at the end of the 2nd act. They've driven themselves so far into the ground with their flaw that they have to either change or die (this can be a death of the soul if not actual death).
@@oddballl9128 Thanks again! If you don't mind, I have one other questions concerning the midpoint. So in the hobbit, I believe the midpoint is the dwarves getting capture by the spiders, and so Bilbo realizes he will have to become brave in order to rescue them so they can continue on their journey. he shifts from timid to brave. after that, the dwarves praise him rather than see him as incompetent. This change seems, the way plot points are explained, to be more of a 75% mark type of character change, where they realize they need to change in order to accomplish the goal. Is it ok to have your character realize they need to change at the midpoint, especially if the way they've been approaching things hasn't been working? maybe they don't know how they need to change, but understand at the midpoint that they are going to have to?
This video is so helpful. Does all this advice still apply to series?
So good my child will like this
Thanks so much for this!!
I am writing a novel. I already have what i want to write as the beginning (through it now), the end and even the midpoint.
Now, I am struggling in how to connect the beginning to the middle and to the end.
Also, word count :')
I am kinda underwriter :')
thanks
Have you done a video on Jill chamberlin's Nutshell technique? I found it to be a great writing resource and it's not a super dense read
Hy tyler I'am from Indonesia like your Content
Vertigo kind of revolves around the middle... Almost like a new movie starts...
Psycho is similar in that the central shift takes place at the shower scene and the sinking of Marion Crane’s car...
The Godfather is similar in that the Hospital scene is the power shift in the family and the story.
The Searchers gets right to business but the middle is a great long set up for the ending. That’s a great movie about the process being supreme.
Taxi Driver... When Travis almost runs over Iris.
I have heard of false victories at the midpoint, but my story has a major negative reversal at the midpoint, and I haven’t heard much about how to handle those. Does the falling action need to be treated differently? Is it a matter of switching #5 and #6?
I do not understand why is it "Falling action" when the action actually keeps on rising even after the midpoint; at least that's how it should be according to the principle that the effort should always be greater. Otherwise won't the story actually deflate right before the III part? Can you help me there?
Am I right in saying that the midpoint of Inception is when the characters are boarding the plane to execute their plan?
good ...srilanka
Change of plans = Hero has a specific goal.
Progression follows
Tyler, if you were to write a 7 book series, would you expect to have 7 midpoints etc...or could you spread them out over the expanse? 700K words = 50% done.
I am not Tyler, but I just hope my opinion helps. The Harry Potter books series, despite having a continuity from one instalment to the next, has midpoints for each entry of the series. There is also a conflict for each book. There's a climax for each book. However, if the series is viewed as one continuum, there still seems to be a midpoint: either Harry getting a father figure, Sirius Black at the end of Prisoner of Azkaban, or Lord Voldemort's return at the end of Goblet of Fire.
Perhaps it's a matter of terminology, but I think you could have spent a little time explaining why this major turning point in the middle of the screenplay does not define an act break--that is, what unifies the two halves of the second act.
LIT
I've not watched The Martian or Little Miss Sunshine!!! Had to stop video in case of other movie spoilers..... ☹️
There's a part of this that doesn't make sense: Mark doesn't get what he wants but pays a heavy price. He gets what he wants - ensured survival - and then loses it shortly after.
Does Watny really "pay" for growing crops and communicating with NASA? It's a good contrast but, it seems like the storm would have just happened anyways. The storm that wrecks his garden doesn't happen because he planted potatoes. Paying for it would be more like .... the potatoes were poisoned or something and he got sick from them. The garden doesn't affect the storm at all. I guess it still works as a story device though.
So if the midoint in Django Unchained is the duo simply reaching Candy land, that doesnt exactly constitue as a bold midpoint? Or is the midpoint more specifcally the conversation Django has with Broomhilda before the dinner scene where Candy and Dr. Schultz die? Thanks! Appreicate all your vids!
All movies are Predictable and its all because of the midpoint. The all hope is lost moment. I know whatever the hero wants will appear to be lost in the middle of the film. In pixar its always 2 character fight then seperate then 5 minutes later they come back together. They should get rid of the midpoint.
Except the story circle is not Dan Harmon's model. It's Joseph Cambell's. :) You know, the founding father of storytelling ;)
Good content though! Thanks!
The Story Circle originated from the hero’s journey but they have different uses. I get this comment constantly. I need to do a video on this.
Keep strong. Dont forget that despite the evil in this world, God is full of justice, mercy and love.
Justice said we broke His perfect law - causing the world's previous perfection to be destroyed - and therefore we deserve Hell (like a punishment in any legal system but this is eternal as His perfect law is eternal too). Don't think you fit in that category? Ever done one of these?: lying, stealing - regardless of how small the object EVER, hating others - which is murder in God's perfect law, lusting (plus God sees our entire thought life). Justice says "the soul that sins shall die".
BUT, mercy said "I dont want to give them what they deserve. I don't want them to be cut off from Me. I love them despite all they have done/will do against Me. I want to give My children another chance. I want them to come home and live in My love again".
And love said "Jesus, God's Son, came down as a Man, our representative, suffering every temptation, pain and struggle we have ever faced, yet without sin. He took all our sins (past/present/ even future) to the cross and then crucified EVERY ONE on our behalf. Justice was paid on the cross so that we can be free from Hell's punishment, experience Gods mercy of forgiveness of sin and live in His love. If we turn from the sins we have committed and repent (turn away from our sin and pursue the opposite direction of love through Christ) He will, overtime, recreate us back into that previously perfect image through The Holy Spirit which Jesus sends to all who accept Him as their personal Lord and Savior of their life.
He is in Heaven right now preparing a place for us so that He can take His faithful, believing children home with Him when He returns. He will ressurrect us from death when He returns, giving mercy to those who accept His love, instruction and teachings in their life, and give justice to those who refuse it.
He doesn't want ANY of us to go to Hell and die for continuing in evil and rejecting His way to life, thats why He died FOR us. He wants us to be His and begin to follow His life of love and service through Him (not ourselves as it's impossible without depending on His power and instruction). So long as we keep our hearts near to Christ through His strength, strive to obey His will of perfect love revealed in the Bible, and ask Him to help us in the midst of (very certain) pitfalls and struggles, we will, in time, win the victory over sin, pain and DEATH through Christ. Even if you are willing to be made willing, or struggling or doubtful, simply be honest and tell Him that. He is not intimidated by ANY sin or struggle you are facing. ANY. He hears and will answer. If we pray for Him to come in, regardless of the condition, then He will.
NOTE: You are NEVER too sinful or messed up that God cannot turn your life around through Jesus. EVER.
If you have any questions let me know
Xx
So basically an inverted Freyrag pyramid is what you can call it?
Is it possible that the midpoint and the breaking point of the story are the same?
Help I've got too much story. if paced well the script will be easily 3 and a half hours long, and it's a drama. And there's nothing I can remove from the narrative
Maybe I'm slow but are Midpoint and climax the same thing? I did a script writing class years ago and the teacher was shit. He didn't explain midpoint very well.
The link isn't working for me.
O op
Wish
So basically, something happens, the character adapts and figures it out, things are going good - midpoint - everything goes to shit - end, things don't end up so shit.
So I've never watched or heard of Little Miss Sunshine, so I thought it was going to be a cute movie about this little girl entering a beauty pageant but *_then they put their dead grandpa into the van and keep driving to the pageant? Excuse me but whAT_*
It’s fantastic you must watch it
The midpoint or How to anihilate your character life?
Why should we listen to you when you have 0 scripts to your name ? Why ? Show your credentials my dude
I don't know if the Batman analogy sticks. The Joker continually raised the stakes, with the climax near the end being the biggest threat yet. It doesn't seem fit the pyramid structure you propose whatsoever.
this guy sounds like he grew up in a weird neighborhood