ASSIGNMENT: Write out your reasons WHY THEM? for the lovers in your WIP.

(The Call to Adventure is very often a literal phone call, summons, knock on the door, or mailed invitation.)

Also usually at the climax of Act Two, the CENTRAL QUESTION of the story, that was asked in the first act, is answered. And here’s an interesting structural paradigm to consider. In a lot of stories, the answer is often: No.

The game-changing action of the Midpoint will very often cause the hero/ine to have to recalibrate the PLAN.

The writers often just have the characters say flat out what we’re supposed to be afraid of. Spell it out. It works.

Generally what we hope for the character is the same as her or his INNER NEED.

dual protagonist, two characters working together (usually reluctantly at first) against some kind of outer antagonist — or — you will see equal characters who are each other’s antagonist, who both have to undergo major character arcs (which you could call a DOUBLE REVERSAL) in order to come together as a couple.

ASSIGNMENT: Make a list of ten high concept premises (that I haven’t already discussed here!). Try to define what about them makes them high concept for you. ASSIGNMENT: Make a commitment to come up with at least three premises a week. Try them out on your friends and family. Which ones make their eyes light up? Why aren’t you writing those

The second act climax is another place that you might start a TICKING CLOCK (although a clock can begin at virtually any time in a story).