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Q&A Why does the second act 'reaction' and then 'action' need to be drawn out?

Hello. Another angle to consider is that personal growth is easier to realistically portray through a series of try-fail cycles. There are multiple fails in Act II, and multiple successes. These ...

posted 5y ago by DPT‭  ·  edited 5y ago by ArtOfCode‭

Answer
#12: Post edited by user avatar ArtOfCode‭ · 2019-12-30T20:53:18Z (almost 5 years ago)
Markdown list formatting
  • Hello.
  • 1. Another angle to consider is that personal growth is easier to realistically portray through a series of try-fail cycles. There are multiple fails in Act II, and multiple successes. These show the character learning (growing).
  • Characters don't usually grow from an inciting incident (Act I) or a climax (Act III). Most character growth seems to occur in Act II. It's sometimes called the 'fun and games' section of the story. There is room to play in Act II--both for you as a writer and for the characters. A lot of world building can be shown through Act II, through whatever journey the character takes there.
  • Also, learning to love in one way or another can be an important part of a story. Learning to love can be to a person or bonding to a philosophy or movement or what-have-you. This emotional transformation occurs in Act II. And whatever love a character develops in Act II contributes to the tension in the climax in Act III.
  • Examples: Luke becomes a Jedi through practicing the force in Act II (that's fun and games), but he also learns to love the rebellion in IV (and he comes to love Han, too, and Han comes to love him). He comes to love his father in V. Falling in love takes time. He grows as a Jedi but also as a human being.
  • I believe Act II is where most of the interpersonal discovery and relational breakthroughs occur. I believe that having these emotional and transformative character changes leads to a more satisfying story.
  • 2. The above ('Answer one') is an emotional and relational way to think about the three act structure and the role of Act II. However, your question focuses on plot points and is posed with 'the character.' In other words, you might not be focusing on interpersonal dynamics. You might not care about Answer One.
  • So. A more 'plotty' way to think about lengthening Act II is this: A satisfying story shows the journey for *multiple characters.* Yes, the Main Character, who may be the viewpoint, but also the surrounding characters including the Main Antagonist. Each has their own goal toward which they are acting. Arwen wanted to help Aragorn. Her father wanted to protect her. Galadriel wanted to resist the ring while also wanting the ring, and so on. The Ents had goals. The kings had goals. Goals, goals everywhere.
  • The interplay of these take time to work out, and that's Act II, and it all leads to the climax in Act III.
  • Hello.
  • 1. Another angle to consider is that personal growth is easier to realistically portray through a series of try-fail cycles. There are multiple fails in Act II, and multiple successes. These show the character learning (growing).
  • Characters don't usually grow from an inciting incident (Act I) or a climax (Act III). Most character growth seems to occur in Act II. It's sometimes called the 'fun and games' section of the story. There is room to play in Act II--both for you as a writer and for the characters. A lot of world building can be shown through Act II, through whatever journey the character takes there.
  • Also, learning to love in one way or another can be an important part of a story. Learning to love can be to a person or bonding to a philosophy or movement or what-have-you. This emotional transformation occurs in Act II. And whatever love a character develops in Act II contributes to the tension in the climax in Act III.
  • Examples: Luke becomes a Jedi through practicing the force in Act II (that's fun and games), but he also learns to love the rebellion in IV (and he comes to love Han, too, and Han comes to love him). He comes to love his father in V. Falling in love takes time. He grows as a Jedi but also as a human being.
  • I believe Act II is where most of the interpersonal discovery and relational breakthroughs occur. I believe that having these emotional and transformative character changes leads to a more satisfying story.
  • 2. The above ('Answer one') is an emotional and relational way to think about the three act structure and the role of Act II. However, your question focuses on plot points and is posed with 'the character.' In other words, you might not be focusing on interpersonal dynamics. You might not care about Answer One.
  • So. A more 'plotty' way to think about lengthening Act II is this: A satisfying story shows the journey for *multiple characters.* Yes, the Main Character, who may be the viewpoint, but also the surrounding characters including the Main Antagonist. Each has their own goal toward which they are acting. Arwen wanted to help Aragorn. Her father wanted to protect her. Galadriel wanted to resist the ring while also wanting the ring, and so on. The Ents had goals. The kings had goals. Goals, goals everywhere.
  • The interplay of these take time to work out, and that's Act II, and it all leads to the climax in Act III.
#11: Post edited by user avatar ArtOfCode‭ · 2019-12-30T20:52:34Z (almost 5 years ago)
Markdown list formatting
  • Hello.
  • Answer One. Another angle to consider is that personal growth is easier to realistically portray through a series of try-fail cycles. There are multiple fails in Act II, and multiple successes. These show the character learning (growing).
  • Characters don't usually grow from an inciting incident (Act I) or a climax (Act III). Most character growth seems to occur in Act II. It's sometimes called the 'fun and games' section of the story. There is room to play in Act II--both for you as a writer and for the characters. A lot of world building can be shown through Act II, through whatever journey the character takes there.
  • Also, learning to love in one way or another can be an important part of a story. Learning to love can be to a person or bonding to a philosophy or movement or what-have-you. This emotional transformation occurs in Act II. And whatever love a character develops in Act II contributes to the tension in the climax in Act III.
  • Examples: Luke becomes a Jedi through practicing the force in Act II (that's fun and games), but he also learns to love the rebellion in IV (and he comes to love Han, too, and Han comes to love him). He comes to love his father in V. Falling in love takes time. He grows as a Jedi but also as a human being.
  • I believe Act II is where most of the interpersonal discovery and relational breakthroughs occur. I believe that having these emotional and transformative character changes leads to a more satisfying story.
  • Answer Two. The above ('Answer one') is an emotional and relational way to think about the three act structure and the role of Act II. However, your question focuses on plot points and is posed with 'the character.' In other words, you might not be focusing on interpersonal dynamics. You might not care about Answer One.
  • So. A more 'plotty' way to think about lengthening Act II is this: A satisfying story shows the journey for *multiple characters.* Yes, the Main Character, who may be the viewpoint, but also the surrounding characters including the Main Antagonist. Each has their own goal toward which they are acting. Arwen wanted to help Aragorn. Her father wanted to protect her. Galadriel wanted to resist the ring while also wanting the ring, and so on. The Ents had goals. The kings had goals. Goals, goals everywhere.
  • The interplay of these take time to work out, and that's Act II, and it all leads to the climax in Act III.
  • Hello.
  • 1. Another angle to consider is that personal growth is easier to realistically portray through a series of try-fail cycles. There are multiple fails in Act II, and multiple successes. These show the character learning (growing).
  • Characters don't usually grow from an inciting incident (Act I) or a climax (Act III). Most character growth seems to occur in Act II. It's sometimes called the 'fun and games' section of the story. There is room to play in Act II--both for you as a writer and for the characters. A lot of world building can be shown through Act II, through whatever journey the character takes there.
  • Also, learning to love in one way or another can be an important part of a story. Learning to love can be to a person or bonding to a philosophy or movement or what-have-you. This emotional transformation occurs in Act II. And whatever love a character develops in Act II contributes to the tension in the climax in Act III.
  • Examples: Luke becomes a Jedi through practicing the force in Act II (that's fun and games), but he also learns to love the rebellion in IV (and he comes to love Han, too, and Han comes to love him). He comes to love his father in V. Falling in love takes time. He grows as a Jedi but also as a human being.
  • I believe Act II is where most of the interpersonal discovery and relational breakthroughs occur. I believe that having these emotional and transformative character changes leads to a more satisfying story.
  • 2. The above ('Answer one') is an emotional and relational way to think about the three act structure and the role of Act II. However, your question focuses on plot points and is posed with 'the character.' In other words, you might not be focusing on interpersonal dynamics. You might not care about Answer One.
  • So. A more 'plotty' way to think about lengthening Act II is this: A satisfying story shows the journey for *multiple characters.* Yes, the Main Character, who may be the viewpoint, but also the surrounding characters including the Main Antagonist. Each has their own goal toward which they are acting. Arwen wanted to help Aragorn. Her father wanted to protect her. Galadriel wanted to resist the ring while also wanting the ring, and so on. The Ents had goals. The kings had goals. Goals, goals everywhere.
  • The interplay of these take time to work out, and that's Act II, and it all leads to the climax in Act III.
#10: Post edited by user avatar DPT‭ · 2019-12-30T16:03:22Z (almost 5 years ago)
  • Hello.
  • Answer One. Another angle to consider is that personal growth is easier to realistically portray through a series of try-fail cycles. There are multiple fails in Act II, and multiple successes. These show the character learning (growing).
  • Characters don't usually grow from an inciting incident (Act I) or a climax (Act III). Most character growth seems to occur in Act II. It's sometimes called the 'fun and games' section of the story. There is room to play in Act II--both for you as a writer and for the characters. A lot of world building can be shown through Act II, through whatever journey the character takes there.
  • Also, learning to love in one way or another can be an important part of a story. Learning to love can be to a person or bonding to a philosophy or movement or what-have-you. This emotional transformation occurs in Act II. And whatever love a character develops in Act II contributes to the tension in the climax in Act III.
  • Examples: Luke becomes a Jedi through practicing the force in Act II (that's fun and games), but he also learns to love the rebellion in IV (and he comes to love Han, too, and Han comes to love him). He comes to love his father in V. Falling in love takes time. He grows as a Jedi but also as a human being.
  • I believe Act II is where most of the interpersonal discovery and relational breakthroughs occur. I believe that having these emotional and transformative character changes leads to a more satisfying story.
  • Answer Two. The above ('Answer one') is an emotional and relational way to think about the three act structure and the role of Act II. However, your question focuses on plot points and is posed with 'the character.' In other words, you might not be focusing on interpersonal dynamics.
  • A more 'plotty' way to think about lengthening Act II is this: A satisfying story shows the journey for *multiple characters.* Yes, the Main Character, who may be the viewpoint, but also the surrounding characters including the Main Antagonist. Each has their own goal toward which they are acting. Arwen wanted to help Aragorn. Her father wanted to protect her. Galadriel wanted to resist the ring while also wanting the ring, and so on. The Ents had goals. The kings had goals. Goals, goals everywhere.
  • The interplay of these take time to work out, and that's Act II, and it all leads to the climax in Act III.
  • Hello.
  • Answer One. Another angle to consider is that personal growth is easier to realistically portray through a series of try-fail cycles. There are multiple fails in Act II, and multiple successes. These show the character learning (growing).
  • Characters don't usually grow from an inciting incident (Act I) or a climax (Act III). Most character growth seems to occur in Act II. It's sometimes called the 'fun and games' section of the story. There is room to play in Act II--both for you as a writer and for the characters. A lot of world building can be shown through Act II, through whatever journey the character takes there.
  • Also, learning to love in one way or another can be an important part of a story. Learning to love can be to a person or bonding to a philosophy or movement or what-have-you. This emotional transformation occurs in Act II. And whatever love a character develops in Act II contributes to the tension in the climax in Act III.
  • Examples: Luke becomes a Jedi through practicing the force in Act II (that's fun and games), but he also learns to love the rebellion in IV (and he comes to love Han, too, and Han comes to love him). He comes to love his father in V. Falling in love takes time. He grows as a Jedi but also as a human being.
  • I believe Act II is where most of the interpersonal discovery and relational breakthroughs occur. I believe that having these emotional and transformative character changes leads to a more satisfying story.
  • Answer Two. The above ('Answer one') is an emotional and relational way to think about the three act structure and the role of Act II. However, your question focuses on plot points and is posed with 'the character.' In other words, you might not be focusing on interpersonal dynamics. You might not care about Answer One.
  • So. A more 'plotty' way to think about lengthening Act II is this: A satisfying story shows the journey for *multiple characters.* Yes, the Main Character, who may be the viewpoint, but also the surrounding characters including the Main Antagonist. Each has their own goal toward which they are acting. Arwen wanted to help Aragorn. Her father wanted to protect her. Galadriel wanted to resist the ring while also wanting the ring, and so on. The Ents had goals. The kings had goals. Goals, goals everywhere.
  • The interplay of these take time to work out, and that's Act II, and it all leads to the climax in Act III.
#9: Post edited by user avatar DPT‭ · 2019-12-30T16:02:55Z (almost 5 years ago)
  • Hello.
  • Answer One. Another angle to consider is that personal growth is easier to realistically portray through a series of try-fail cycles. There are multiple fails in Act II, and multiple successes. These show the character learning (growing).
  • Characters don't usually grow from an inciting incident (Act I) or a climax (Act III). Most character growth seems to occur in Act II. It's sometimes called the 'fun and games' section of the story. There is room to play in Act II--both for you as a writer and for the characters. A lot of world building can be shown through Act II, through whatever journey the character takes there.
  • Also, learning to love in one way or another can be an important part of a story. Learning to love can be to a person or bonding to a philosophy or movement or what-have-you. This emotional transformation occurs in Act II. And the love the character develops contributes to the tension in the climax in Act III.
  • Luke becomes a Jedi through practicing the force in Act II (that's the fun and games), but he also learns to love the rebellion in IV (and he comes to love Han, too, and Han comes to love him), or his father in V. Falling in love takes time. He grows as a Jedi but also as a human.
  • I believe Act II is where most of the interpersonal discovery and relational breakthroughs occur. I believe that having these transformative changes in the character leads to a more satisfying story.
  • Answer Two. Also. The above ('Answer one') is an emotional way to think about the three act structure. However, your question focuses on plot points and is posed with 'the character.'
  • A more 'plotty' way to think about lengthening Act II is this: A satisfying story shows the journey for *multiple characters.* Yes, the Main Character, who may be the viewpoint, but also the surrounding characters including the Main Antagonist. Each has their own goal toward which they are acting. Arwen wanted to help Aragorn. Her father wanted to protect her. Galadriel wanted to resist the ring while also wanting the ring, and so on. The Ents had goals. The kings had goals. Goals, goals everywhere.
  • The interplay of these take time to work out, and that's Act II, and it all leads to the climax in Act III.
  • Hello.
  • Answer One. Another angle to consider is that personal growth is easier to realistically portray through a series of try-fail cycles. There are multiple fails in Act II, and multiple successes. These show the character learning (growing).
  • Characters don't usually grow from an inciting incident (Act I) or a climax (Act III). Most character growth seems to occur in Act II. It's sometimes called the 'fun and games' section of the story. There is room to play in Act II--both for you as a writer and for the characters. A lot of world building can be shown through Act II, through whatever journey the character takes there.
  • Also, learning to love in one way or another can be an important part of a story. Learning to love can be to a person or bonding to a philosophy or movement or what-have-you. This emotional transformation occurs in Act II. And whatever love a character develops in Act II contributes to the tension in the climax in Act III.
  • Examples: Luke becomes a Jedi through practicing the force in Act II (that's fun and games), but he also learns to love the rebellion in IV (and he comes to love Han, too, and Han comes to love him). He comes to love his father in V. Falling in love takes time. He grows as a Jedi but also as a human being.
  • I believe Act II is where most of the interpersonal discovery and relational breakthroughs occur. I believe that having these emotional and transformative character changes leads to a more satisfying story.
  • Answer Two. The above ('Answer one') is an emotional and relational way to think about the three act structure and the role of Act II. However, your question focuses on plot points and is posed with 'the character.' In other words, you might not be focusing on interpersonal dynamics.
  • A more 'plotty' way to think about lengthening Act II is this: A satisfying story shows the journey for *multiple characters.* Yes, the Main Character, who may be the viewpoint, but also the surrounding characters including the Main Antagonist. Each has their own goal toward which they are acting. Arwen wanted to help Aragorn. Her father wanted to protect her. Galadriel wanted to resist the ring while also wanting the ring, and so on. The Ents had goals. The kings had goals. Goals, goals everywhere.
  • The interplay of these take time to work out, and that's Act II, and it all leads to the climax in Act III.
#8: Post edited by user avatar DPT‭ · 2019-12-30T16:00:06Z (almost 5 years ago)
  • Hello.
  • Answer One. Another angle to consider is that personal growth is easier to realistically portray through a series of try-fail cycles. There are multiple fails in Act II, and multiple successes. These show the character learning (growing).
  • Characters don't usually grow from an inciting incident (Act I) or a climax (Act III). Most character growth seems to occur in Act II. It's sometimes called the 'fun and games' section of the story. There is room to play in Act II--both for you as a writer and for the characters. A lot of world building can be shown through Act II, through whatever journey the character takes there.
  • Also, learning to love in one way or another can be an important part of a story. Learning to love can be to a person or bonding to a philosophy or movement or what-have-you. This emotional transformation occurs in Act II. And the love the character develops contributes to the tension in the climax in Act III.
  • Luke becomes a Jedi through practicing the force in Act II (that's the fun and games), but he also learns to love the rebellion in IV (and he comes to love Han, too, and Han comes to love him), or his father in V. Falling in love takes time. He grows as a Jedi but also as a human.
  • I believe Act II is where most of the interpersonal discovery and relational breakthroughs occur. I believe that having these transformative changes in the character leads to a more satisfying story.
  • Answer Two. Also. The above is an emotional way to think about the three act structure. Your question is posed with 'the character' and focuses on plot points. A more 'plotty' way to think about lengthening Act II is this: A satisfying story shows the journey for *multiple characters.* Yes, the Main Character, who may be the viewpoint, but also the surrounding characters including the Main Antagonist. Each has their own goal toward which they are acting. Arwen wanted to help Aragorn. Her father wanted to protect her. Galadriel wanted to resist the ring while also wanting the ring, and so on. The Ents had goals. The kings had goals. Goals, goals everywhere.
  • The interplay of these take time to work out, and that's Act II, and it all leads to the climax in Act III.
  • Hello.
  • Answer One. Another angle to consider is that personal growth is easier to realistically portray through a series of try-fail cycles. There are multiple fails in Act II, and multiple successes. These show the character learning (growing).
  • Characters don't usually grow from an inciting incident (Act I) or a climax (Act III). Most character growth seems to occur in Act II. It's sometimes called the 'fun and games' section of the story. There is room to play in Act II--both for you as a writer and for the characters. A lot of world building can be shown through Act II, through whatever journey the character takes there.
  • Also, learning to love in one way or another can be an important part of a story. Learning to love can be to a person or bonding to a philosophy or movement or what-have-you. This emotional transformation occurs in Act II. And the love the character develops contributes to the tension in the climax in Act III.
  • Luke becomes a Jedi through practicing the force in Act II (that's the fun and games), but he also learns to love the rebellion in IV (and he comes to love Han, too, and Han comes to love him), or his father in V. Falling in love takes time. He grows as a Jedi but also as a human.
  • I believe Act II is where most of the interpersonal discovery and relational breakthroughs occur. I believe that having these transformative changes in the character leads to a more satisfying story.
  • Answer Two. Also. The above ('Answer one') is an emotional way to think about the three act structure. However, your question focuses on plot points and is posed with 'the character.'
  • A more 'plotty' way to think about lengthening Act II is this: A satisfying story shows the journey for *multiple characters.* Yes, the Main Character, who may be the viewpoint, but also the surrounding characters including the Main Antagonist. Each has their own goal toward which they are acting. Arwen wanted to help Aragorn. Her father wanted to protect her. Galadriel wanted to resist the ring while also wanting the ring, and so on. The Ents had goals. The kings had goals. Goals, goals everywhere.
  • The interplay of these take time to work out, and that's Act II, and it all leads to the climax in Act III.
#7: Post edited by user avatar DPT‭ · 2019-12-30T15:58:55Z (almost 5 years ago)
Learning the formatting.
  • Hello.
  • 1. Another angle to consider is that personal growth is easier to realistically portray through a series of try-fail cycles. There are multiple fails in Act II, and multiple successes. These show the character learning (growing).
  • Characters don't usually grow from an inciting incident (Act I) or a climax (Act III). Most character growth seems to occur in Act II. It's sometimes called the 'fun and games' section of the story. There is room to play in Act II--both for you as a writer and for the characters. A lot of world building can be shown through Act II, through whatever journey the character takes there.
  • Also, learning to love in one way or another can be an important part of a story. Learning to love can be to a person or bonding to a philosophy or movement or what-have-you. This emotional transformation occurs in Act II. And the love the character develops contributes to the tension in the climax in Act III.
  • Luke becomes a Jedi through practicing the force in Act II (that's the fun and games), but he also learns to love the rebellion in IV (and he comes to love Han, too, and Han comes to love him), or his father in V. Falling in love takes time. He grows as a Jedi but also as a human.
  • I believe Act II is where most of the interpersonal discovery and relational breakthroughs occur. I believe that having these transformative changes in the character leads to a more satisfying story.
  • 2. Also. The above is an emotional way to think about the three act structure. Your question is posed with 'the character' and focuses on plot points. A more 'plotty' way to think about lengthening Act II is this: A satisfying story shows the journey for *multiple characters.* Yes, the Main Character, who may be the viewpoint, but also the surrounding characters including the Main Antagonist. Each has their own goal toward which they are acting. Arwen wanted to help Aragorn. Her father wanted to protect her. Galadriel wanted to resist the ring while also wanting the ring, and so on. The Ents had goals. The kings had goals. Goals, goals everywhere.
  • The interplay of these take time to work out, and that's Act II, and it all leads to the climax in Act III.
  • Hello.
  • Answer One. Another angle to consider is that personal growth is easier to realistically portray through a series of try-fail cycles. There are multiple fails in Act II, and multiple successes. These show the character learning (growing).
  • Characters don't usually grow from an inciting incident (Act I) or a climax (Act III). Most character growth seems to occur in Act II. It's sometimes called the 'fun and games' section of the story. There is room to play in Act II--both for you as a writer and for the characters. A lot of world building can be shown through Act II, through whatever journey the character takes there.
  • Also, learning to love in one way or another can be an important part of a story. Learning to love can be to a person or bonding to a philosophy or movement or what-have-you. This emotional transformation occurs in Act II. And the love the character develops contributes to the tension in the climax in Act III.
  • Luke becomes a Jedi through practicing the force in Act II (that's the fun and games), but he also learns to love the rebellion in IV (and he comes to love Han, too, and Han comes to love him), or his father in V. Falling in love takes time. He grows as a Jedi but also as a human.
  • I believe Act II is where most of the interpersonal discovery and relational breakthroughs occur. I believe that having these transformative changes in the character leads to a more satisfying story.
  • Answer Two. Also. The above is an emotional way to think about the three act structure. Your question is posed with 'the character' and focuses on plot points. A more 'plotty' way to think about lengthening Act II is this: A satisfying story shows the journey for *multiple characters.* Yes, the Main Character, who may be the viewpoint, but also the surrounding characters including the Main Antagonist. Each has their own goal toward which they are acting. Arwen wanted to help Aragorn. Her father wanted to protect her. Galadriel wanted to resist the ring while also wanting the ring, and so on. The Ents had goals. The kings had goals. Goals, goals everywhere.
  • The interplay of these take time to work out, and that's Act II, and it all leads to the climax in Act III.
#6: Post edited by user avatar DPT‭ · 2019-12-30T15:58:16Z (almost 5 years ago)
  • Hello.
  • Another angle to consider is that personal growth is easier to realistically portray through a series of try-fail cycles. There are multiple fails in Act II, and multiple successes. These show the character learning (growing).
  • Characters don't usually grow from an inciting incident (Act I) or a climax (Act III). Most character growth seems to occur in Act II. It's sometimes called the 'fun and games' section of the story. There is room to play in Act II--both for you as a writer and for the characters. A lot of world building can be shown through Act II, through whatever journey the character takes there.
  • Also, learning to love in one way or another can be an important part of a story. Learning to love can be to a person or bonding to a philosophy or movement or what-have-you. This emotional transformation occurs in Act II. And the love the character develops contributes to the tension in the climax in Act III.
  • Luke becomes a Jedi through practicing the force in Act II (that's the fun and games), but he also learns to love the rebellion in IV (and he comes to love Han, too, and Han comes to love him), or his father in V. Falling in love takes time. He grows as a Jedi but also as a human.
  • I believe Act II is where most of the interpersonal discovery and relational breakthroughs occur. I believe that having these transformative changes in the character leads to a more satisfying story.
  • Hello.
  • 1. Another angle to consider is that personal growth is easier to realistically portray through a series of try-fail cycles. There are multiple fails in Act II, and multiple successes. These show the character learning (growing).
  • Characters don't usually grow from an inciting incident (Act I) or a climax (Act III). Most character growth seems to occur in Act II. It's sometimes called the 'fun and games' section of the story. There is room to play in Act II--both for you as a writer and for the characters. A lot of world building can be shown through Act II, through whatever journey the character takes there.
  • Also, learning to love in one way or another can be an important part of a story. Learning to love can be to a person or bonding to a philosophy or movement or what-have-you. This emotional transformation occurs in Act II. And the love the character develops contributes to the tension in the climax in Act III.
  • Luke becomes a Jedi through practicing the force in Act II (that's the fun and games), but he also learns to love the rebellion in IV (and he comes to love Han, too, and Han comes to love him), or his father in V. Falling in love takes time. He grows as a Jedi but also as a human.
  • I believe Act II is where most of the interpersonal discovery and relational breakthroughs occur. I believe that having these transformative changes in the character leads to a more satisfying story.
  • 2. Also. The above is an emotional way to think about the three act structure. Your question is posed with 'the character' and focuses on plot points. A more 'plotty' way to think about lengthening Act II is this: A satisfying story shows the journey for *multiple characters.* Yes, the Main Character, who may be the viewpoint, but also the surrounding characters including the Main Antagonist. Each has their own goal toward which they are acting. Arwen wanted to help Aragorn. Her father wanted to protect her. Galadriel wanted to resist the ring while also wanting the ring, and so on. The Ents had goals. The kings had goals. Goals, goals everywhere.
  • The interplay of these take time to work out, and that's Act II, and it all leads to the climax in Act III.
#5: Post edited by user avatar DPT‭ · 2019-12-30T15:52:06Z (almost 5 years ago)
  • Hello.
  • Another angle to consider is that personal growth is easier to realistically portray through a series of try-fail cycles. There are multiple fails in Act II, and multiple successes. These show the character learning (growing).
  • Characters don't usually grow from an inciting incident (Act I) or a climax (Act III). Most character growth seems to occur in Act II. It's sometimes called the 'fun and games' section of the story. There is room to play in Act II--both for you as a writer and for the characters. A lot of world building can be shown through Act II, through whatever journey the character takes there.
  • Also, learning to love in one way or another can be an important part of a story. Learning to love can be to a person or can be more as a case of bonding to a philosophy or movement. It occurs in Act II. And it contributes to the tension in the climax in Act III.
  • Luke becomes a Jedi through practicing the force in Act II (fun and games), but he also learns to love the rebellion in IV (and he comes to love Han, too, and Han comes to love him), or his father in V--and falling in love takes time. He grows as a Jedi but also a human.
  • I believe Act II is where most of the interpersonal discovery and relational breakthroughs occur. I believe that having these leads to a more satisfying story.
  • Hello.
  • Another angle to consider is that personal growth is easier to realistically portray through a series of try-fail cycles. There are multiple fails in Act II, and multiple successes. These show the character learning (growing).
  • Characters don't usually grow from an inciting incident (Act I) or a climax (Act III). Most character growth seems to occur in Act II. It's sometimes called the 'fun and games' section of the story. There is room to play in Act II--both for you as a writer and for the characters. A lot of world building can be shown through Act II, through whatever journey the character takes there.
  • Also, learning to love in one way or another can be an important part of a story. Learning to love can be to a person or bonding to a philosophy or movement or what-have-you. This emotional transformation occurs in Act II. And the love the character develops contributes to the tension in the climax in Act III.
  • Luke becomes a Jedi through practicing the force in Act II (that's the fun and games), but he also learns to love the rebellion in IV (and he comes to love Han, too, and Han comes to love him), or his father in V. Falling in love takes time. He grows as a Jedi but also as a human.
  • I believe Act II is where most of the interpersonal discovery and relational breakthroughs occur. I believe that having these transformative changes in the character leads to a more satisfying story.
#4: Post edited by user avatar DPT‭ · 2019-12-30T15:50:17Z (almost 5 years ago)
See? I always edit.
  • Hello.
  • Another angle to consider is that personal growth is easier to realistically portray through a series of try-fail cycles. There are multiple fails in Act II, and multiple successes. These show the character learning.
  • Characters don't usually grow from an inciting incident (Act I) or a climax (Act III). Most character growth seems to occur in Act II. It's sometimes called the 'fun and games' section of the story. There is room to play in Act II--both for you as a writer and for the characters. A lot of world building can be shown through Act II, and whatever journey the character takes there.
  • Also, learning to love in one way or another can be an important part of a story. Learning to love can be to a person or can be more as a case of bonding to a philosophy or movement. It occurs in Act II. And it contributes to the tension in the climax in Act III.
  • Luke becomes a Jedi through practicing the force in Act II (fun and games), but he also learns to love the rebellion in IV (and he comes to love Han, too, and Han comes to love him), or his father in V--and falling in love takes time. He grows as a Jedi but also a human.
  • I believe Act II is where most of the interpersonal discovery and relational breakthroughs occur. I believe that having these leads to a more satisfying story.
  • Hello.
  • Another angle to consider is that personal growth is easier to realistically portray through a series of try-fail cycles. There are multiple fails in Act II, and multiple successes. These show the character learning (growing).
  • Characters don't usually grow from an inciting incident (Act I) or a climax (Act III). Most character growth seems to occur in Act II. It's sometimes called the 'fun and games' section of the story. There is room to play in Act II--both for you as a writer and for the characters. A lot of world building can be shown through Act II, through whatever journey the character takes there.
  • Also, learning to love in one way or another can be an important part of a story. Learning to love can be to a person or can be more as a case of bonding to a philosophy or movement. It occurs in Act II. And it contributes to the tension in the climax in Act III.
  • Luke becomes a Jedi through practicing the force in Act II (fun and games), but he also learns to love the rebellion in IV (and he comes to love Han, too, and Han comes to love him), or his father in V--and falling in love takes time. He grows as a Jedi but also a human.
  • I believe Act II is where most of the interpersonal discovery and relational breakthroughs occur. I believe that having these leads to a more satisfying story.
#3: Post edited by user avatar DPT‭ · 2019-12-30T15:49:32Z (almost 5 years ago)
Oh, I always edit things.
  • Hello.
  • Another angle to consider is that personal growth is easier to realistically portray through a series of try-fail cycles. There are multiple fails in Act II, and multiple Successes.
  • Characters don't usually grow from an inciting incident (Act I) or a climax (Act III). Most character growth seems to occur in Act II. It's sometimes called the 'fun and games' section of the story. There is room to play in Act II--both for you as a writer and for the characters. A lot of world building can be shown through Act II, and whatever journey the character takes there.
  • Also, learning to love in one way or another can be an important part of a story. Learning to love can be to a person or can be more as a case of bonding to a philosophy or movement. It occurs in Act II. And it contributes to the tension in the climax in Act III.
  • Luke becomes a Jedi through practicing the force in Act II (fun and games), but he also learns to love the rebellion in IV (and he comes to love Han, too, and Han comes to love him), or his father in V--and falling in love takes time. He grows as a Jedi but also a human.
  • I believe Act II is where most of the interpersonal discovery and relational breakthroughs occur. I believe that having these leads to a more satisfying story.
  • Hello.
  • Another angle to consider is that personal growth is easier to realistically portray through a series of try-fail cycles. There are multiple fails in Act II, and multiple successes. These show the character learning.
  • Characters don't usually grow from an inciting incident (Act I) or a climax (Act III). Most character growth seems to occur in Act II. It's sometimes called the 'fun and games' section of the story. There is room to play in Act II--both for you as a writer and for the characters. A lot of world building can be shown through Act II, and whatever journey the character takes there.
  • Also, learning to love in one way or another can be an important part of a story. Learning to love can be to a person or can be more as a case of bonding to a philosophy or movement. It occurs in Act II. And it contributes to the tension in the climax in Act III.
  • Luke becomes a Jedi through practicing the force in Act II (fun and games), but he also learns to love the rebellion in IV (and he comes to love Han, too, and Han comes to love him), or his father in V--and falling in love takes time. He grows as a Jedi but also a human.
  • I believe Act II is where most of the interpersonal discovery and relational breakthroughs occur. I believe that having these leads to a more satisfying story.
#2: Post edited by user avatar DPT‭ · 2019-12-30T15:48:40Z (almost 5 years ago)
  • Hello.
  • Another angle to consider is that personal growth is easier to realistically portray through a series of try-fail cycles. We don't usually grow from an inciting incident or a climax. Most character growth seems to occur in Act II. It's sometimes called the 'fun and games' section of the story.
  • Also, learning to love in one way or another can be an important part of a story. Learning to love can be to a person or can be more as a case of bonding to a philosophy or movement.
  • Luke becomes a Jedi through practicing the force in Act II (fun and games), but he also learns to love the rebellion in IV (and he comes to love Han, too, and Han comes to love him), or his father in V--and falling in love takes time. He grows as a Jedi but also a human.
  • I believe Act II is where most of the interpersonal discovery and relational breakthroughs occur. I believe that having these leads to a more satisfying story.
  • Hello.
  • Another angle to consider is that personal growth is easier to realistically portray through a series of try-fail cycles. There are multiple fails in Act II, and multiple Successes.
  • Characters don't usually grow from an inciting incident (Act I) or a climax (Act III). Most character growth seems to occur in Act II. It's sometimes called the 'fun and games' section of the story. There is room to play in Act II--both for you as a writer and for the characters. A lot of world building can be shown through Act II, and whatever journey the character takes there.
  • Also, learning to love in one way or another can be an important part of a story. Learning to love can be to a person or can be more as a case of bonding to a philosophy or movement. It occurs in Act II. And it contributes to the tension in the climax in Act III.
  • Luke becomes a Jedi through practicing the force in Act II (fun and games), but he also learns to love the rebellion in IV (and he comes to love Han, too, and Han comes to love him), or his father in V--and falling in love takes time. He grows as a Jedi but also a human.
  • I believe Act II is where most of the interpersonal discovery and relational breakthroughs occur. I believe that having these leads to a more satisfying story.
#1: Initial revision by user avatar DPT‭ · 2019-12-30T15:46:07Z (almost 5 years ago) 
Hello.

Another angle to consider is that personal growth is easier to realistically portray through a series of try-fail cycles. We don't usually grow from an inciting incident or a climax. Most character growth seems to occur in Act II. It's sometimes called the 'fun and games' section of the story.

Also, learning to love in one way or another can be an important part of a story. Learning to love can be to a person or can be more as a case of bonding to a philosophy or movement.

Luke becomes a Jedi through practicing the force in Act II (fun and games), but he also learns to love the rebellion in IV (and he comes to love Han, too, and Han comes to love him), or his father in V--and falling in love takes time. He grows as a Jedi but also a human.

I believe Act II is where most of the interpersonal discovery and relational breakthroughs occur. I believe that having these leads to a more satisfying story.