My Modified Beat Sheet:

Okay, before I put anything down, I want to remind you about trials and mini-quests.

First Note:

The Trials can be major or minor and have three different, for lack of a better term, identifiers. Too, they show up right after each major beat of the outline. This is one of the many tests the protagonist will undertake throughout the story. He/She will be subjected to a painful, or at least an unpleasant, usually dangerous experience. The test could be one of life or death. This is all about risk, motivation, conflict and resolution.

Second Note:

The Mini-Quests are similar to quests and sub-quests in that they can be groups of interrelated tasks that can be completed for rewards such as new items, new skills, and new experiences. Ideally, this section should contain at least one-hundred pages or more and it should contain at least twenty-seven-thousand-five-hundred words or more. A mini-quest is a small diversion on the character’s path. If the ultimate goal is to save the princess, then a mini-quest may be to find the magic phone book to look up her address, or to return to your castle because you can’t remember whether or not you closed the draw-bridge. Add a few mini-quests to slow the pace and to develop character and you’ll have earned yourself five-hundred to a thousand words each.

Each trials and mini-quests will be considered one of the following:

• Minor (Random) Internal
• Minor (Random) Antagonistic
• Minor (Random) External
• Minor (Consequential) Internal
• Minor (Consequential) Antagonistic
• Minor (Consequential) External
• Minor (Inconsequential) Internal
• Minor (Inconsequential) Antagonistic
• Minor (Inconsequential) External
• Major (Random) Internal
• Major (Random) Antagonistic
• Major (Random) External
• Major (Consequential) Internal
• Major (Consequential) Antagonistic
• Major (Consequential) External
• Major (Inconsequential) Internal
• Major (Inconsequential) Antagonistic
• Major (Inconsequential) External

Now with no further ado, here’s part three of my modified beat sheet.

Act IIb:

The Attack:

Midpoint information/awareness causes the protagonist to change course in how to approach the obstacles; empowered with information on how to proceed now, the protagonist is not merely reacting anymore; protagonist also ramps up battle with inner demons. A crossroads occurs here. Big reveals should take place here and decisions must be made. Empowered with his/her new choices and actions, he/she can do more than just react at this point to what’s going on around her both externally and internally. More of the antagonistic force is shown here. This is all about choices for the protagonist, secondary characters, support characters, and the antagonists, their secondary and support team.  

A Trial (see above)

 

A Mini-Quest (see above)

 

The Temporary Triumph and Temporary Triumph:

The protagonist thinks he/she has achieved his/her goal (solved the crime, defeated the villain, or won the contest), but this triumph is short-lived. A major reversal is just around the corner. As we wait for it, the/a subplot may come in for a moment. The difference between a triumph and a victory: A victory is an instance of having won a competition or battle, whereas a triumph is a conclusive success following an effort, conflict, or confrontation of obstacles.  

A Trial (see above)

 

A Mini-Quest (see above)

 

The Reversal:

Now the serious problem and/or goal worsens. The triumph is no longer a true triumph, and the protagonist’s trials are not over by a long shot.  

A Trial (see above)

 

A Mini-Quest (see above)

 

The Bad Guys Close In (Internal):

The Internal BGCI is where the protagonist learns the problem was never them. The problem was actually himself/herself, and once that grain of doubt gets planted in the protagonist, that’s when the internal BGCI happens. This is when the story is raised to another level. Now the Internal BGCI doesn’t merely repeat the “Fun & Games” moments. What will the protagonist do to resist change? What will the protagonist do to fight the biggest battle he/she must overcome–herself/himself? This is the section wherein internal dissent takes place. This is where the protagonist resolve in obtaining his/her goal is truly tested. It doesn’t just get harder because the protagonist’s enemies have found a way to regroup (if the author gave the protagonist a false victory at Midpoint) and are back on the chase. It gets harder because the protagonist doubts himself/herself and whether the goal she’s/he’s been chasing all these pages is really the right goal after all. Isn’t it always hardest to admit when we’re wrong (especially when arguing with a spouse or—heaven forbid–an in-law)? Well, it’s the same for the protagonist. He/She now knows he/she must change. He/She was wrong. “His/Her way or the highway” doesn’t work anymore. He/She can no longer get away with the lie he’s/she’s been telling, or passing the blame all the time, or running away from his/her biggest fear (whatever that may be in the story). The external BGCI forces the protagonist to face his/her internal BGCI. It’s a one-two punch. And that’s how the protagonist goes down for the count in the All Is Lost (… or so we think – but that’s another discussion for yet another day). And that’s why BGCI is so hard … for the protagonist and the author. The author has to tap into their emotions, fears, pains as writers and put it in paper through the protagonist. It’s easy to add plot (just drop an anvil, kitchen sink, or piano at the protagonist), but it’s a heck of a challenge to build character.  

A Trial (see above)

 

A Mini-Quest (see above)

 

A Third Allied Attack:

This is when a trusted ally confronts the protagonist about their increasing desperation and immorality, and thoroughly questions their behavior. During the drive, the hero is losing to the opponent and becoming desperate. When he starts taking immoral steps to succeed, the ally confronts him. At this moment, the ally becomes the conscience of the hero, saying in effect, “I’m trying to help you reach your goal, but the way you’re doing it is wrong.” Typically, the hero tries to defend his actions and does not accept the ally’s criticism. (See Chapter 10, “Scene Construction and Symphonic Dialogue,” for details on writing moral dialogue.) The attack by the ally provides the story with the second level of conflict (hero versus opposition is the first). The ally’s attack increases the pressure on the hero and forces and forces him to begin questioning his values and way of acting.  

A Trial (see above)

 

A Mini-Quest (see above)

 

The Bad Guys Close In (External):

The Internal BGCI is where the protagonist learns the problem was never them. The problem was actually himself/herself, and once that grain of doubt gets planted in the protagonist, that’s when the internal BGCI happens. This is when the story is raised to another level. Now the Internal BGCI doesn’t merely repeat the “Fun & Games” moments. What will the protagonist do to resist change? What will the protagonist do to fight the biggest battle he/she must overcome–herself/himself? This is the section wherein internal dissent takes place. This is where the protagonist resolve in obtaining his/her goal is truly tested. It doesn’t just get harder because the protagonist’s enemies have found a way to regroup (if the author gave the protagonist a false victory at Midpoint) and are back on the chase. It gets harder because the protagonist doubts himself/herself and whether the goal she’s/he’s been chasing all these pages is really the right goal after all. Isn’t it always hardest to admit when we’re wrong (especially when arguing with a spouse or—heaven forbid–an in-law)? Well, it’s the same for the protagonist. He/She now knows he/she must change. He/She was wrong. “His/Her way or the highway” doesn’t work anymore. He/She can no longer get away with the lie he’s/she’s been telling, or passing the blame all the time, or running away from his/her biggest fear (whatever that may be in the story). The external BGCI forces the protagonist to face his/her internal BGCI. It’s a one-two punch. And that’s how the protagonist goes down for the count in the All Is Lost (… or so we think – but that’s another discussion for yet another day). And that’s why BGCI is so hard … for the protagonist and the author. The author has to tap into their emotions, fears, pains as writers and put it in paper through the protagonist. It’s easy to add plot (just drop an anvil, kitchen sink, or piano at the protagonist), but it’s a heck of a challenge to build character.  

A Trial (see above)

 

A Mini-Quest (see above)

 

Even More Fun & Games:

The promise of the premise/the heart of the story/all about having fun. The entertaining aspects of the story’s premise are explored–highlighting the main character’s unlikeliness for this “upside down world”–which is fun to watch, but NOT fun for the main character, who is essentially in HELL until the end of the story. It’s where we aren’t as concerned with the forward progress of the story—the stakes won’t be raised until the midpoint—as we are concerned with having fun. We take a break from the stakes of the story and see what the idle a is about; we see the promise of the premise and need not see anything else.  

A Trial (see above)

 

A Mini-Quest (see above)

 

Another Juxtaposition:

An act or instance of placing two elements close together or side by side. This is often done in order to compare/contrast the two, to show similarities or differences, etc. Various forms of juxtaposition occur in literature, where two images that are otherwise not commonly brought together appear side by side or structurally close together, thereby forcing the reader to stop and reconsider the meaning of the text through the contrasting images, ideas, motifs, etc. More broadly, an author can juxtapose contrasting types of characters, such as a protagonist and an antagonist working together to achieve a common objective from very different motivations.  

A Trial (see above)

 

A Mini-Quest (see above)

 

The Second Pinch Point:

Another reminder of the story’s antagonistic forces, as the antagonist once again ups the game against the protagonist’s attacks. The villain, the antagonist, adversity, and the struggle against them are the elements which define the protagonist, and often even the device by which the protagonist finds the strength to fight. Nowhere do we see this more clearly than in the Second Pinch Point. The Second Pinch Point is the part of the story that comes directly after or even during the Disaster (that point in which the protagonist has lost their spirit because of defeat), where the looming threat of the primary antagonistic force creates a necessity for the hero to try one last time. In Star Wars – A New Hope, this plot-point comes as the Death Star follows the heroes to the rebel base, creating such a terrible threat that Luke feels that he has no choice but to fight against impossible odds. Just like the First Pinch Point, the primary antagonistic force will drive this plot-point, with the protagonist doing little more than seeing the danger at hand.  

A Trial (see above)

 

A Mini-Quest (see above)

 

All Is Lost Lull:

A slower paced, prologue to “All Is Lost,” before the Second Plot Point. Some secondary set-backs come into play that effect how the protagonist sees and/or deals with his/her situation. This section is usually slow-in-pace, leading up to all the dramatics inside the “All Is Lost” section. This is essentially “the prologue” to “All Is Lost”.  

A Trial (see above)

 

A Mini-Quest (see above)

 

All Is Lost:

Opposite of midpoint (peak/collapse); whiff of death-old way of thinking dies/give up moment/runaway moment; false defeat; no hope. This is where the new skills acquired during the antithesis fail, and the hero has nothing left. Similar to the catalyst, in that something is done “to” the hero. But this is more serious: getting fired, mentor bing killed, losing his significant other or some tragedy. The “All Is Lost” moment is when our central character is as far away as possible from achieving his or her goal. The function of this moment is to create, heighten and escalate the stakes and create a moment of what appears to be a point of no return. The function of the “All Is Lost” moment for the character is to trigger him or her into action to achieve his or her goal. Sometimes we need to hit rock bottom before we realize. You can have “All Is Lost” moments in other storylines as well. When there is an “all is lost” moment in the B story, it often serves to elevate thematically the “All Is Lost” moment in the A story. The “All Is Lost” moment is often a series of moments that leads up to the breaking point.  This is where the new skills acquired during the antithesis fail, and the hero has nothing left. Similar to the catalyst, in that something is done “to” the hero. But this is more serious: getting fired, mentor bing killed, losing his significant other or some tragedy. This is the opposite moment from the Midpoint: “awful”/“great”. The moment that the main character realizes they’ve lost everything they gained, or everything they now have, has no meaning. The initial goal now looks even more impossible than before. And here, something or someone dies. It can be physical or emotional, but the death of something old makes way for something new to be born.  

A Trial (see above)

 

A Mini-Quest (see above)

 

The Black Moment:

This is the protagonist’s darkest point; He/She has lost everything at this point, and feels like he/she has nothing left to live for or lose. The protagonist hits bottom, and wallows in hopelessness. This is the, “Why hast thou forsaken me, Lord?” moment. Mourning the loss of what has “died,” the dream, the goal, the mentor character, the love of your life, etc. But, you must fall completely before you can pick yourself back up and try again. This mirrors Debate from Act I, in that the character is hesitating. Finally the hero realizes they have nothing left. They give in to fate or faith. Then, the moment of clarity: they realize the answer is something learned during the B story. And they rise, preparing to synthesize what they know at the beginning, with what they’ve learned from the theme.  

A Trial (see above)

 

A Mini-Quest (see above)

 

The Second Plot Point:

The final injection of new information into the story (doesn’t need to be fully understood by the protagonist yet); protagonist quest is accelerated. The Second Plot Point will be a low point for your protagonist. Her actions since the middle have caused disaster, but by the time of TSPP, she too becomes more determined to reach her goal.  

A Trial (see above)

 

A Mini-Quest (see above)

 

Second Turning Point:

Tip 1: Note the similarities in function between the First and Second Turning Point. Remember that the First Turning Point (seen in A New Hope as the point at which Luke’s family is killed) is the personal aftershock that follows the Inciting Incident (the unexpected even that altered the balance of the protagonist’s life, like Luke finding out that he is a Jedi). It was a blow to the protagonist while their world was already spinning, which made setting out on their journey to feel like a necessity for them. The Second Turning Point, like the first one, should also be a very personal moment and event where the protagonist realizes that they again have to rise to a specific course of action—not only due to their emotions but because the situation requires it. Again, their determination to a specific course of action must seem like a logical one, at least to the protagonist, though pure emotional can be the true driving force. Tip 2: Construct this chapter as a scene of renewed beginnings, not of resolutions. Just like the First Turning Point, in the end of Act I, the Second Turning Point should not be the resolution of all the problems that the antagonist created through the Black Moment and Second Pinch Point. Imagine that you are in a hole and have realized that your enemy is heaping dirt on your head. Do you immediately start planning on how you will foil your villain’s evil plan, save your loved ones trapped in other holes, or work on changing your intrinsic selfishness? No, now is not the time for that! All you know is that you need to get out of that hole—an act that requires precise and perhaps even animalistic actions. We see this in the Second Turning Point of Return of the Jedi, when Vader tells Luke that if he will not turn to the dark side, then perhaps his sister will. This simple threat makes Luke fully recognize the stakes of his predicament; he reacts purely on instinct, violently attacking Vader for his own survival and that of his friends—just trying to escape the pit. Likewise, the emotional and situational problems of your protagonist should not yet be resolved, only overcome enough so that you hero can stand back up and determine where they should go from there.  

A Trial (see above)

 

A Mini-Quest (see above)

 

TO BE CONTINUED TOMORROW… This is a long outline, would you prefer me putting all four parts into one post or do you like that I’ve broken it up into smaller sections? Drop me a comment below.