The Dreaded Act 2 ‘Slump’
Screenwriter or author, many – if not most? – writers fear Act 2. Lots of Bang2writers I’ve worked one-to-one with label it ‘The Wasteland’!
It’s not hard to see why. While Act 1 is full of promise, plus Act 3 is the ‘wrap up’, so it’s easy (and normal!) to stall in Act 2.
Many writers stall because they’re not entirely sure what Act 2 is for. So, breaking it down, Act 2 is for …
- Escalation of the conflict (with characters ‘climbing walls, each one bigger than the last‘)
- Development of character arcs, so we can see how they grow in the narrative (though they don’t have to change!)
- Signposting of stakes (aka ‘what happens if they FAIL in their mission?)
This article will break these elements down, with examples and tips to fix your OWN Act 2. Ready? Let’s go!
Tip #1: Revisit Your Protagonist’s Goal
If Act 2 is about conflict (and it is!), then Act 2 is all about creating obstacles between your protagonist and their goal. Over time, that goal should become more urgent.
Sometimes a character’s goal develops or shifts as their arc continues through the conflict. In the case of Katniss Everdeen in The Hunger Games, Katniss’ goal evolves from mere survival to protecting and saving Peeta.
It’s important to remember characterisation and structure are NOT separate, but interlinked. It’s why I created this free, downloadable plotting worksheet. Grab yours now!
Tip #2: Escalate the Stakes
Stakes often confuse writers … But most often stakes just mean, ‘What happens if my characters FAIL in their mission?’ We need a sense of real consequences (literal or metaphorical), or we get bored.
Plots also become stagnant very quickly if you don’t have that sense of escalation. Very often, characters end up ‘running on the spot’, so the conflict feels flat.
Other times, scripts and novels become what I call B.O.S.H stories (‘bunch of shit / stuff happens’). This stuff might even be exciting in isolation, but it doesn’t hang together in a coherent way.
So here is a simple idea: ask, “What happens if my protagonist fails right now?” If the answer is ‘not much’, then your story may need more tangible stakes.
Tip #3: Add Midpoint or End of Act 2 Reversals
A reversal is simply a reversal of fortune, usually for your protagonist. But you can call it a twist if you prefer! Like most writing advice, everybody has different definitions.
In recent years, midpoint reversals have become VERY popular with readers and viewers alike. Again, it’s not difficult to see why: it keeps events dynamic and readers or viewers invested.
Shocking revelations, betrayals, a false victory or defeat … all of these turn up around the midpoint these days, though sometimes around the end of Act 2 as well.
One of the most iconic movie moments of all time illustrates this … When Darth Vader reveals he is Luke Skywalker’s father. This reframes everything that has gone before this in the original trilogy. It also changes the trajectory of the prequel trilogy and the final three films with Rey as well! That’s some reversal. Wow.
Tip #4: Deepen Character Arcs
Act 2 is not just about plot. As mentioned in tip 1, characterisation and plotting are inextricably linked.
While a character does not have to change themselves, there will usually be a change of some kind in Act 2. I call this the ‘dramatic context’, ie. a character goes from one state of being to another.
As an example, in Legally Blonde, Elle starts off going to Harvard Law to get Warner back. She is still the same Elle from start to finish: she loves pink, hair, clothes and make-up at the beginning … and she even wins the case with this specialist knowledge.
So, Elle doesn’t actually change herself. But her character arc is still steep (aka deep). She starts off wanting her boyfriend back, but ends up in a completely different place. She is a star student, respected by her peers, has a new boyfriend and lots of friends. Warner, in contrast ends up all washed up at the bottom of the pile. Yay!
#5: Plant Seeds for the Climax
It comes down to this: you can’t pay off what you don’t set up! This might sound obvious, because it is. However, writers frequently fly elements into Act 3 they did not set up, so significance is lost.
This is where Act 2 comes in. This is where you can signpost moments as per Chekhov’s Gun – introducing elements that lead to a satisfying ending. In short, everything we see in a story needs to have a reason to be there!
In addition, foreshadowing can be very important too. Choices, tools or alliances that are important in Act 3 and the pay off MUST be part of Act 2 (and sometimes, Act 1 as well). Oh and don’t forget dramatic irony!
Last Points
So, hopefully you’re feeling reassured Bang2writers … Being stuck in Act 2 in your screenplay or novel is 100% NORMAL!
Instead of freaking out, see it as an opportunity to re-energise the story. Use the tips and strategies in this article to help you and you will soon see your momentum return.
Good Luck!
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