The secrets of story structure: the second half of the second act

Now that we're past the midpoint, things are starting to heat up in our story. The second half of the second act is where your storyline really starts to explode. Your protagonist emerges from the dramatic event midway through the story with his decision to stop reacting and start acting. Almost always, this decision stems from a personal revelation, even if the character still can't put it into focus, in concrete terms. Halfway through the story, he's becoming someone new. He is realizing his full power and spreading his wings to find out what he can do with that power. His crippling inner issues are still interfering, but, at least, he's realizing that he has to do something about them or in spite of them.

Since the second half of the second act will lead directly to the climax of the climax, this is the author's last chance to place all his pieces. We need to set the domino line that will hit the main story end point at 75%, and we do this by creating all of a series of main character actions. While it's not likely that he's in control of the situation, he's at least trying and dealing some blows of his own, rather than taking and taking them from the opposing force.

What is the second half of the second act?

The second half of the second act begins (just like the first half) with a strong action of the protagonist. He picks himself up from the drama and trauma suffered at the midpoint and grits his teeth. Responds immediately with an action that counters. This can be a direct response to the antagonist, such as Kel's heightened attacks on nobles in Brandon Sanderson's Mistborn ; an awakening from ignorance, such as Prince Dastan's quest for the truth about the dagger in Prince of Persia ; an intensified push towards the main goal, such as the start of the Tournament of Sparta in Warrior ; or fall back, like the return of the militia after a particularly brutal attack by the British, in The Patriot.

The series of actions in the second half of the second act mirrors the series of reactions in the first half. In a sense, of course, the protagonist is still reacting (if you look closely at the line between action and reaction, it can get blurry very quickly). But now the emphasis is on her inner purpose, rather than her need to raise her shields and lower her head. He's not in control of his destiny, but at least now he's trying to do something to take it back.

Where is the second half of the second act placed?

The second half of the second act begins with the middle point and extends another 25% of the book to the beginning of the climax roughly 75% of the story. This is a good part of the book and the protagonist needs all this space to get going. He has lessons to learn and problems to face, so he'll be ready to face the opposing forces (both internal and external) in the climax. Don't skimp on this part of the story. But also be careful not to make it change too much after the midpoint. His final personal crisis will occur in the climax, and you don't want to lessen the impact of that moment by allowing the character to settle down too soon. Use this part of the book to prepare him for his final battle and foreshadow the inner demons he will face.

Some examples from cinema and literature

As always, the masterpieces of talented storytellers can teach us a lot about how to apply this important structural element to our stories. Let's take a look at the books and films we have chosen.

Jane Austen's Pride and Prejudice (1813)

After being completely destabilized by Darcy's proposal and subsequent justification of his other alleged misdeeds, Lizzy spends the second half of Act II realizing that she has misjudged him and is, in fact, falling in love with him. His actions in this segment are more internal than external. She is actively realizing her mistakes and admitting them (first privately and then, more or less, publicly in her attempts to treat him with respect and kindness when they accidentally meet at Pemberley). This is a good example of how the second half of the second act can primarily be used as a moment of catalytic epiphany and self-realization.

It's a Wonderful Life directed by Frank Capra (1947)

After fending off Old Man Potter's attempts to bribe him, George comes to terms with his life in Bedford Falls and moves on. He and Mary have four children, and he stays at home through World War II ("4F because of his ear") and continues to protect his city from Potter's greed and manipulation. Thanks to his renewed commitment to the Bailey Building & Loan, in the aftermath of Potter's failed attempts to bribe him, George is able to put his life in order during this second half of the story. Of course, viewers already know that this is just the calm before the climax's storm.

Orson Scott Card's Ender's Game (1977)

After the misfit Dragon Army is dumped on him, Ender spends the second half of the second act rising to the challenge. He knows he's been put at an unfair disadvantage, and he knows that Graff and the other instructors are deliberately testing him against other, more powerful students. But instead of giving in to the pressure, Ender squares his shoulders and accepts the challenge. Thanks to its refusal to retreat, the Dragon Army becomes the best army in the Battle School.

Master & Commander directed by Peter Weir (2004)

Having finally found himself in a position to track down the Acheron , Captain Jack Aubrey's series of actions in the second half of the second act lead him by surprise down another path, when his best friend, the surgeon and spy Stephen Maturin, is accidentally hit. For the first time in the film, Jack chooses to break free from his obsessive pursuit of the Acheron , to bring Stephen to the mainland where he can be operated on to save his life.

What do we take away from these examples?

The second half of the second act offers more scope for variation than perhaps any other segment of the story structure (and that says a lot!). Let's reexamine the possibilities, so we can apply them to our stories.

1. The second half of the second act begins with the dramatic turn about 50% of the story.

2. The central point initiates a series of actions by the main character. While he's probably still reacting in some sense, he's no longer reacting unconsciously. He is no longer entirely defensive without the ability to attack in his own right.

3. This segment is often a place of revelation for the main character. He sees things - himself as much as the antagonist - most clearly after the central point.

4. His actions can be both a moment of inner revelations and outright aggression against the antagonist. Sometimes his attack on the antagonist is really nothing more than a complete and deliberate ignoring of the antagonist.

5. Some of his problems will be solved in this section, but the main problems, both internal and external, will remain to be solved during the climax. Often, the issues that are addressed in this section only serve to exacerbate or bring more focus to real underlying conflicts.

Either way, the second half of the second act begins your ride to the climax. This is your last chance to prepare everything for climax intensity. Pay close attention to your character's inner transformation and their relationships with other key characters. After that, fasten your seat belt, because this is where the climax comes from!