It also means that the action has to become a lot more intense. Your main-
Which means that the dangers are also much more intense now.
As your protagonist embarks on their quest, you have to ramp up the drama pretty quick. You need rising action.
Of course, you don’t want to be too relentless. We’re
The end of your First Act (the first turning-
not making Come and See here. The audience will get turned off pretty fast if your screenplay is just unrelentingly bleak the entire time. They identify with the protagonist, so give them a victory here and there amidst all the defeats and set-
Then, of course, extinguish that hope in the most horrible manner possible.
When they can’t take it any more, give them some hope once again. Rinse and repeat. Ad infinitum.
One of the reasons we want to make use of rising-
The protagonist doesn’t have a quest in the first act -
Watching endless amounts of plot play-
Exposition and backstory also tend to be boring. Who wants to sit there and listen to a character talk about something that happened to them -
But, of course, you have all these plot-
That’s where rising-
You want to make things dicey for your protagonist pretty much right away in the second act. Show him that this quest isn’t going to be nearly as easy as he had hoped. It’s going to be a lot more dangerous (or require a lot more work, or whatever).
Always be thinking about rising-
In every story-
You want things to move quickly. Keep advancing that plot. Raising those stakes.
Another reason you want to get to rising-
Start your second act off with a bang. Don’t get complacent.
You probably didn’t have time or space to do much more than introduce your supporting-
When creating your sub-