The end of the first act gives your protagonist his or her quest. The goal they are trying to achieve that will be decided at the climax.
So, the second act typically starts with thoughtful contemplation. ‘HOW are we going to accomplish this impossible task? It’s so daunting!...’ The protagonist(s) needs to figure out what to do. His world has just been turned upside down. He’s gone from being just a regular guy -
The first turning-
The second act is where the majority of your story happens. Your first act is mostly concerned with introducing everyone and setting up the protagonist’s quest -
So, if the first act is all about getting to know the protagonist and setting him off on his quest -
If you noticed, that means that all the interesting bits are in the first and third acts. Yet, those are the two shortest acts. Leaving you a whole bunch of time in the middle of your movie -
Being so long, the second act is often broken into two halves -
In a false-
In a false-
You have to cram a lot of storyline into your second act, so be sure to give the audience lots of ups and downs along the way. If things are going well for your protagonist, make sure it doesn’t last very long. Give him a victory -
But, don’t make it too bleak either. If you’re always hammering life down on your protagonist, you’ll depress your entire audience. Try to have similar amounts of ups and downs.
Try to make the second act a roller-
Your second act is also the place where you’re going to want to put the majority of your sub-
In a 100 page screenplay, your second act should probably be around 50 or 55 pages long.
At their most basic, the three acts are about the status-
The second turning-
Before the second turning-
In Star Wars, the second turning-