The true test of a viable story–one that ultimately will lift off the page and really deliver the goods–is the strength of your plot points at the end of your structural Act I and Act II. These are the I-beams of any well constructed story, whether it be a play, screenplay, teleplay, or any narrative fiction. They each dictate what has to have already happened and what will happen as the story unfolds.
The plot point at the end of Act I always spins the story in a surprising new direction and demands a set up in Act I that leads to this act ending. And the plot point at the end of Act II has to accomplish the same–spinning the story in an unexpected way into Act III and the climactic scene and ultimate resolution of your tale, and this plot point again will dictate the developing struggle of Act II that leads to this act ending.
Of course there are a lot of other plot elements that also have to be in place like the Act I inciting incident and the the Act II mid-point, etc. etc. But the initial development of any good story has to start with these two plot points. Everything else can then be built on top of these essential structural pillars.
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I’m also a playwright and screenwriter, producing partner in my production company Either/Or Films (The Sensation of Sight and Only Daughter) a professional script consultant, and the author of The Playwright’s Process. You can follow me on Twitter @eitherorfilms or @mfastagescreen. I’m also on Facebook at buzzmclaughlinscriptconsulting.