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 the Program Director of the low-residency MFA in Writing for Stage and Screen being offered by the New Hampshire Institute of Art. Our last residency ran from June 22 to July 1 and we're current considering applications for starting the program next January at our residency scheduled for January 5-14, 2018. If you're interested in finding out more about our program, email me at firstname.lastname@example.org and we can start a dialogue.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.
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