Act One Plot Point

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  • Act One Plot Point

    Can it be subtle?

    I'm working on a romantic drama where the main character is learning how to do something that is potentially dangerous but exciting, and she makes a decision (plot point one) to continue on with it. If she had chosen not to, the story would be over.

    I'm trying to think of any movies where the plot point decision is subtle?
    The difference between fiction and reality? Fiction has to make sense - Tom Clancy

  • #2
    Re: Act One Plot Point

    In 50 First Dates Henry choses to start a SECOND conversation with Lucy at the diner.

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    • #3
      Re: Act One Plot Point

      Originally posted by Logliner View Post
      Can it be subtle?
      Yes.
      Story Structure 1
      Story Structure 2
      Story Structure 3

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      • #4
        Re: Act One Plot Point

        I'm so bad at recalling movies with this or that given element, but I seem to remember someone pointing out that the first plot point (or whatever terminology you want to use) in 500 Days of Summer was pretty subtle. Heck if I can remember what it actually is, though. It's been a while.
        "You have idea 1, you're excited. It flops. You have idea 99, you're excited. It flops.
        Only a fool is excited by the 100th idea. Fools keep trying. God rewards fools." --Martin Hellman, paraphrased

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        • #5
          Re: Act One Plot Point

          Of course it can.

          In fact, often, it's not even clear that it's plot point one until you've watched the whole movie and are looking at it in retrospect.

          In the flow, the first act break often feels like the culmination of a series of logical decisions, so it sometimes doesn't seem any bigger than any of the other decisions around it.

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          • #6
            Re: Act One Plot Point

            As long as the protagonist makes the decision to cross some sort of threshold (as you have indicated) the action can make a sufficient End of 1st Act Turning Point. But mind you, this decision does not do much to alter the story dramatically unless, a. there are existing reasons that argue why the protagonist might not want to cross the threshold, and b. once the threshold is crossed, the protagonist must become 100% dedicated in a way that means there is no going back. Think of it as the protagonist choosing to pass through a door- a door that shuts and locks behind the protagonist as soon as he or she is through.

            However, the End of 1st Act Turning Point is always more dramatically effective when it is accompanied by a COMPLICATION to the main story problem. Some event makes the situation more difficult. Sometimes the complication comes first, and forces the protagonist to cross the threshold against his or her will (Lord of the Rings: Gandalf has been captured, which means Frodo must continue the Ring's journey on his own). Other times, the complication comes second, arising as a result of the protagonist crossing the threshold willingly (The Matrix: Neo takes the blue pill willingly, throwing him into a chaotic new world).
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            • #7
              Re: Act One Plot Point

              Thanks all for your comments. It's most appreciated.
              The difference between fiction and reality? Fiction has to make sense - Tom Clancy

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