So we’ve passed the First Pinch Point, and the MC is a bit discouraged. After all, the First Plot Point shoved them into a World built on the Lie, and the First Pinch Point showed that the antagonist is by no means slowing in his pursuit. The MC hasn’t quite recovered from their mini low moment at the First Pinch Point.
And now we come to the Midpoint—which, as the name indicates, is smack dab in the middle of your book. Let’s take a look at two main things to remember when writing this plot point.
- The plot reveal
The first half of the book has been full of reacting—all the MC has done so far is react to the World and the antagonist. However, this plot revelation is going to change everything. Now, instead of passively reacting, they have a chance to fight back.
This plot reveal is often the revelation of the antagonist (either his identity, or more about his plans). Either way, the MC knows more about who they’re dealing with.
(Note: While the Midpoint plot reveal should definitely be big, save some juicy reveals for the Third Plot Point and the Climax. The road ahead is by no means going to be crystal clear after the Midpoint—but at least the MC is on the right track.)
In “The Basket of Flowers,” there isn’t really much of a plot reveal since this story is more about the inner conflict than fight scenes and saving the world. However, Mary’s father does fall ill, which she didn’t expect. He’d been trying to hide his weakness from her, so the fact that he’s actually seriously sick acts as a sort of plot reveal.
Mary races through the rain for help, and comes upon a cottage owned by a kindly farmer and his wife (and shared by their son, Amos, and his wife, Helen). Elijah and Sarah help Mary’s father recover from his illness, and later offer for Mary and her father to stay on their farm permanently.
(Note: The Midpoint isn’t particularly strong here, as there isn’t a major change from reaction to action. But their arrival at Elijah and Sarah’s house does allow them to end their journey—which could be defined as reaction, since they were banished due to the antagonist—and they begin normal life again.)
In “Pendragon,” King Ambrosius is wounded and later killed by Caydern, who blames Artos for the death. Artos has a bounty put on his head, and is betrayed by nearly everyone he knows. He is forced to go into hiding while Caydern takes over as leader of the city.
(Note: This Midpoint also focuses more on the internal conflict side of things than the plot side. There isn’t a clear transition from reaction to action, since Artos was obviously acting of his own accord before the Midpoint, and also since the Midpoint itself causes Artos to react to circumstances out of his control.)
- The Moment of Truth
If you’ll look in the plot template I gave you at the beginning of this series on Flat Arcs, you’ll see that under the Midpoint, it says, “Moment of Truth: Proves power of Truth to the World.”
Basically, the MC not only goes from reaction to action externally, but they do so internally. Up until now, they’ve only battled the Lie when it attacks them. They haven’t gone out to do battle with the Lie—they’ve been on defensive mode.
But now it’s time for them to go on the offensive. Remember the Inciting Event and how it challenged the MC to use the Truth to oppose the Lie? Well, the MC is finally going to be engaging in the battle of their own accord. They’ve been thoroughly awakened to the dangers of the Lie, and it’s time for them to use that Truth.
In a dazzling display of glory, the Truth manifests itself through the MC, impacting minor characters, and empowering the MC to move ahead into a full-on war against the Lie. Just like the MC is no longer passively reacting to the antagonist and the World’s actions, they’re also no longer reacting to what the Lie is throwing at them. They’re taking control, determined to rid the World of the Lie once and for all.
In “The Basket of Flowers,” Mary races through the rain to find help for her father after he falls unconscious. She is terrified out of her wits… her worst nightmare has come true. Her father is the last thing that she has, and now she fears she’ll lose him, too.
If there ever was a time for Mary to doubt God, this would be it (that is, until the Third Plot Point). But does she doubt? No! She trusts that God will help her, and the Truth echoes in her desperate prayers for deliverance.
Of course, the plot moves on. Mary ends up finding help… her father ends up recovering (for the time being). But this point makes an impact in the story. She chose to trust God, no matter what. Not even her father was there to encourage or strengthen her—she chose to do it. And while there were no supporting characters there to witness and be impacted by Mary’s faith at this point, we as listeners can certainly learn from it.
In “Pendragon,” Artos has reached another blockade. King Ambrosius, the man he has come to trust—and yes, even love—has been seriously wounded. Things are beginning to look bleak for the people of Britannia.
And, in the middle of all this, King Ambrosius asks Artos what God is doing with them. It’s a very valid question, but one that strikes a chord with Artos. He replies in a voice barely above a whisper, “I don’t know.” The king continues, marveling at Artos’ confidence. And the reply that Artos gives is this: “I know that He will give me the grace to see this through.”
That right there is the straight Truth. Like, I literally could not have said it more clearly. That’s what this whole thing is about. Now, in this case, a supporting character—namely, King Ambrosius—is affected by this statement of Truth. (Though he dies shortly after, and we never really know how his arc ends—a loose thread left dangling, I suppose.)
Either way, Artos’ arc is really what matters. And he’s taken that step—he’s chosen to step out and fight that Lie. (Though, as in the case of the plot side of Pendragon, Artos was technically taking action before the Midpoint.)
So now do you see how the plot and character arc intertwine? This is what should be happening all along in your stories. The plot—or external conflict—is merely a mirror or allegory for the internal battle raging inside the MC. When it comes down to it, the plot is not why we care about the MC. It’s the character arc—the internal conflict—that really matters to the readers.
That’s why we can laugh and cry and genuinely have a connection with the MC—even if the plot is a bit a dull. That’s why cozy, “feel-good” stories can still challenge us to think as much as—if not more than—an action-packed thriller. It’s because the plot is simply the mirror for what truly matters.
So take what you’ve learned today, and create a Midpoint. Pull out a good plot reveal, or a nice twist. But at the heart of it, don’t forget about the battle between the Truth and the Lie. Make sure that that is what’s driving your story. You can have all the car explosions, fight scenes, thrilling plot twists, and ingenious premises you’re capable of creating. But if there’s no internal conflict to add meaning to it, your story isn’t going to amount to much.
Here are a few more Midpoints to consider:
- Sophie and the BFG realize the other giants have discovered her existence, and decide to come up with a plan (“The BFG”)
- The captain realizes they will be able to return home; Eve realizes the plant is gone (“Wall-E”)
- Will confronts the townspeople at the church, but no one will help him (“High Noon”)
- Paddingon discovers that the explorer belong to the Geographers’ Guild (“Paddington”)
Comment below the Midpoint from your favorite book or movie!