How do you know if you have an effective obstacle/ surprise to make up the first act turning point?

Question

I'm having trouble clearly understanding what relationship the obstacle/ surprise has to the overall goal of the protagonist. It seems like the first act turning point obstacle can be any ol obstacle so long as it is has a continuous influence throughout the second act. What makes for a very effective first act obstacle/ surprise?

Answer 1

Every scene is a turning point. But your first act's turning point (if you're doing a three act story) should be a a climax from a series of sequences (which are themselves made up of scenes) that build to create a major reversal in the character's lives, greater than any of the sequences that already appeared. So, you really can't have 'any ole' obstacle'. It needs to be something that will cause a major reversal that is more dramatic than what you've already produced in your previous scenes and sequences.

You're right, though, that it must have continuous influence throughout the second act, but just remember that a major reversal is a *major* reversal. That provides an effective obstacle and also provides surprise that sets up delightful suspense throughout the second act.

Have you outlined your complete story? While that should never be set in stone, if you do that, it may help you to see where your act's climax sits in your story scheme -- whether it's powerful enough or not.

Answer 2

Well, as with any obstacle, it has to prevent the protagonist from reaching their overall goal... or, if the protagonist does not have an overall goal that fits well with the plot of the story, it must be an obstacle which draws the protagonist to overcome it due to their personality.

As a first act turning point, this obstacle will generally remain in place (more or less) throughout much of the story, so it should be one that can have long lasting effects, or which is in fact unsolvable. A mystery works well, as they take a long time to solve. In other cases, a powerful enemy, or the plans of a powerful enemy, which cannot be thwarted with the resources the protagonist has on hand will work well.

In some cases, the tragic death or hospitalization of a supporting character, friend, or relative will do, and depending on the genre this is often a preferred method.

Less often, a situation is the problem, such as a force of nature (storm, earthquake, killer bees, etc) or a social situation (sudden drop into poverty, imprisonment, unexpected wealth, arranged marriage. etc. These can be very effective, but they must be done amazingly well to avoid looking like something that was just slapped in for the drama. Foreshadowing such an event in the early parts of the play is a must.

If there were some specifics about YOUR particular story plan, we might have better answers. You can click on my picture, and send me a message with these if you think I might help...

Answer 3

You know it is effective when at that point the reader will want to keep reading. I know that sounds cheesy, but let me expand...

You have to make sure to establish a strong hook within the first chapter. Your obstacle/suprise is going to be another hook that will grab the attention of the reader. This climax does not necessarily have to be obstacle/suprise, it can be antagonist/protagonist suprise.

In my book, the first act ends with the reader thinking that my protagonist and obstacle character get shot. This may not sound like it works, but I have given my audience enough of a hook and they actually care for both of them.

Since you are having trouble understanding the relationship, think of it this way: this climax has to be something that will start the chain of events that will change the protagonist enough that he/she can overcome the antagonist at the end. Get those hooks in there and don't relent on their appeal. Not every hook is going to get the reader's attention, that is why it's better to have many little hooks for a broad appeal. I hope this helps.

Answer 4

I'd need to read the story in order to answer you fully, but in general you have the correct idea.