Pinch Point 1: Key Features

I've been thinking more in depth about Pinch Point 1 lately, and have been wanting to expand the basic concept on my blog. The term "pinch point" originates from 7 Point Story Structure. A pinch point relates to the antagonistic force, and it's what you might imagine: It's the equivalent of the protagonist getting pinched by the antagonist. It might be a small pinch or it might be one that leaves a nasty bruise. Whatever the case, it reveals to the audience that the antagonist is a legit force and foe.

Most stories will actually have multiple pinch points, but in 7 Point Story Structure (and its variations), there are two pinch points that are critical: Pinch Point 1 and Pinch Point 2. These are simply beats that show the audience the power of the antagonist. Pinch Point 1 comes about halfway through the first half of the middle--or perhaps better said, about 37% into the story. Pinch Point 2 comes about halfway through the second half of the middle--or perhaps better said, about 63% into the story. But of course, the percentages are just guidelines.

I like and appreciate the concept of pinch points because it puts emphasis on the antagonist. In contrast, some story structures don't acknowledge the existence of pinch points, making it easier for the writer to overlook necessary antagonistic beats. But regardless of what story structure you prefer, every story should have the critical two pinch points--Pinch Point 1 and Pinch Point 2--even if you are "blind" to them.

Let's talk about Pinch Point 1 in more depth. 

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Story Structure Explained: Pinch Points, Midpoints, Plot Points, and Middles (Part 2)

This post focuses on the second part of the middle, aka, the "active" or "warrior" phase of the story, and will take you from the midpoint up to the climax.

For the beginning part of story structure--the prologue, hooks, setup, and "orphan" phase--visit this page.

For the first part of the middle, between the inciting incident and the midpoint, or the "reactive" or "wanderer" phase, visit this page.

Midpoint

At the midpoint, new information enters the story that changes the context. It moves the protagonist from reaction to action. He stops being a wanderer and turns into a warrior, trying to fight back and attack, usually with a clearer goal or a more refined strategy. In other words, he is now more empowered than before.

Midpoints can be mind-blowing. Or they can be subtle. In the film Interstellar, the midpoint also serves as a twist. The context shifts and the audience and protagonists realize that there never ever really was a plan to save the humans on Earth. It was all a ruse to provide people hope. Once Cooper learns this, he changes into warrior mode, determined to do whatever it takes to return to Earth and/or save the people there.

Other midpoints aren't as drastic. It might be the protagonist sitting down to eat and suddenly having a profound realization that changes the perspective of everything she's been reacting to.

In Spider-verse

The midpoint in Spider-verse happens at the very end of the scene where Miles and Peter B. Parker steal the computer from Alchemax, and it goes into the very beginning of the next scene, the bus ride with Gwen Stacy.

Prior to this, even if Miles and Peter have a plan, they've largely been responding. And the only reason they need to go to Alchemax in the first place is because Miles himself broke the override key.

However, by the end of this scene, a few things have changed that steer us into the next phase:

1. Miles learns how to unstick intentionally
2. And how to use his web, intentionally
3. By this point, he's learned how to listen to his spider senses.
4. Peter and Miles begin working together as a team

In other words, things they were reacting to are starting to get under control. Sure, Miles still doesn't have control over all his powers, and maybe that's a variation, but it works because he has control over the iconic, main Spider-man powers.

On the bus ride afterward, Gwen Stacy reveals she knows where they can go to make another override key, promising they'll make sure the new one doesn't break, and thus giving Peter and Miles a clear plan and a clearer path to defeating the antagonist.

Warrior State (and Character Arc)

From the midpoint to the climax, the protagonist is in a stronger proactive or "warrior" state. Armed with what they've learned as a wanderer (which may include having mentors, friends, and helpers), the protagonist is ready to make more proactive efforts or actual attacks on the antagonistic force.  According to Larry Brooks, they may literally fight back, hatch a plan, enlist assistance, demonstrate courage, or show initiative.

They may not always be successful (after all, the story isn't over), but they are brave and intentional. And not only will they be fighting the antagonistic force, but their inner demons as well (which relates to character arc and theme).

In Spider-verse

Now having learned how to stick and unstick, web sling, and listen to his spider senses, Miles is more equipped to carry out (the original) Peter Parker's plan to destroy the collider. He's accumulated a mentor and a friend (and some of the wanderer phase bleeds out just a bit, because he's about to accumulate a few more) to help him on his way--and they are now working together. They are ready and willing to address the antagonistic problem, more directly. And Miles in particular is going to be the one to save the other spider people and send them home (at least that's the plan and attempt at this point.)

Just as much, they are going to be confronting their inner demons too, which in this story, relates to quitting.

Miles, crumbling under everyone else's expectations of him, is going to want to quit progressing. ("I don't know if I can do it. I'm tired of letting everyone down.")

Peter B. Parker, haunted by his failure as a husband and fear of being a father, is going to have to confront that, and he'll have second thoughts about returning to his home dimension. ("You needed me, and I wasn't there. If all I'd given you was the . . . bread that you deserve. We could fill this whole room with bread.")

Gwen Stacy, stuck with having to work with five other people she relates to (not to mention a live version of her dead best friend), is going to be unsure about making friends with them. (Miles: "If you ever open up a slot, maybe we could be friends.")

Worth noting is how these arcs change at the midpoint. By the midpoint, Miles is now planning not to fail. He's trying to reach his potential by succeeding at something new, and he does succeed. (And he's not going to stand by and watch Spider-man die again.) Peter, who fears and is annoyed with kids in the first half of the middle, at the midpoint is now working successfully with Miles. And Gwen Stacy, who has isolated herself from friendship, considers maybe making friends.

Pinch Point 2

We have attack mode. We have skills. And friends. And we have a proactive plan.

Great! Just in time for things to get worse! Like the other pinch point, the second pinch point is the antagonistic force applying (painful) pressure on the protagonist. Because guess what? Now that the hero is stronger and better, we need to show again that the antagonistic force is still a formidable foe--even more of a formidable foe.

Stakes and costs will rise.

Conflicts will broaden and deepen.

Let's see this in action.

In Spider-verse

Pinch point two begins when Miles discovers that his uncle is actually the Prowler. Bam! That conflict just deepened (became more personal). And guess what? It broadens too! Because as Miles runs back to Aunt May's house, it turns out he was followed, which means now we have a big fight on our hands.

Pinch point two is bigger than pinch point one. Instead of having 2 - 3 villains to deal with, you'll notice we now have 4 - 5. Likewise, we have more heroes. And Prowler is trying to kill Miles.

At the end of the second pinch point, Uncle Aaron dies. That's a big personal cost to Miles.

Despite being armed as a warrior, this is not going to be an easy win.

Plot Point 2

Remember at the start of this series when I complained how a lot of terms in the industry are ambiguous? Like plot point one/the inciting incident? Well, the term plot point two can be a bit ambiguous too. But whatever you call it, make sure you understand the concept.

Plot point two (my hybrid version 😅) is made up of two parts: The all-is-lost lull and the last-piece-to-the-puzzle moment.

Most people I've found say plot point two is the second part. Others say it's the first part. Whichever it is, in most successful stories, these two things usually happen in some way, and they again pivot or propel the story in its final direction.

In some stories, they may seem to happen within the climax portion. In others, they occur just before. It all depends on the finer points of the story's structure and how you want to slice and dice and define it.

Part 1: "All is lost"/"Dark night of the soul"/"Darkest hour"

Whatever you call it, before the (typically) last piece of realization/information/context enters the story that allows the hero to win, there is a painful lull where everything feels lost and hopeless.

A mentor may die.

A big failure may take place.

The antagonistic force pulls out something unforeseen and seemingly unconquerable.

Friends and colleagues turn on one another.

Or any other number of devastating things.

It can be internal and personal. Or external and broad.

Not all stories have this moment, but I'd argue that it exists in most successful stories in some way, to some degree.

Part 2: "The last piece to the puzzle"

The last bit of information, realization, or context shift happens or fits into place that allows the hero to defeat the antagonistic force. It pivots the story to the "final chase." Often, it relates to the protagonist finally fully overcoming her inner demons (and therefore manifests the thematic statement by completing the character arc).

It is the moment where the hero moves from being a proactive warrior to becoming a martyr.

Like the orphan state, the martyr state may be more literal or more figurative. But it means the heroine is ready and willing to sacrifice herself. She might be literally willing to sacrifice her life. Or, it might be that she is willing to sacrifice a characteristic or quality of herself or lifestyle.

This is why it often relates to character arc.

Because the inner demon that the protagonist has been struggling with is overcome and "sacrificed" in order to save the "world." The old version of the protagonist is "sacrificed" to overcome the antagonist.

That's my opinion anyway.

So the dad that is working too much may now be willing to quit his job.

Hamilton is now willing to "throw away his shot" (literally and figuratively).

Or perhaps it is more literal.

Harry is willing to die in order to defeat Voldemort.

Whatever it is, after plot point two, the hero is more than a warrior, he's a martyr.

In Spider-verse

After the death of Prowler, everyone realizes that Miles isn't capable of playing his part in defeating the antagonistic forces, precisely because of his inner demon: He can't always get up after getting knocked down (thematic statement). As much as they would like to rely on him, they can't trust that he'll be dependable to save them and all of Brooklyn. Even Peter Parker ultimately deals the blow by "tying" Miles up so he can't be involved.

It's the worst of the worst. Miles has failed in the worst way.

To top it off, the fact that he can't meet their expectations and be who he needs to be means that one of the other characters must face death, because in carrying out the plan, they'll be stuck in this dimension and die in the process (escalating stakes and costs).

Miles asks when he'll know he'll be ready. Peter explains that you won't. It's a leap of faith (a secondary theme).

To make the lull even more lully, Miles's dad comes, and we're reminded that they have drifted even further apart since the beginning of the film. However, his dad explains a few key things. While Miles has been told (and has stated himself) throughout the movie that he "doesn't have a choice," his dad reveals that he believes Miles will be amazing at whatever he pursues (releasing the pressure of his dad's expectations (a secondary theme)), and whatever that is, is his choice (another secondary theme).

At this critical point, we see themes coalescing. For this story, the secondary themes are the final puzzle piece. Miles doesn't need to fear that he won't meet others' expectations; it's his choice what to do and become; and that choice is put into action by a leap of faith.

Empowered with these thematic statements, he's ready to be Spider-man, aka, the martyr. He immediately venom strikes his hold, turns invisible, and gets his own Spider-man suit. He has let go of his old self and inner demons and has become a true hero, willing to do whatever it takes to save others.

All of these changes and thematic statements will be tested, proven, and validated in the climax and denouement.

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Story Structure Explained: Pinch Points, Midpoints, Plot Points, and Middles (Part 1)

Some writers find the middle of a story very difficult to write. They know the beginning. They know the end. But they don't know what comes in between. After this article, you should have the information you need to start filling in that middle! And filling it in, in interesting ways.

As a quick recap from my post on beginnings, this is my (hybrid) structure I'm following:

(Prologue)
Hook
Setup
Plot Point 1 (or "Inciting Incident")
Pinch Point
Midpoint
Pinch Point 2
Plot Point 2
Climax
Resolution/Denouement
(Epilogue)

This is influenced by Story Engineering by Larry Brooks, the Seven Point Story Structure, Million Dollar Outlines by David Farland, The Hero's Journey, and even the basics of Freytag's Pyramid.

And I'm taking the heroes through these stages:

Orphan
Wanderer
Warrior
Martyr

The bold words fit in the middle.

I'll also be including character arcs and themes and talking about escalating stakes and costs.

So let's do this. 😈

Middle (or Rising Action)

We've covered the beginning. Made promises to the audience through the prologue (if you have one). Opened with some juicy hooks that get the audience looking forward (thereby enhancing anticipation and therefore tension). Introduced key characters, arcs, themes, and established a sense of normalcy. Shown how the protagonist is a figurative (or literal) "orphan." And then confronted him with a moment that will change his direction and disrupt said normalcy: plot point one/the inciting incident.

After Plot Point 1: Reaction

Plot point one changed something. It changed the story from setup to reaction.

Something happened, and now your character has to respond to it. Life is no longer "normal." He may even try to pretend it is, but it can never be quite the same. A new conflict has been introduced, and it's taking shape. It is threatening his old way of life, his safety, or it is introducing a new dream or opportunity. What is he going to do about it?

The character has a new need or goal.

And he's going to react to it. He will be in a state of reaction up until the midpoint. That doesn't necessarily mean he's not trying to solve things; it doesn't necessarily mean he's reacting passively either (though in some stories he might). But he doesn't yet have full grasp or control of what just entered the story. It's beyond him in some way.

How he responds may convey a great deal about that character.

In Spider-verse

Plot point one happened when Miles got bit by the spider. He literally will never be the same after that. So what does he do? He reacts to his changing body.

He wakes up and his pants are too small.

Reaction: "I must have hit puberty."

So he has to go to class in clothes that are too small for him.

He's reacting to all his changes--his thoughts are too loud, he's sweaty, he's become more perceptive

He runs into Gwen and gets his hand stuck in her hair. They both are reacting, a lot. Miles is trying to get unstuck, but Gwen must shave her hair. As the morning goes on, Miles is sticking to everything: walls, ceilings, clothes, even pigeons. (Notice how this section also introduces us to his new powers.)

He realizes that this is just like Spider-man, so what does he do? He reacts by trying to get more answers--retracing his steps to find the spider he actually got bit by. Which leads to the first pinch point.

Pinch Point 1

Nobody likes getting pinched. Not even those obnoxious kids who didn't wear green on St. Patrick's Day to instigate pinches. You know the ones. You pinch them, and they reveal they are secretly wearing green so they could pinch you 10 times. 🤦‍♀️ (Talk about antagonistic forces.)

A pinch point relates to the antagonistic force. It's what you would imagine. It's the equivalent of the protagonist getting pinched by the antagonist. It might be a small pinch or it might be one that leaves a nasty bruise. Whatever the case, it reveals to the audience that the antagonist is a legit force and foe.

Typically, the pinch puts pressure on the protagonist, forcing her into action.

If the antagonistic force has already been introduced, this moment heightens the sense of pain, pressure, or tension and reveals the antagonist to be worse or "more" than what we gleaned prior.

If the antagonistic force hasn't yet been introduced, then this is his/her/its introduction.

In some pinch points, the hero may not actually be present, but the audience perceives that the antagonist is going to be a legitimate problem for the hero, even if the hero herself is unaware.

In Spider-verse

Since the antagonistic force hasn't yet been introduced, the pinch point does that, while also illustrating that Kingpin is a legitimate foe to be reckoned with.

After finding the dead spider, Miles's spider senses (which he is still discovering/reacting to) lead him toward the collider, where he finds Spider-man fighting off villains.

We see the collider in action. We see Spider-man in action. And we see Kingpin in action.

And what does he do? As soon as Miles has someone to talk to and get help from (Spider-man promises to teach him), Kingpin kills him. If that's not a pinch, I don't know what is.

But we aren't done yet.

Kingpin sees Miles and sends Prowler after him to kill him.

Now we have seen the antagonists, and we know how powerful and formidable they are. They just killed THE Spider-man.

Miles is now the only who knows about the collider, and it will destroy all of Brooklyn if he doesn't stop it! The pinch point puts pressure on him and forces him to act.

Escalate Stakes and Costs (Broaden and Deepen)

In the middle of a story, stakes and costs should either broaden or deepen or do both (you've heard me talk about this before.)

The stakes are what the protagonist has to lose; it is what is at risk in the story. The costs are what it takes to save that. And both need to escalate through the middle.

In Spider-verse

In the beginning of the story, all Miles had at stake was his academic future and his relationship with his dad. But now the stakes have broadened. If he doesn't stop Kingpin and the collider, everyone in Brooklyn will die!

And it's going to cost a lot to stop that from happening. As we just saw with Spider-man, it may even cost Miles his life. At the very least, he's going to have to learn to harness his spider powers.

But the stakes also deepen. They become more personal. His family lives in Brooklyn, so they could die too. And right now, his relationship with his dad is becoming more strained. Miles feels more alone now than he did before. Because he knows his dad hates Spider-man, he feels he can't turn to him for help.

As the middle continues, you will see that the stakes and costs become more and more personal, and even broader as he learn this conflict not only affects the people here, but the other spider people (and therefore by extension, their dimensions).

Wanderer State

Complementary to the reaction part of the story, is the "wanderer" phase. A wanderer doesn't really know what she is doing or where she is going. She's going in some direction, because she is in motion, but she's largely responding, like we talked about. During this state of being, the protagonist often accumulates sidekicks, mentors, friends, partners, and anyone else that is going to help her on her journey, as she's wandering around trying to make sense or fix everything. If these characters were already introduced or foreshadowed in the setup, we'll now get to know their "true identities" (figurative or literal) and "magical abilities" (figurative or literal). This section is particularly common in the Hero's Journey story structure.

In Spider-verse

Even after Peter Parker's death, Miles is still reacting, but now he is not only reacting to his abilities, but to everything related to Kingpin. He is trying to makes sense of what is going on and how to solve the problem. He is trying (dismally) to learn to use his spider abilities. But it's not enough. He needs more help. He needs more knowledge.

In steps Peter B. Parker, from another dimension, who becomes the reluctant mentor.

But that's not the only person Miles meets. He gets to meet Gwen Stacy . . . the real Gwen Stacy.

And he also accumulates a number of other side characters who have abilities that can help him.

Thematic Threads and Character Arcs

In the beginning, we introduced the theme and the main character's arc. Those two things almost always go hand in hand. The arc demonstrates and validates the theme. The theme puts words to the character arc and provides the takeaway value of the story.

In Amanda Rawson Hill's fabulous article on theme and character arcs, she explains that the protagonist starts in a state that is the opposite of the theme. They start with a "false theme statement." (Note: in some rare stories, the character can start with the true theme statement, but probably 95% of stories start with a false theme statement, and starting with the true theme statement is extremely difficult to write, in part because the character can't have that arc. In either case, the middle is handled somewhat similarly.)

So what happens through the middle?

The story forces the protagonist to question their "false theme statement" (what they falsely believe to be true or right). So the middle should be dealing with theme by getting the protagonist and the audience to question and explore different points of the theme topic. It will test theme statements.

One of the biggest problems I see happen here with writers, is that they start implementing correct thematic answers too early. Those should come at the end of the story. Right now, in the middle, we need to see characters struggle with the theme. We need to ask real questions about the theme topic. Sure, the thematic statement can be mentioned, but it shouldn't fully fit or be realized yet, for the protagonist.

The theme statement is only really meaningful when it's realized after there is a struggle--just as with most parts of storytelling.

One of the best ways to include thematic questioning and exploration is to have characters with different perspectives on the theme topic. Another is to include more plot elements that explore it. And since those often go hand in hand, you can do both. (You can read more about that here.)

In Spider-verse

Like I talked about last time with beginnings, the theme in Spider-verse is not quitting. It's getting back up no matter how many times you get knocked down.

But what does Miles believe in?

He wants to quit. In fact, his teacher even calls him out on the fact that he's trying to quit school.

In the middle, he's still wanting to quit. He asks his mom if she's ever thought of moving out of Brooklyn. What does his mom say? "Our family doesn't run from things, Miles."

But Miles hasn't fully embodied the theme yet. He doesn't fully, really believe it yet, because he hasn't experienced it yet.

And guess what, there are other characters who have different perspectives and interactions with the theme that call the thematic statement into question.

At the collider, Spider-man can't get up. Miles asks him if he can. What does he say?

"I always get back up." --this is the same Spider-man from the prologue.

But what happens? He literally isn't able to get back up, and he dies.

That definitely calls some things into question.

Then we get Peter B. Parker. And his whole introduction is a perfect antithesis to the thematic statement, in fact, they literally overlap. While he's saying that he never gives up and always gets back up, his actions are saying the exact opposite. He failed his marriage. He failed at his finances. He failed at personal health. He failed at personal fitness. He doesn't really thrive off being Spider-man. He's literally crying curled up in his shower and eating pizza. He's interacting with the theme differently than the other characters.

Gwen Stacy. Failed to save her best friend. Unlike other characters, she hasn't quit completely. She's still Spider-Gwen, in a band, doing dance and school, but she quit making friends. She sorta got back up--with limitations.

Uncle Aaron, dying in the alley, what does he say to Miles? "I just wanted you to look up to me, and I let you down." Aaron didn't live up to his expectations and potential either. And when he's dying, what does he ask Miles to do? "You're on your way. Just keep going." aka, don't quit.

You can see similar things happen with other thematic statements in the story, like about choices and faith.

But the middle asks us to question the theme topic and demonstrates real struggles with it. The theme isn't simple. And it's not easy.

Midpoint

At the midpoint, new information enters the story that changes the context. It moves the protagonist from reaction to action. He stops being a wanderer and turns into a warrior, ready to fight back and attack.

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