Of Turning Points, Disclosures and Amplifying Conflict…

Revelations in a novel not only reveal character, but also ideally raise the stakes, up the ante, so-to-speak, which ultimately intensifies conflict.

The opening revelation and/or those of the first chapters of a novel establish the chaos that has befallen your protagonist, i.e. display the problem she or he is facing.

Disclosures during the middle of your story widen the deepen the borders of the problem, thereby expose more of your protagonist’s–personality, weakness and strengths, hopes and fears.

A primary provision of developments or turning points the mid-section of your novel is that of amplifying conflict.

Reaching the beginning of the middle of a novel starts the ascent towards the peak of the story, the arc or ultimate crisis point.

The trudge or climb upward becomes just that, grows step because of obstacles, both physical and those presented by a strongly crafted antagonist.

While the antagonist is not the central character, what she or he does lies central to the story or rather the protagonist’s physical problem and/or goal.

This physical problem connects directly to and gives rise to inner conflict, or perhaps the inner battle, that is fought upon the physical universe of the story.

Carefully crafted and well-time revelations form an integral part of the steep climb towards the summit of crisis.

These revelations comprise two types of developments, those that disclose or expose information and strengths, physical abilities and capabilities–assets to achieving her or his goal, that of the protagonist.

The revelations of the middle part of the book also disclose the desires of the antagonist, most specifically the why and in the best stories how the antagonist’s motive connects with the desires and yearnings of the central character, thus binding them and ultimately revealing the shadow side of the protagonist, usually aspects of her or himself that the central character has yet to embrace.

This second type of revelation that occurs in the mid-section of a story often focuses on showing the needs and desires of the protagonist’s primary enemy and those of the supporting cast.

Done correctly the conglomeration of wants provide and excellent catalyst for exhuming the central character’s fears, to which she or he is able to acknowledge and claim, then provide and supply the strength and lead her or him to the key that yields the physical object necessary for their success and survival.

What is the primary dilemma or problem facing your central character?

What does she or he need to resolve this problem?

Of the supporting cast, which character has the most to lose should your protagonist achieve her or his goal?

What are the hopes, wishes and desires of your antagonist?

Which of these provide the greatest obstacle to your central character achieving her or his goal?

The answers to these questions form the basis of disclosures, plot points, in your novel.

Find ways  and the places where your story’s characters disclose the answers to these questions throughout your story.

Where you place them form the various revelations, turning points of action and response of your novel.