An example, or a reminder, of the nature and implications of the antagonistic force, that is not filtered by the hero’s experience. The reader sees for herself in a direct form.
There are two pinch points in your story. The only difference between them is where they appear in the sequence of the stoiy.
Let’s say you’re writing a love stoiy. At the First Plot Point, the hero’s girlfriend dumps him like an empty can of Red Bull. A nice buzz, now she’s done. The reader is not sure why the girlfriend is running away, but the hero’s need and quest from that point forward is to win her back. And because he doesn’t know why either, his first mission is to find out.
The antagonist here is the girlfriend. The antagonistic force is her disinterest in him. This blocks the hero’s need to get her back.
During Part 2 the reader experiences the antagonistic force through the perceptions of the hero. The reader feels his pain, empathizes with his confusion, and invests in his hopes. We’ve all been there, and it sucks.
At the First Pinch Point, though, the reader needs to see the antagonistic force for herself. Not just hear it discussed or referenced, not just remembered … she needs to experience it through the eyes of the hero. Qr at least the consequences of the opposing force as they affect the hero. Or, in some stories, an exposure to the antagonist is for the reader’s perception only, completely separated from the hero’s perception. While the reader sees what the hero is facing, he continues to respond to it, largely unaware.
A good pinch point in this example might be a quick cutaway scene showing the girlfriend in Aspen, wrapped in the arms of another lover against a backdrop of falling snow through a picture window in their suite at the Ritz-Carlton. That’s it. Nothing more is necessary. Just show us the girl withsomeone else.
The excerpt is retrieved from the book ‘Story Engineering’