Look at any diagram of three-act-structure and you’ll find two main turning/plot points (Act One into Act Two/ Act Two into Act Three) and a midpoint.

Michael Hauge calls the midpoint, the Point of No Return (PONR). In aviation terms, the Point of No Return is that point in a flight where the aircraft does not have enough fuel to return to its point of departure, and must make it to its destination safely or crash and burn.

At the PONR in a story, something happens in the ‘plot’ that will turn the story around and take it fractionally closer to the end than the beginning. There is no going back. For example, in a mystery novel, it might be a clue that finally puts the detective on the right path to solving the crime.

When it comes to character development, something will happen here that allows the character to become closer to the person he will be at the end of the story than he was in the beginning.

James Scott Bell calls this the ‘Mirror Moment’. He says: ‘What I detect is a character point, something internal, which has the added benefit of bonding audience and character on a deeper level.’ It’s a moment, not a whole scene. He also says, the midpoint of your story is where your character faces some kind of death.

• Physical – where there is a real threat to his life.
• Professional – where his reputation is on the line.
• Psychological – where something inside the character changes.

JK Rowling says, ‘It is our choices that show us what we truly are, far more than our abilities,’ and it will be at this point in the story where a character makes a choice – or understands the ramifications of past choices – that gives them a glimpse of who they truly are, or want to be. It is the moment of transformation from who the character was, to who they will become. It’s when they get the chance to look in a metaphorical mirror and see themselves in a new light.

CASINO ROYALE: There are stories where the character doesn’t change/arc – James Bond. Hercule Poirot. Indiana Jones. Miss Marple – but every rule comes with an exception. Casino Royale – the version with Daniel Craig – tells the story of how James Bond becomes ‘James Bond’, so the character does arc in this story. Check out this ‘mirror moment’ in Casino Royale – halfway through the movie – which actually uses a mirror!

Look at the dress Bond brings for Vesper Lynd to wear. It’s on a plastic hanger and looks like it’s just come from the dry cleaner’s. Compare that with the tuxedo she has for him. And that moment, when he wears a tailored suit for the first time ever, watch his reaction when he looks at himself in the mirror. He’s seeing himself a little differently. Interestingly enough, this is the first time you will hear the strains of the Bond theme in this movie.

Contrast that with the last scene in the movie where he is fully revealed as ‘James Bond’ and we hear to whole theme for the first time.

PRIDE AND PREJUDICE: Open Pride and Prejudice half way through the book and you will find a couple of scenes: 1) Where Darcy visits Elizabeth and offers her a horrible proposal of marriage. 2) Where Elizabeth reads the letter Darcy writes to her following her refusal of his offer.

The title Pride and Prejudice tells you what the book is about. Both Darcy and Elizabeth are proud people – he of his wealth and position, she of her ‘discernment’. For them to end up together at the end of the book, they’ll both have to find a bit of humility and get rid of their prejudices.

And the first stirrings of that happens in the middle of the story. Darcy is so shocked by Elizabeth’s refusal – ‘And this,’ cried Darcy, as he walked with quick steps across the room, ‘is your opinion of me!’ – that he goes home and writes Elizabeth a letter explaining the truth about Wickham. After she finishes reading it, Elizabeth says, ‘ How despicably have I acted!’ she cried. ‘I who prided myself on my discernment…. Till this moment, I never knew myself.’

(Ironically, there is a mirror in this scene!)

Elizabeth and Darcy still have a long way to go before that second – successful – proposal at the end of the book, but at the midpoint of the story, they cross that line from being who they were, and how they saw themselves and each other, to who they will be by the end.

THE HUNGER GAMES: Set in a dystopian future, Katniss Evergreen volunteers to take her younger sister’s place in the murderous Hunger Games, where out of 24 participants, only one victor will be left alive at the end.

Midway through the book/film, Katniss finds herself facing physical death. She has no weapons – except for a knife – is trapped up a tree, and is literally waiting to die when daylight comes. Then something happens which can change her fortune, but only if she decides to go for it. Watch carefully for that ‘moment’ when Katniss realizes she has a chance to live. By the end of the scene, she has a weapon she is skilled in using, has killed some of her deadliest opponents, and has allies in Rue and Peeta.

DANTE’S PEAK: A perfect example of when the midpoint of action and character development meets beautifully. (Unfortunately there is no Youtube link for this.)

A mountain is threatening to erupt, but the scientists won’t know for sure until sulphur gets into the water supply. Hero and heroine have been badly hurt in previous relationships and wary of becoming involved with anyone again.

Midpoint of the story is when hero and heroine come back from enjoying an evening at the bar. She sends the babysitter home and invites him in for coffee. Both are nervous – ‘I haven’t been with anyone in a long time.’ – and are leaning in for their first kiss when her daughter calls down from upstairs. She’s thirsty. Can she have a glass of water? The heroine turns on the tap. It’s contaminated with sulphur.

The mountain is now going to blow – not right this minute – but there is no doubt it’s going to go.

Hero and heroine have taken the joint risk to open up their hearts again. (In a love story, the midpoint is often where the hero and heroine will kiss or make love.)