#Signpost in writing how to

Not only is Andy Weir’s The Martian an extraordinary example of how to weave fiction with science (driven by a witty, badass botanist), but it’s the perfect example of how a self-published book (one that Weir sold for 99 cents on Amazon, though he wanted to sell it for free!) snagged an agent (who contacted him, which almost never happens), and secured a book deal (with Random House) and film deal four days apart. Or else what? There’s no story? I’d strongly argue not a very good one, at least not one that is likely to catch the attention of a publisher, agent, editor, or readers-unlike Andy Weir, who nails The Mirror Moment in his novel The Martian (a rags to riches story in itself). Now there’s a thought: every story’s midpoint, in order to save the middle from losing tension and slowing the pace, must involve an event that challenges the protagonist/characters to change, or else. Taking this thought a step further, editor Shawn Coyne (author of The Story Grid and editor with over 25 years of experience)-defines the Mirror Moment (he calls this “the middle build crisis scene”) as a “moment of revelation where the character or characters decides that the way that they used to be is not going to work, and that they have to strive forward for something else.” The Mirror Momentīell explains that at every midpoint, there is a moment where “the main character has to figuratively look at himself, as in the “mirror” and be “confronted with a disturbing truth: change or die.” In other words, the importance of reinforcing a whiff of death moment (be it physically, psychologically, or professionally) is thrust upon the Lead character(s) in a massive way: if they do not change, they die (sometimes metaphorically, sometimes actual death). The Mirror Moment, otherwise known as Signpost Scene #7 in the 14 signpost scenes Bell outlines in Super Structure. In his book Super Structure, multi-bestselling author James Scott Bell questioned if there really was anything “unique” about the midpoint what he discovered altered his perspective SO MUCH that he dedicated an entire book to analyzing midpoints: Write Your Novel From the Middle. As we read through Act II, we’re moving along, enjoying the new obstacles that challenge your protagonist when *cue whipping sound* something BIG happens.

Halfway through our stories (literally, the 50% mark), something absolutely remarkable happens.