The Obstacle Course of Act Two

In any story you have a hero with a GMC. That's Goal Motivation and Conflict. They want something for some reason and they go after it. To keep the story interesting, and longer than a minute, you as their creator have to throw an obstacle in there way. 

I've talked before about the Try Fail Cycle; Obstacle, Growth, Setback, Regroup. Rinse Repeat until the final Confrontation; Dark Moment in a Romance, Hero at Mercy of Villain in Thriller

But what are you going to do with the hero on the journey to that confrontation? What problems can you throw in their way? I'm happy to tell you that there are only four physical and/or internal complications that force the hero or heroine to make decisions that produce dramatic action.

 To illustrate these four, let's go to Disneyland!

The Antagonist (Bad Guy)

A specific antagonist lends clarity and power to the dramatic structure because his primary function is to oppose the protagonist. He doesn’t necessarily have to be evil, but he should personify the protagonist’s obstacles.

In Cinderella, her Wicked Stepmother does everything in her power to oppose Cinderella’s happiness. She withholds her own affection, which is Cinderella’s want, and then obstructs every chance at Cinderella’s grab for true love.

Antagonist example

In the Cinderella adaptation Ever After, Danielle (heroine) works tirelessly to gain acceptance (want) from her stepmother (antagonist) until she realizes her family of friends, including the Prince, love her unconditionally (need).

Physical Obstructions

Physical obstructions are just what they seem –material barriers standing in the way of the protagonist. These can be rivers, deserts, mountains, a dead-end street, or a car causing a crash –anything that presents a substantial obstacle for the protagonist.

Arielle’s fin prohibits her from walking on land to meet her true love. She wants to be apart of the human world and gives up those fins, only to find a new obstruction in the way to her goal -the loss of her vocal cords.

Physical example

In The Little Mermaid adaptation Splash, yes I went there!, Madison (heroine) leaves the sea to be with Allen (want) but when her legs get wet and her fins come back (obstacle) she’s forced to tell Allen the truth of her existence in the hopes that he’ll come and spend forever with her under the sea (need).

Inner/Psychological Problems

Inner obstacles are intellectual, emotional, or psychological problems the protagonist must overcome before being able to achieve his goal. For example, dealing with fear, pride, jealousy, or the need to mature fall into this category.

Though Fiona’s greensome appearances is thrust upon her by magic, she stands in her own way to true love because outward appearance matters to her more than what’s on the inside. She bumbles around on this obstacle course of inner beauty until she can finally see that she and her heroic ogre are perfect the way they are.

Inner/Psychological example

In the unconventional fairytale Shrek, Princess Fiona (heroine) hopes to be rescued by a knight in shining armor (want) who will break her curse (obstacle) until she realizes that true love is “color” blind (need).

Mystic Forces

Mystic forces enter most stories as accidents or chance but they can be expressed as moral choices or ethical codes, which present obstacles. They can also be personified as gods or supernatural forces, which the characters have to contend with.

In the Princess and the Frog, magic forces alter Tiana’s life. As she struggles to hop free of its hold she faces the possibility of having to let go of the love she’s found in an effort to have her dreams come true.

Mystic Forces example

In Disney’s jazzy adaptation of the fairytale, The Princess and the Frog, Tiana (heroine) aims to fulfill her father’s dream of opening up a restaurant, but she’s turned into a frog (obstacle) and is only rescued by the love (need) of a frog prince

You can mix and match these four obstacles in your Try Fail Cycle to help your hero learn skills, gather allies, and learn lessons to prepare them for that major Confrontation that's on the horizon. 

In fact, what I like to do is make a list of at least five of each obstacle and then pick which one would work the best at that particular beat or pacing point.

Happy writing,

Ines