Mariner Software Contour for Mac - Manual (Page 75)

WHAT'S THE WORST THAT CAN HAPPEN?
The title says it all! Your protagonist's whole life (your whole story) has been built towards both avoiding this moment as
well as confronting it. Avoiding, because it is his worst fear. Confronting because this is what he needs to do in order to
become the person he needs to be.
Luke is out-gunned, out-numbered, and the Death Star is closing in on destroying the Rebel Base and killing Leia.
(STAR WARS)
Jonah runs away and Sam frantically has to go to New York to find him. (SLEEPLESS IN SEATTLE)
The ship is breaking up and Jack and Rose are being pursued by the murderous Cal. (TITANIC)
And lest we forget...the Stay-Puft Marshmallow Man! (GHOSTBUSTERS)
GOOD GUY VS. BAD GUY OVER STAKES
The climax of every well-told story is the protagonist in pitched battle against the antagonist over the stakes of the story.
I've seen films where the final battle is handed to some subordinate or minor character, and you can feel your brain rebel
while watching. In your story, make sure it is your main character who has to get his hands dirty, not someone else. You
main character might get some desperately needed help, but choices and action belong to your main character.
In romantic comedies, this can be a seemingly small moment right at the very end of the story, because after all, when
boy gets girl it's all over.
Brody is on the sinking Orca and squares off against the shark to save Amity. ( JAWS)
Jack fights Barbossa to save Will and Elizabeth. (PIRATES OF THE CARIBBEAN: THE CURSE OF THE BLACK
PEARL)
Sam finds Jonah at the top of the Empire State building, almost misses Annie, but finds her when they come back
to retrieve Jonah's backpack. (SLEEPLESS IN SEATTLE)
Luke destroys the Deathstar and saves Leia. (STAR WARS)
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