The lie your character believe In order to avoid facing the painful reality of his Lie, he wants to

pretend the problem is something else - denialism

He got problem but don't want admit

Ghost - Why does the character believe the Lie in the first place? This because of wound that
happened in past that's why he believes the lie , The key to identifying the
Ghost is understanding it will always be the underlying cause for the
protagonist’s belief in the Lie.

Example,

in toy story woody wants to be centre of attention he doesn't want share love because he knows
that what happens to unloved toys

Introduction of character

1. Introduce your protagonist.

2. (Probably) reveal your protagonist's name.

3. Indicate your protagonist's gender, age, nationality, and possibly his occupation.

4. Indicate important physical characteristics.

5. Indicate his role in the story (i.e., that he is the protagonist).

6. Demonstrate the prevailing aspect of his personality.

7. Hook readers' sympathy and/or their interest.

8. Show the protagonist's scene goal.

9. Indicate the protagonist's story goal.

10. Demonstrate, or at least hint at, the protagonist's Lie.

11. Influence the plot, preferably directly, but at the very least in a way that foreshadows later
events.

Normal world

At its most basic level, the Normal World is—as its name suggests—
a setting. This is the place in which your story opens. It is a place in which
your character has found contentment—or at least complacency

The point is that the Normal World is a place the protagonist either doesn’t
want to leave or can’t leave. It’s the staging ground for his grand adventure.
Most of the time he will take the Normal World for granted and feel it’s
going to go on and on forever, but sometimes he’ll start the story knowing
the Normal World is just a temporary stopover

All acts
1) the hero’s decision to act,
2) the action itself, and
3) the consequences of the action.

First act -

1. Reinforcement of lie - Hook readers with a glimpse of the character’s problems, then use
the rest of the First Act to fill in the gaps

2. Indicate the Character’s Potential to Overcome

the Lie- Right from the beginning, readers need to glimpse at least a teeny promise
that your character possesses the capability to chang

3. Provide the Character’s First Step in

Discovering How to Grow and Change - Your protagonist can’t change unless he first knows
how to change. The
First Act is the place to begin foreshadowing that change by giving the
character a hint or two about the nature of his Lie

4. Give the Character an Inciting Event to Refuse - an opportunity for your character , he
doesn't like this but - it has changed his awareness of himself, his world,
and his problem. For the first time, he begins to realize he has a problem.
He probably won’t be able to name that problem just yet.

5. Evolve the Character’s Belief in the Lie - now he believes strongly as he did at the beginning ,
but subconscious level he is beginning to fight

6. Make the Character Decide - The First Act ends when the character makes a decision.

The first plot point - the First Plot Point is the point of no return around 20% - 25%

Character decision :-

#1: Prior to the First Plot Point - It knocks his world

off kilter and shakes his equilibrium all to smithereens. It either flat-out
destroys his Normal World, leaving him with no choice but to physically
travel on

#2: During the First Plot Poin - As such, the First Plot Point must cause one very specific initial
reaction. Basically, this is just your character’s decision to react. It’s his decision to go ahead
and unlock the door to the Second Act. He doesn’t turn
away from the First Plot Point—he moves into it.
#3: After the First Plot Point - the character quickly establishes a
clear physical goal—based on the Thing He Wants

You know you’ve found the right First Plot

Point when it drags your character out of his former complacency and puts
his feet on the path toward destroying his Lie

The First Half of the Second Act -

lay the groundwork for

helping him begin to realize how his belief in the Lie is holding him back.

The First Half of the Second Act shows your character trying to regain
his balance and figure out how to survive in this new world in which he
finds himself.

The First Half of the Second Act features a Pinch Point (at the 37%
mark), in which the antagonist flexes his muscles and reminds readers what
the protagonist is up against.

4 PARTS OF THE CHARACTER ARC IN THE FIRST HALF

OF THE SECOND ACT-

1. Provide the Character With Tools to Overcome

His Lie -

This first tool will come in the form of information on how to

overcome the Lie. Often, it will result from another character (often a
Mentor or Guardian archetype) offering advice.

2. Show the Protagonist Encountering Difficulties

in Pursuing His Lie -

the character will be, in essence,

punished for acting according to his Lie he will seek help

3. Move the Character Closer to What He Wants

and Farther From What He Needs -

what he
fails to realize as he races toward his goal is that the closer he gets to the
Thing He Wants, the farther it’s pushing him away from the Thing He
Needs.
He may be on his way to succeeding in the outer conflict, but,
if he keeps heading down this path, he’s destined to lose his inner battle.

4. Give the Character a Glimpse of

Life Without the Lie -
one in which he glimpses, for the first time, what life might be like without the Lie

The Midpoint -

marks the end of his reactive phase and his transition into active mode.

“mirror moment”
(since it metaphorically—and sometimes literally—involves the character
looking in a mirror and seeing the truth about himself).

The character has

been seeing evidence of the Truth throughout the first half of the story, but
the Moment of Truth at the Midpoint is where he finally accepts that Truth.
He accepts it not just as a universal, generic truth, but as a Truth that is the
key to achieving his plot goal, and, by extension, the Thing He Wants.

Caught Between the Lie and the Truth -

Midpoint shows him the importance of the opposing

viewpoint.

Example - For example, the murder of Po-han at the Midpoint in Richard

McKenna’s The Sand Pebbles forces protagonist Jake Holman to face the Truth that it’s
impossible to stay personally neutral while in the midst of a
war. He still claims neutrality at this point, insisting the morality and
politics of war are something for the officers to “fool with.” But his actions
in plotting to desert the Navy prove that, deep in his soul, he no longer
holds with that Lie of neutrality.

Part of a Subtle Evolution -

the character’s personal shift from Lie to Truth will often be a subtle
moment.

Example - Thor: A physical inability to lift his own hammer—and a realization that
strength alone does not make Thor worthy to wield it.

The Second Half of the Second Act -

6 PARTS OF THE CHARACTER ARC IN THE SECOND

HALF OF THE SECOND ACT -

1. Allow the Character to Act in Enlightened

Ways -
He is on right track with right tools

2. Trap the Character Between the Old Lie and

the New Truth -

He’s trapped between two

incompatible beliefs. This will cause him to make mistakes. He believes in
the Truth; he’s acting on the Truth. But he’s not yet 100% committed to it.
The Lie is holding him back, and it’s causing him some pretty severe inner
conflict. One minute he acts on the Truth; the next is doesn't

3. Initiate the Character’s Attempts to Escape

the Effects of the Lie-

The character is starting to feel more and more uncomfortable with the
Lie’s effects in his life.

4. Contrast Your Character’s “Before and After”

Mindsets -

Think of these as “before and after” scenes. By purposefully placing

the character in a second-half scene that is similar to a first-half scene,
you’re able to give readers a dramatic representation of the progress he’s
made in his personal evolution.

5. Provide Your Character With a False Victory -

The Thing He Wants will seem to be right within his

grasp. All he has to do is reach out and take it

But that inner conflict boils up more insistently than ever. The Thing
He Wants is right there. And, by golly, he still wants it with everything
that’s in him. But he’s unsettled. Something about the whole thing doesn’t
feel right.
He’s sacrificed his deeper inner Need to gain a physical victory

6. Blatantly Demonstrate the Crux of Your

Character’s Arc -

Spell
it out. What is the Thing He Needs?
in the form of dialogue between
characters, an action on the part of a character

The Third Plot Point- most important plot point

This point of crisis is the result of a reversal enacted by the

antagonistic force. The protagonist thought he had the bad guy down for the
count, but the baddie’s got one more trick up his sleeve. Usually, this
reversal is accompanied by a completely unexpected (although, of
course, not unforeshadowed) revelation.
The Ultimate Choice Between Want and Need

At last, after two long story acts, he must choose between the Thing
He Wants and the Thing He Needs—between the Lie and the Truth.
Throughout the Second Half of the Second Act, he convinced himself he
could have both. Now, he realizes that’s impossible

The stronger your character’s yearning for the

Thing He Wants at this point, the more powerful your Third Plot Point will
be

, the protagonist makes

his choice. He chooses Truth. He chooses to reject the Lie. He will not
allow himself to live by this false belief anymore.

this moment is a representation of the character’s

dying to his old self

The Third Plot Point will often feature actual death

Example - Toy Story: A refusal by Andy’s other toys to help Woody escape Sid’s
room, followed by Buzz getting strapped to Sid’s rocket. Woody realizes he
can’t escape alone and chooses to admit that Andy’s need for both
Woody and Buzz is more important than his own escape.

The Third Act -

4 PARTS OF THE CHARACTER ARC IN THE THIRD ACT-

1. Up the Stakes -

make it even worse? Up the stakes. If the character is

emotionally miserable, why not make him physically miserable too?
He just saw his best friend get killed?
Perfect. Now, why not also put him on the run for his life?

He knows he did the right thing

—to the point that he’d do it again if he had to. He is now officially remade.

he is a new man.

2. Keep the Character Off Balance -

The important distinction here is that the character has claimed the
Truth, but he still hasn’t 100% rejected the Lie. He has already turned the
most important corner in his arc—the Truth is rising and the Lie is setting—
but the ascendancy of the Truth isn’t yet absolute. Even as the character
adjusts to his new paradigm, he will continue to experience doubts
throughout the Third Act.

3. Prove How Far the Character Has Come-

Your character may be currently feeling as if he’s making no progress, but,

of course, that’s not true at all. He’s made tremendous progress; the person
he is now is miles away from the person he was back there at the beginning
in the Normal World. You’ve already dramatically proven this in the Third Plot Point—and will
dramatically prove it once again in the Climax. But
you should be reinforcing the changes, in smaller ways, throughout the
Third Act.

4. Renew the Attack Upon the Character’s New

Paradigm-

the character’s new

paradigm of Truth should come under a penultimate assault. In most stories,
this renewed attack will be initiated by a character other than the main
antagonist (who should be saving his big guns for the Climax itself). The
attack might come from a minor antagonist, a skeptical or fearful ally, or
even the character’s own inner doubts.

The Climax-

Now, approximately halfway through the Third Act, the conflict has
revved to the point where a confrontation must happen between the
protagonist and the antagonist. If the protagonist is to have any chance of
winning that conflict, he must prove he is able to stick with the Truth for the
long haul. If he can’t gather all the lessons he’s learned throughout the story
and hang onto them now, when the pressure is greatest, then all will be lost
forever.

The Climax begins near the 90% mark in your story and ends right
before the final scene or two.

Timing the Final Rejection of the Lie Your

Character Believes -

Rejecting the Lie in the Climax -

Weak point active by antagonist but character has newly formed skin that

Rejecting the Lie Before the Climax-

At this moment, your character will reject the last

remnants of doubt about the Lie and step forward to claim the Truth. He is,
at last, completely centered—and, as a result, completely empowered to
face the antagonist. He is transformed

The Climactic Moment -

The Climactic Moment is the climax within the Climax. It’s the single
moment that resolves the story’s overall conflict. In identifying your
Climactic Moment, look for (or create) the one scene readers have been waiting for from the
beginning of the story. The bad guy dies.

( May be - his reasons for wanting it may have changed, giving him mixed
feelings about his victory. (In The Kid, Russ Duritz finally gets rid of his
younger self, only to miss having him around.)

The Resolution -

you get to show

readers the new Normal World that has been built by the character’s hard-won Truth.

The Resolution needs to fulfill two primary duties in finishing off your
character’s arc.

The first of those duties is providing an answer to the

thematic question that was raised in the story’s beginning.

The second
duty is giving readers a preview of the character’s new Lie-free life.

The Character’s New Normal-

These changes are often best demonstrated by creating a deliberate

contrast between the Normal World in the beginning of the story and the
new normal that now exists in the wake of the conflict. Returning the
character to the actual physical setting from the beginning of the story,
while not absolutely necessary, allows you to dramatically contrast (and
therefore highlight) the character’s new self with his old world.

Why all of this is important -

If you can
understand the psychological workings at the heart of human change, then
you’ll also understand how to create a story about a character who changes,
from worse to better, in a convincing way.
It isn’t enough to simply have a character change; he must change in a
way that harmonizes with the patterns we all recognize in our own lives and
those of our family and friends. Readers will resonate with those patterns in
your characters—and they will be moved by them.