How To Write A Novel's Fun & Games (in Act Two)

The first part of Act Two is called the ‘Fun And Games’ phase of a novel for good reason. Act One is often a tightly structured series of plot points and beats, but after the Break Into Act Two, and the joining of the Quest, a widening and a loosening of the narrative can take place. This usually ushers in a greater spirit of adventure, whether literal (e.g. in fantasy epic) or metaphorical (e.g. in romance), or a deepening mystery.

The protagonist explores their new situation, facing challenges, encountering new characters, both positive and negative, and negotiating the initial ups and downs of their journey. This phase is therefore often a mix of moods and strategies: new characters can be introduced and get to know each other. There might be a lot of activity. It is often the adventure phase. As ‘Fun And Games’ suggests, it is possible to have it be the most knockabout/’good–times’ part of the novel, if that is tonally appropriate. Other times, a mystery might deepen as the central character explores it. In a literary novel, it could be quite a philosophical phase. In a fantasy novel, the central character will literally begin their epic adventure.

In essence, in Act One, you sold the premise of your novel to the reader. Now you can give them a bit of change, fun and adventure. Often, the nature of the Quest is still clarifying for the protagonist. Later, it will be much clearer and more intense.

This sequence usually has a good variety of scenes with shifts of tone and a mix of action, dialogue, and character–driven scenes to keep the narrative dynamic and diverse. Let new friendships forge and bond. In a cheesy Hollywood action movie, this would be a phase of corny jokes and active hi–jinks that subtly bond the central characters and amuse the audience before things get more serious after the Midpoint. It can be more light–hearted or even comedic, even if the Quest is very serious in nature.

You must be very clear, though, that these chapters are not just jokey filler before we get into the tense, climactic action of the second half of the novel. They deepen character development, show the risks and mysteries of the new situation, and advance the plot decisively. They also describe what’s at stake and the new world of conflict in which the protagonist now operates. It is crucial here to get the reader invested in the Quest, but you also have to entertain them and give them a range of moods and emotions.

Introducing New Characters

Often new characters will be introduced at the start of Act Two. We will explore this more in the chapter outlines ahead, but this might include a love interest, a mentor/teacher or a new sidekick/ally. These new relationships not only add texture and variety, and new opportunities for story creation, but also help reveal and grow your protagonist’s own character.

Develop new, secondary characters quickly. Remember, secondary characters in a novel need nothing like the depth of characterization as the protagonist and they don’t need to transform as much as them (or in some cases, at all). However because you are giving less time and emotion to their development, their characters, aims, roles and psychologies should be clear pretty quickly.

Make the reader invest in these new relationships. Put simply, if you want us to like a secondary character, then let them have fun with the protagonist in one scene, or help them out in another. ‘Bad’ characters will need to have the capacity to be menacing, either openly or more subtly. You should be showing the reader how to think about characters, even if you later reverse that through a twist or a reveal.

Some of these characters might eventually betray the protagonist, or be revealed as part of the antagonistic force they face, and you can decide whether to hint at this now, or have it as a complete surprise later. However, you must never make the mistake of such a change of role in a character being confusing to the reader when it happens. Knowing your secondary character’s true motivations right from their introduction is going to help you enormously.

Introducing Subplots

Subplots usually either emerge or become more prominent in the early part of Act Two, adding complexity to the main narrative. Some manuals are quite strict that subplots should only meaningfully begin in early Act Two but I am more relaxed about this.

New allies, friends or love interests often first appear here and bring their own arcs, either directly or indirectly linked to the protagonist (but they should always have some bearing on the main plot).

Some of these new relationships can bring conflicts or tensions. In a crime novel, it could be a detective’s colleagues or superiors adding obstacles, whether or not directly related to the case itself, but nonetheless affecting the quest of the protagonist. In a historical romance, it might be the emergence of some kind of rival for the attention of the handsome duke.

If your story includes a romantic subplot, this is the time to begin it or to develop it more substantially, showing and growing the connection between or mutual frustration felt by the lovers.

Subplots are generally less a part of Act One and are fully resolving by Act Three, either positively or negatively. But it is during Act Two that we see them in the most detail, with all their possibilities, pleasures and tensions.

This is an excerpt from How To Write A Novel Chapter By Chapter available here: https://www.amazon.com/How-Write-Novel-Chapter-Outlining-ebook/dp/B0DJ8TMVWL?ref_=ast_author_mpb

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