In literature what is the “point of no return?” Scott Driscoll, on his blog, says, “This event or act represents the point of maximum risk and exposure for the main character (and precedes the crisis moment and climax).”
 
Crises, even small ones on the most personal of levels, are the fertile ground from which adventure springs. Most disasters are preceded by one or more points of no return; places where the protagonist could have made a different choice and trouble could have been avoided.
 
Our task as authors is to identify this plot point and make it subtly clear to the reader, even if only in hindsight.
 
In life we often find ourselves boxed into a corner, frantically dealing with things we could have avoided if only we had paid attention and not ignored the metaphoric “turn back now” signs.
 
I’ve used this prompt before, but it’s a good one, so here it is again:
 
Imagine a road trip where you are sent off on a detour in a city you’re unfamiliar with. What would happen if some of the signs were missing, detour signs telling you the correct way to go? Also missing is a one-way street warning sign.

At some point, before you realized the signs had been removed, there was a place you could have turned back. Unaware of the danger, you passed that stopping point and turned left when you should have turned right. Now you find yourself driving into oncoming traffic on a one-way street.

That place where you could have turned around before you entered the danger zone was the point of no return for your adventure. Fortunately, in our hypothetical road-trip, no one was harmed, although you were honked at and verbally abused by the people who were endangered by your wrong turn. You made it safely out of danger, but you’ll never take a detour again without fearing the worst.
 
In contemporary fiction, literary fiction, romance--no matter what genre you are writing in, “arcs of action” drive the plot. A point of no return comes into play in every novel to some degree. The protagonists are in danger of losing everything because they didn’t recognize the warning signs, and they are pushed to the final confrontation whether they are ready for it or not.
 
Speculative fiction generally features a plot driven by a chain of events, small points of no return, each one progressively forcing the protagonist and his/her companions to their meeting with destiny.
 
Contemporary and literary fiction is also driven by a chain of small events. In some novels, this takes the protagonist to a confrontation with himself, or a family is forced to deal with long-simmering problems. Many times in literary fiction the point of no return looks like a non-event on the surface. But nevertheless, these events are the impetus of change.
 
In most literature, these scenes of action form arcs that rise to the Third Plot Point: the event that is either an actual death or a symbolic death. This event forces the protagonist to be greater than they believed they could be, OR it breaks them down to their component parts. Either way, the protagonist is changed by this crisis.
 
The struggle may have been fraught with hardship, but the final point of no return is the ultimate event that forces the showdown and face-to-face confrontation with the enemy—the climactic event.
 
No matter the genre, the story arc has certain commonalities—in literary fiction, they will be more subtle and internal than in an action adventure or space opera, but in all novels the characters experience growth/change forced on them by events.
 
During the build-up to the final point of no return, you must develop your characters’ strengths. You must identify the protagonist’s goals early on and clarify why he/she must struggle to achieve them.

1. How does the protagonist react to being thwarted in his efforts?
2. How does the antagonist currently control the situation?
3. How does the protagonist react to pressure from the antagonist?
4. How does the struggle deepen the relationships between the protagonist and his cohorts/romantic interest?
5. What complications arise from a lack of information regarding the conflict?
6. How will the characters acquire that necessary information?

 
Misfortune and struggle create opportunities for your character to grow as a person or to change for the worse. We must place obstacles in our protagonists’ path that will stretch their abilities, and which are believable, so that by the end of the book they are strong enough to face the final event and denouement.
 
Remember, each time the characters in a book overcome an obstruction, the reader is rewarded with a feeling of satisfaction. That reward keeps the reader turning pages.
 
It doesn’t matter what genre you are writing in: you could be writing romances, thrillers, paranormal fantasy, or contemporary chick lit—obstacles in the protagonist’s path to happiness make for satisfying conclusions.
 
The books I love to read are crafted in such a way that we get to know the characters, see them in their environment, and then an incident happens, thrusting the hero down the road to divorce court, or trying to head off a nuclear melt-down.
 
 
After all, sometimes a dinner party happens, and the next day our Hobbit finds himself walking to the Misty Mountains with a group of Dwarves he only just met, leaving home with nothing but the clothes on his back. In chasing after them, Bilbo has passed the first point of no return. I say this because after having heard the stories and listened to their song, and after having seen the map, even if he were to turn back and stay home, Bilbo would have been forever changed by regret for what he didn’t have the courage to do.
 
   ________________________________________________________________________________

Crisis and the Point of No Return, © 2018 by Connie J. Jasperson was first published June 18, 2018 on Life in the Realm of Fantasy. Reprinted by permission.
 Connie J. Jasperson is an author and blogger and can be found blogging regularly at Life in the Realm of Fantasy.

We all know opposites attract—it seems to be a fundamental law of physics. It is as if the one end of the magnetic spectrum supplies a needed missing element for the other, something they can’t resist.
 
In literature, polarity gives your theme dimension. Remember, the theme is the backbone of your story, the thread that runs through it and connects the disparate parts. Themes are often polarized: One obvious polarity in literature is good vs. evil. Another is love vs. hate.
 
The circle of life explores birth, growth, degeneration, and death. Young vs. old is a common polarity—many times we find opportunities for conflict within the family. Both sides of this age-old conflict tend to be arrogant and sure of their position in each skirmish.
 
Wealth vs. poverty offers the opportunity to delve into social issues and inequities.
 
But looking beyond the obvious are the subtle polarities we can instill into our work, the small subliminal conflicts that support the theme and add texture to the narrative.
 
Consider justice. Without injustice, there is no need for justice. Justice only exists because of injustice.
 
Or pain–the absence of pain, emotional or physical, is only understood when someone has suffered pain. Until we have felt severe pain, we don’t even think about the lack of it. In literature, emotional pain can be a thread adding dimension to an otherwise stale relationship.
 
Truth and falsehood (reality/unreality) go a long way toward adding drama to a plot and provide a logical way to underscore the larger theme.
 
Ease should be framed with difficulty.
 
The contrast of order and chaos can really power a story-line, and the way you perceive them will not be the way another author sees them.
 
Many commonly used words have opposites, such as the word attractive, the opposite of which is repulsive. When you really want to add texture to your narrative, look at how you could apply the ideas generated by your list of antonyms, words with the opposite meanings.
 
Think about how some of the concepts of the more common “D” words with opposites could be used to good effect:

• dangerous – safe
• dark – light
• decline – accept
• deep – shallow
• definite – indefinite
• demand – supply
• despair – hope
• discourage – encourage
• dreary – cheerful
• dull – bright, shiny
• dusk – dawn

 
I love and regularly use the Oxford Dictionary of Synonyms and Antonyms to spur my creativity. It can be purchased in paperback, so it’s not too spendy. Often you can find these sorts of reference books second hand.
 
The internet is also your friend. A large, comprehensive list of common antonyms can be found at Enchanted Learning. If you don’t have the Oxford Dictionary of Synonyms and Antonyms and are feeling the financial pinch most authors feel, this is a free resource.
 
Applied with a deft hand, opposites add dimension and rhythm to our work. Polarity is an essential tool of world building, as small polarities in the interactions your characters have with each other add to the atmosphere and serve to show their world in subtle ways.

• courage – cowardice
• create – destroy
• crooked – straight/honorable
• cruel – kind

 
What polarities can you use to your advantage in your current work in progress? When inserted unobtrusively they become invisible, an organic part of the larger picture. Yet, each small polarity will create a little conflict, push your characters a bit further, and underscore your larger theme.
 
These are just a few ideas and thoughts to help you jump start your work, if you’re a little stranded. Happy writing!
 
      _________________________________________________________________________________

Using Polarity in Literature, © 2018 by Connie J. Jasperson, was first published on Life in the Realm of Fantasy June 25, 2016. Reprinted by permission.
Connie J. Jasperson is an author and blogger and can be found blogging regularly at Life in the Realm of Fantasy.