The prize all three Trifecta characters are chasing for different reasons — what the Protagonist wants, as opposed to what they need.
Applies to: Kind Comedy, Cruel Comedy (does not apply in the same way in Tragedies)
Definition
The thing all three characters in the Trifecta want — each for completely different reasons. The McGuffin sits at the centre of the first half of the story like a trophy everyone is chasing. It is what the Protagonist wants, as opposed to Heaven on Earth, which is what they need.
Critically, the McGuffin can be won using the King’s Law and the Bad Habit — which is exactly why winning it at the Midpoint is a false victory. The Protagonist gets what they wanted. They got it the wrong way. The 20% that remains unsatisfied is everything that actually matters.
Why This Term Matters
The McGuffin is the structural mechanism that makes the Midpoint possible. It gives the first half of the story its direction and urgency — everyone wants this thing, the rules of the competition are clear, and winning it feels meaningful. But it is precisely designed to be insufficient. Understanding the difference between the McGuffin and Heaven on Earth is understanding the difference between what characters say they want and what stories are actually about.
The Three McGuffin Tests
A valid McGuffin must pass all three tests:
- The 80% Test — would winning it feel mostly satisfying but leave something unresolved? (If it feels 100% satisfying, it is Heaven on Earth, not the McGuffin. If it feels less than 70% satisfying, the stakes are too low.)
- The Bad Habit Test — can it be won while the Bad Habit is still active? (If it requires the Habit to already be shed, it is Heaven on Earth.)
- The Three-Way Test — do all three Trifecta characters want it for different reasons?
In Tragedies
The McGuffin does not apply in the same way in Tragedies. The structural logic shifts when the Protagonist is the Villain — the thing being chased is defined differently, and the Genie/McGuffin architecture of the first half does not map cleanly onto Tragedy structure. See: Kind Tragedy, Cruel Tragedy.
In a Kind Comedy — Examples
Ratatouille: Gusteau's restaurant — specifically, its critical reputation and survival. Remy wants it because it lets him cook. Skinner wants it to protect his fraudulent empire. Linguini wants it because it gives him identity and belonging. Winning it at the Midpoint (the great review, Gusteau's restored) is a false victory — achieved through the Genie, with the Habit intact.
In Bruges: Validation — being shown that the accidental death was not solely Ray's fault, that there was a reason to keep living, that Harry will let him off the hook. Ray wants absolution. Harry wants order. Ken wants Ray to survive. Winning it (Harry's phone call extending the stay) is momentary relief, not resolution.
The McGuffin vs. Heaven on Earth
The McGuffin is what the Protagonist wants. Heaven is what they need. The Protagonist can articulate the McGuffin — they know they want it. They often cannot articulate Heaven on Earth — they would not recognise it if they described it. That is why the story has to take them there.
Related Articles
- Why Outlining a Story Feels Impossible — the McGuffin as a structural anchor for the first half of any story
Learn More
The McGuffin is developed in full in the Kind Comedy Course, including the three McGuffin Tests and worked examples from Ratatouille and In Bruges. The free Fundamentals Course introduces the concept alongside Heaven on Earth.