The Harold is tough.
Its very specific structure can feel restrictive. Its required delayed connections can make us overthink. Its built-in scenic Time Limits don’t make it easy to sustain momentum or heighten linearly. For these reasons I try to find ways to create a little more freedom in my approach while still honoring the basic goals of the form (Here’s a simple structural diagram if you’re unfamiliar/need a refresher).
One way I do this is by expanding the ways First Beats Scenes can inspire Second Beat Scenes. The basic goal of the form is that 1A and 2A are connected, but in my opinion there aren’t any inherent requirements about what those connections have to be. Overall there’s a wide spectrum of options for Second Beat Pulls, ranging from very specific and ultra-clear to abstract and almost imperceptible.
A disclaimer about this graphic, first of all, is that it paints an incomplete picture. These categories aren’t strict; it’s a spectrum that’s much more fluid and multi-dimensional than it appears. They often overlap and blend into one another based on different levels of specificity (e.g. Character-Game, Genre-Narrative) and the more specific ones tend to naturally include elements of the more abstract ones (e.g. Genre ← Tone, Character ← Attitude). Realistically, many effective pulls will be more nuanced, often combining multiple categorizations. The purpose of this graphic is not to accurately define the infinite potential Second Beat Pulls, but rather represent the wide range of options while highlighting the simplest and/or most common.
That being said, let’s take a closer look at each of these categorizations and some examples of each.
Narrative
Continuing established events and/or progressing a story
Narrative Pulls are useful when characters in First Beat Scenes create goals or set up meaningful future events that remain incomplete by the end of that scene. The goal with the Second Beat Scene is to either conclude the story or move it along with the intention of concluding it in the Third Beat. Narrative Pulls require clear protagonists with clear goals and the main focus of the scene should be them and their pursuit of those goals. Other characters might be those introduced in the First Beat Scene, brand new characters, or a combination of both as long as they function only in service of the protagonist’s pursuit, either as conduits or obstacles. Time almost exclusively moves forward, although it may make big jumps.
Examples:
No Time Jump
First Beat Scene: Chefs prepare for a cooking competition that starts in 5 minutes. Their goal is to win.
Second Beat Pull: The competition begins.Small Time Jump
First Beat Scene: A high school student practices soccer with their friends. Their goal is to make the varsity team.
Second Beat Pull: The student at tryouts a few weeks later.Large Time Jump
First Beat Scene: A child studying stars with their parent. Their goal is to be an astronaut.
Second Beat Pull: The child, now an adult, on their first launch.
Character
Placing one or more established individuals in a new scenario
Character Pulls are useful when there are interesting and memorable characters in First Beat Scenes with clear points of view and a pattern of behavior that can be applicable to another set of circumstances. Character Pulls are less about the character’s life story and more about placing them in another scenario in which they can apply their point of view and pattern of behavior. The key to an effective Character Pull is that their behavior is consistent scene-to-scene despite the changing circumstances. How they fit into the world may or may not change with the circumstances (i.e. their behavior may be frowned upon in one scenario and celebrated in another).
Examples:
Static Fit
First Beat Scene: Character tries to win back their ex by getting tattoos about them, but it backfires.
Second Beat Pull: Same Character tries to get their job back by getting tattoos about the company, but it backfires.Variable Fit
First Beat Scene: Character tries to win back their ex by getting tattoos about them, but it backfires.
Second Beat Pull: Same Character tries to get their job back by getting tattoos about the company, and the company makes them the spokesperson.
Universe
Exploring the tangential effects of established events
Universe Pulls are useful when something happens in First Beat Scenes that have larger repercussions for the world in which the scene takes place. This is usually prompted by character decisions and actions that somehow change their ecosystem, thus affecting other characters in that world. In Universe Pulls, characters from the First Beat Scene may or may not be directly referenced but generally don’t appear.
Examples:
Direct Reference
First Beat Scene: A crossing guard finds a winning lottery ticket and retires.
Second Beat Pull: Children trying to get to school navigate crossing the street without help now that the crossing guard has retired.Indirect Reference
First Beat Scene: A genie grants a child’s wish for it to snow in summer so they can go sledding.
Second Beat Pull: Beach-goers attempt to enjoy their summer day despite the fact that it’s oddly snowing.
Game
Exploring an established comedic concept using different circumstances
Game Pulls are useful when the unusual situation in the First Beat Scene has a main comedic idea that warrants further exploration. What’s tricky about these is that when people refer to “Game” they often mean two different things: the Game of the Scene (the specific comedic scenario being explored in that particular scene) and the Broader Game (the summary of the scenario stripped of all specifics). Game Pulls, as I’m using it here, covers both.
The essentials of Game, in my opinion, are the following: CHARACTER does BEHAVIOR because REASON and it’s unusual in CONTEXT. For all Game Pulls, our main focus should be the Reason for the Character’s behavior. In a Game of the Scene Pull, that specific Reason remains entirely or mostly the same while the Character, Behavior, and Context all change. In a Broader Game Pull, even the specificity of the Reason is removed; the idea is distilled down to its most basic essence, and then entirely new specifics are placed back onto it. When anyone refers to “analgous” scenes (e.g. the UCB Manual), this is what they mean - a Broader Game Pull.
Examples:
Game of the Scene Pull (Same Reason)
First Beat Scene: A doctor (Character) is being childish (Behavior) in surgery (Context) because they’re actually two kids standing on top of each other (Reason).
Second Beat Pull: A guide is giving obviously made up facts on a museum tour because they’re actually two kids standing on top of each other.Game of the Scene Pull (Similar Reason)
First Beat Scene: A doctor is being childish in surgery because they’re actually two kids standing on top of each other.
Second Beat Pull: A horse is struggling to pull a wagon because it’s actually two people in a horse costume.Broader Game Pull (Someone is doing a bad job because they’re not what they appear to be)
First Beat Scene: A doctor is being childish in surgery because they’re actually two kids standing on top of each other.
Second Beat Pull: A bouncer is letting anyone into the bar because they’re actually a scarecrow.Broader Game Pull 2
First Beat Scene: A doctor is being childish in surgery because they’re actually two kids standing on top of each other.
Second Beat Pull: A professional basketball player is having an awful game because they’re actually a fan wearing the player’s jersey.
Genre
Exploring additional conventions and tropes of an established style
Genre Pulls are useful when the First Beat Scene has elements of a specific artistic category such as mystery, science fiction, western, fantasy, etc. Even if that first scene isn’t obviously in a specific genre, a Second Beat Genre Pull can turn up the intensity (i.e. heighten) by leaning harder into the conventions of the style to make it more clear. In practice, Genre Pulls will often include specific elements from the First Beat Scene like Character or Location, thus becoming a hybrid pull, although this is not necessary.
Examples:
Genre Only
First Beat Scene: A student invents a robot for a science fair. (Elements of Science Fiction)
Second Beat Pull: A team of space colonists land on a new planet.Genre-Character
First Beat Scene: A student invents a robot for a science fair.
Second Beat Pull: The same student tries to keep the robot out of the hands of the government, who want access to the technology for evil reasons.Genre-Location
First Beat Scene: A student invents a robot for a science fair.
Second Beat Pull: Another student at the same science fair exhibits their cloning device.
Theme
Continuing the exploration of an established subject matter or topic
Theme Pulls are useful when the First Beat Scene spends a lot of time focused on a specific subject. They are most effective when this subject is broad, nuanced, and/or particularly culturally relevant (e.g. growing up/technology/climate change) as opposed to a simple specific from the scene (e.g. red cars), although there’s nothing inherently wrong with narrower pulls. Theme Pulls are strongest when there is an explicit or implicit message or opinion about the topic (e.g. growing up is difficult/technology is advancing quickly/climate change is dangerous).
Examples:
Explicit Message
First Beat Scene: A first year college student buys books at a the school store and learns how expensive they are.
Second Beat Pull: The board of a textbook publishing company discusses how to make more money off students. (Message = the textbook industry is greedy)Implicit Message
First Beat Scene: A first year college student buys books at a the school store and learns how expensive they are.
Second Beat Pull: A different college student struggles to study while working simultaneously as a cashier and a telemarketer. (Message = the cost of college puts an unfair financial burden on students who must overwork themselves to compensate)
Dynamic
Placing an established manner of interaction in a new context
Dynamic Pulls are useful when characters in the First Beat Scene interact with each other and/or their world in a way that stands out. Dynamic is a combination of attitude, behavior, and emotion - it’s the way characters are when they’re together, how they react to things happening around them, and how they interact with their environment.
Examples:
Character-Character Dynamic
First Beat Scene: Two socially anxious people pump each other up with compliments while ordering takeout.
Second Beat Pull: Two anxious parents pump each other up with compliments while reading their child a bedtime story.Character-World Dynamic
First Beat Scene: A soccer fan reacts to their team losing by angrily smashing their own furniture.
Second Beat Pull: A driver reacts to heavy traffic by angrily driving their car into a lake.
Location
Placing new characters in the same/similar established place or area
Location Pulls are useful when the setting of the First Beat Scene is distinct, public, and/or complex enough that it would make sense for brand new characters to be there (i.e. not a room in a private home). Location Pulls can be the exact same location, a twin location, or an adjacent location. Same Location Pulls are useful if we want to bring back some First Beat Scene characters like business staff, Twin Location Pulls are useful if it makes sense for there to be multiple locations of the same type (e.g. chain restaurants) and we don’t want to carry over any details or characters from the First Beat Scene, and Adjacent Location Pulls are useful for complex locations like malls where another unseen area is either explicitly established or implied.
Examples:
Same Location
First Beat Scene: A car accident at the intersection of Main & Elm Streets.
Second Beat Pull: A flash mob at the intersection of Main & Elm Streets.Twin Location
First Beat Scene: A family has brunch at Waffle House.
Second Beat Pull: A couple gets engaged at a different Waffle House.Adjacent Location
First Beat Scene: A group of kids get snacks at a Six Flags concession stand.
Second Beat Pull: A group of teenagers sneak under the perimeter fence to get into Six Flags.
Relationship
Creating new characters with the same/similar established association
Relationship Pulls are useful when characters in the First Beat Scene have a clear relationship that is common enough that it would make sense for it to be shared by new unrelated characters. The pull can be as simple as taking the relationship alone, or it can be more narrow and include all or some of the scenario from the First Beat Scene.
Examples:
Relationship Only
First Beat Scene: A parent and child shop for back-to-school supplies.
Second Beat Pull: A different parent and child have a drinking contest.Relationship & Some Scenario
First Beat Scene: A parent and child shop for back-to-school supplies.
Second Beat Pull: A different parent and child shop for cars.Relationship & Entire Scenario
First Beat Scene: A parent and child shop for back-to-school supplies.
Second Beat Pull: A different parent and child shop for back-to-school supplies.
Wild Card
Exploring a miscellaneous established element or detail
Wild Card Pulls are useful when a detail from the First Beat Scene stands out that both isn’t particularly important in that scene and has room to be explored (i.e. mentioned but quickly glossed over). This could be a premise from a line of dialogue, an action, a noise - basically anything. The Wild Card Pull is the “everything else” category on this list.
Examples:
Premise
First Beat Scene: A character uses the metaphor “working like a dog”.
Second Beat Pull: A dog with an office job.Action
First Beat Scene: A character karate chops someone during a fight.
Second Beat Pull: A karate class at a dojo.Noise
First Beat Scene: A taxi outside a character’s house honks to let them know it has arrived.
Second Beat Pull: Someone stuck in traffic honks their horn out of frustration.
Attitude
Creating new characters with an established emotion or point of view
Attitude Pulls are useful when characters in First Beat Scenes have strong feelings about themselves, other characters, or their world. These feelings could be either permanent or temporary in both scenes depending on the circumstances.
Examples:
Attitude Toward Self
First Beat Scene: A character thinks they look great in their new outfit.
Second Beat Pull: A different character thinks they look great while dancing.Attitude Toward Other
First Beat Scene: A parent is amazed by their child’s ability to play piano.
Second Beat Pull: An art critic is amazed by a young artist.Attitude Toward World
First Beat Scene: A camper is frustrated by bad weather.
Second Beat Pull: A child building a sandcastle on the beach is frustrated by the incoming tide.
Tone
Placing an established scenic mood or atmosphere in a new context
Tone Pulls are useful when the First Beat Scene has a specific and consistent vibe. Tone Pulls are generally simple descriptors of how the scene feels overall like “creepy”, “depressing”, “celebratory”, etc.
Example:
Tone Pull
First Beat Scene: Strangers going out for the same job awkwardly interact before their interview.
Second Beat Pull: Two people with no dating experience awkwardly go on a first date.
Energy
Placing an established scenic rhythm or pace in a new context
Energy Pulls are useful when the First Beat Scene moves at a specific and consistent speed or flows in a certain way. Dialogue, action, and emotion all contribute to a scene’s Energy. Generally, Energy Pulls will be most effective and clear when the Energy of the First Beat Scene is at the more extreme ends of the spectrum (i.e. very slow/very fast).
Example:
Energy Pull
First Beat Scene: Wall Street stockbrokers frantically work to finish deals before the closing bell.
Second Beat Pull: A pit crew frantically tries to repair a car so it can reenter the race.
Great. Now how do I use these?
Some improv schools have specific categories of Second Beat Pull that they prefer over the others. UCB, for example. heavily prioritizes Game, which tends to result in a lot of Character Pulls as well. iO also tends to fall toward the Premise half of the spectrum, although their approach has a bit more freedom with Narrative, Character, Universe, and Theme all on the table. Similarly, some Harold teams will focus on one specific type of Pull depending on what type of show they want to do. The average Harold team, though, might not necessarily have a defined preference. Personally I prefer this option because it allows for more flexibility and prioritizes performer inspiration over hitting targets. As a Harold performer I would much rather develop whatever aspect of a First Beat Scene excites me the most. What stands out?
Another consideration I have with Second Beat Pulls is the overall balance of the show. A common issue I see especially in younger Harold teams is that the content of the show never really expands after the First Beat. For example, Characters are created in First Beat Scenes and then all immediately return via three Character Pulls. In effect this creates a narrower set of options for Third Beats, as there are fewer pieces to connect. Content narrowing is one of the risks of leaning so heavily on the Premise end of the spectrum, so if I’m initiating 2B or 2C I’ll try to notice how much the previous scene(s) relied on First Beat content. If early Second Beat Pulls were more Premise-leaning I’ll probably respond by leaning more Organic, and vice versa. Basically I’m looking for variety and I’m looking for balance. What does the show need?
As a result of these two considerations, my personal favorite types of Second Beat Pulls are those that strike a balance between novelty and repetition and aren’t so specific that I might screw something up or create confusion by forgetting or overwriting an important detail. Specifically I have an affinity for Universe, Theme, and Wild Card Pulls, all of which allow me to create new content while being less reliant on information from First Beat Scenes. For the same reason I usually try not to bring back one of my own First Beat Characters until the Third Beat unless prompted by a teammate. That being said, if I feel the show is sufficiently balanced and I am inspired by something more specific, I try to follow those instincts.
Finally…
Remember that Second Beat Pulls are simply starting points, especially the more abstract ones. It’s the bridge between the First Beat Scene and Second Beat Scene, but it’s not the whole Second Beat Scene. Even the most Premise-heavy Narrative Pulls should still lead to discovery and have some novelty. That being said, the more Premise-leaning a Pull is, the more information it brings with it, and thus the more setup it requires. Premise-leaning Pulls usually necessitate more up-front endowments and labeling from the initiator and more patience and restraint from receivers. Organic-leaning Pulls, carrying less information, require receivers to have the awareness that the initiator is starting with very little and the assertiveness to start making their own strong choices as quickly as possible.
Despite all this, I try not to think about this stuff too much in-show. Like I said above, these categories aren’t meant to be comprehensive or strict, and aiming specifically for them can often be more restrictive and unhelpful than not. For the most part, I categorize Pulls only retroactively when breaking down the show after it’s over. When I’m initiating a Second Beat Scene I’m usually not aiming for any specific type - I’m being inspired first and then deciding how much I want to lean Premise/Organic based on show needs. Then I’m carrying over or leaving behind information based on what I recall and where on the spectrum I’m trying to land.
Prioritizing inspiration and letting my Pulls be as simple or as complex as I want helps The Harold feel less restrictive and allows me to make choices I’m excited about. The freedom keeps the form fun and the variety makes every show unique.