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3 Act Structure (no witty titles for this one, sorry)

The 3 act structure is the most basic storytelling structure. Remember how we talked about story being structure, structure being character, and character being story? This is the structure part of that equation. Well, sort of. In this case what I’m talking about with structure is the basic framework for how a story progresses. A lot of people argue that the 3 act structure is antiquated, over used, or too restrictive. We can debate those things in the comments section. That would be fun. Instead I’m just going to discuss the simplest concept of the 3 act structure and how I‘m using it at this stage of the writing process. We can discuss the more granular aspects of the structure in the comments or you can learn a lot more with just a little research on the net.

I believe that all stories are told in the 3 act structure. Even though plays and TV shows are done in more acts I would argue that those stories are still told using the basic 3 act structure. That structure is just divided into smaller segments that allow set changes or commercial breaks. Books also follow the 3 act structure. Books are just broken up into chapters in the same way that TV shows and plays are broken into acts. So you could say that TV and plays mislabel them as acts when really they’re chapters. So this is my argumentative statement about the 3 Act structure: Every story is told in 3 acts. The end.

Put the pieces on the board

As simple as the 3 act structure is there are still a few pieces that we should discuss. Here’s a breakdown of the parts of the 3 act structure and the things they should accomplished. I think we’ll use Star Wars for examples since that’s a movie that’s well known, easily accessible, and follows the 3 act structure with precision. (Star Wars: A New Hope for those who need the clarification)

Act 1 is the setup. The main character is introduced. We should see who they are, what they do, and how they do it. The most important yet easily overlooked aspect of introducing the main character is to show the audience their decision making process. This is done by introducing a problem or set of problems that the character will attempt to solve. These don’t have to be the big problem they face in the story but it’s good if they’re related. By seeing how the character works at solving small problems we get to see their decision making process in action and that leads us to a better understanding of who they are. It’s always best for the character’s solutions to fail. False solutions are an invaluable tool especially in the first 90% of the script. If each solution leads to more trouble and propels us further into the story this is a good thing. If the character solves the problem effectively there’s nowhere else to go.

Act 1 of Star Wars. We’re introduced to Luke. He’s faced with a few problems. He wants to pick up power converters but has to stay and clean droids. His decision is to be responsible. He doesn’t sneak off so we’ve learned that he’s responsible. He whines about it though so we see that he’s still immature. His next problem is that R2 has run away. He doesn’t go running off at night to find R2 so we know he’s not a risk taker. When he does go after R2 he gets in trouble with the sand people. We see that he’s not a great fighter but he will fight if he has to. All this character stuff is communicated through his actions not people talking about them. We see him confronted with a problem and we see how he attempts to solve the problem. Note that every solution further involves Luke in the plot. All the problems further the plot as well. No scene should ever exist for a single purpose. Every scene in your story should further the plot, reveal new information about the character, and set up questions for later. We’ll talk more about this another time but it’s good to have in mind.

Between act 1 and act 2 there’s a turning point. This is that crucial moment where the big problem of the story is introduced and the character makes a decision to take action. This turning point can be almost anything as long as it's a change in direction for the character. Act 1 set up the day to day life of the character, act 2 will be the character dealing with new challenges. The turning point is where you set those new challenges in motion. It’s best when the turning point comes about due to a choice the character has made. John Mclaine chooses to fight the bandits in the Nakatomi building rather than hide in the bathroom. Scrooge chooses to go with the spirit of Christmas Past.

Luke makes the choice to go with Obi Wan to Mos Eisley and make the trip to Alderaan. This is the point where the story is no longer about a farm boy on a moisture farm. It’s now a story about a boy leaving home to deliver the crucial information to the rebellion. (Remember that they were just going to Alderaan to deliver the droid at first, they didn’t know Leia was on the Death Star or that she needed saving yet.) Luke refused to go along with Obi Wan at first. Actually he refused what is referred to as “the call to action” a few times before choosing to go along. He was called to action in Obi Wan’s shack but he‘s got to get home to do chores. Then after seeing the destroyed jawa sand crawler he refuses again because he‘s got to go protect his family. Finally, after seeing that his home is destroyed and his aunt and uncle are dead, he decides to heed the call. He could have chosen to stay and rebuild. He could have chosen to run and hide. He could have chosen to go on a quest for revenge. He could have chosen a lot of other things but instead he chooses to heed the call to adventure and go off with Obi Wan. His choice puts him on the course to destroying the Death Star (spoiler!). We like it when our heroes refuse the call to action. Not only is it satisfying when they finally choose to take action but it also gives us the opportunity to see their decision making process in action. Luke’s process was: I have responsibilities here, I need to protect my family, I need to go with you to deliver the information and stick it to the bad guys.

Act 2 breaks into 3 parts. The first half of act 2, the mid point, and the second half of act 2. The first half of act 2 is the ever increasing challenges and obstacles faced as a result of the choice made at the turning point. The mid point is just like the turning point, as a matter of fact it’s another turning point. All the same concepts apply. It should be a choice that comes from character etc. The second half of act 2 is facing the ever increasing challenges presented by the choice made at the mid point. It’s important to note that the turning point in act 2 should be just as dramatic a shift in direction for the story as the turning point between act 1 and 2.

Luke is off to save the day and deliver the droid to Alderaan but complications arise. They need a ship and the only captain they can afford is a scoundrel on the run from bounty hunters. They barely escape. They discover Alderaan is destroyed and they get captured. They put on clever disguises while Obi Wan turns off the shield generator. Lots of complications, obstacles, and solutions. At this point the story could have been a harrowing escape but here comes the turning point. They discover the princess needs saving. Now it’s a story about saving a princess and escaping from the Death Star. Complications, obstacles, and solutions ensue. They sneak into the detention block but their disguises don’t work. They get trapped in the hall and they jump down the garbage shoot. It gets more and more difficult and they finally escape with the princess and deliver the droid to the rebellion. Note the turning point in this act. It goes from being an escape to a rescue pretty quickly. That’s a pretty sharp turn in the story. Worth noting is that even with this sharp turn the entire act is about escaping.

The turning point from act 2 to act 3. Just like the turning point from act 1 to act 2 this turning point sets the story on a new path. The same rules apply. The turn should come from a choice made by the main character.

Luke has delivered the information and decides to join in the fight. He’s now gone from farm boy to on the run from the empire to fighting back against the empire. That’s a pretty dramatic journey but it’s not over yet.

Act 3 is the climax. Everything you’ve been setting up throughout the story gets dealt with here. The main character deals with the underlying issues that have plagued them throughout the story. The antagonist is overcome. And we have the resolution. Most people describe the turning point from act 2 to act 3 as the climax. I disagree with this. I think it's a turning point. A choice is made to confront the problem and the climax is when the problem is confronted and overcome. I think the climax is the high point in the resolution rather than the catalyst for the resolution. Then the story ends.

Luke has chosen to fight back. He’s on his way to the Death Star. He’s attacking. Shooting at gun towers and protecting other pilots as they make bombing runs. Darth Vader is on his tail and about to shoot him down. Everything is coming to the climactic moment where Luke uses the force to blow up the Death Star. That moment is the climax. Everything around it is the resolution of the story. The Death Star is blowed up and they have a party. The end. Luke has made his journey from being an immature farm boy to hero of the galaxy and Jedi.

Get on with it you long winded blow hard

Now that we’ve discussed the 3 act structure some, yes there’s a lot more that we could discuss, let’s start seeing how Harlan’s story fits into the three acts and how we can accomplish some of the basic needs in each act.

Act 1-Introduce the main character and reveal their decision making process.

Harlan is at work, we see how his imagination makes a dull job bearable. He should be confronted with a problem that relates to his attitude toward work. Harlan at home. We see how he relates to his wife. She has an issue she wants his help with and we see how they interact. He tries to relate to his son and fails miserably. He goes to a gaming session with his friends. We see how he acts in a situation where he’s comfortable and confident. We meet Nathan. He has an opportunity to take action in life, perhaps a promotion at work or a completely different job opportunity that he doesn’t take advantage of. He loses his job and his reaction to the loss.

Turning point-A choice that sets the story on a new course.

Nathan convinces Harlan to go on a road trip with him. This should be set up with a few refusals earlier in act 1. Probably a few different invitations to do something with Nathan. He chooses to go this time because he’s got nothing else to do and needs to escape.

Act 2 first half-Complications and obstacles arise on the journey to Nerdtacular.

The complications should be increasingly difficult to overcome. Car trouble that they try to fix but make things worse. They try taking a train but get kicked off. They rent a car. They stay at an awful motel. The rental car is stolen. Harlan’s wallet is stolen. All the complications are preventing them from reaching Nerdtacular. The complications will be due to faulty problem solving and decision making on the part of Harlan or Nathan. Nathan will be antagonistic toward Harlan despite being his friend. Harlan doesn’t really stand up for himself though.

Mid point-A choice that sets the story on a new course

Harlan and Nathan have a falling out. Harlan tries to escape by jumping out of a window (something like that) and gets hit by a car.

Act 2 second half-Complications arise as they deal with Harlan’s coma and a new goal

Harlan awakes from his coma to find that Nathan is the only person who cared enough to be there. Nathan even stayed with him the whole time he was unconscious. Probably only a few days. They’ve missed Nerdtacular but Nathan suggests they not waste the trip and they should go to Dragoncon (or some other nerdy convention). They set out to find a new nerdy convention. The trip is a little easier but Harlan is still injured and he slips in and out of his imaginary world more and more frequently. Nathan assures him he’s fine and they keep going. They arrive at a few different destinations only to discover that they’ve missed the convention, it was cancelled, or it wasn’t happening in the first place. Harlan’s health is deteriorating.

Climactic turning point-A choice is made that will bring about the resolution

Harlan chooses to go home. 

Act 3-The resolution and climax of the story.

Nathan won’t let him go. He insists they continue the trip. Harlan makes his escape from Nathan as his injuries get more severe. He takes a stand against Nathan and discovers that Nathan has been using him as his escape from dealing with his wife’s death. Harlan ends up in the hospital. This time his wife and son do arrive and he’s able to start repairing those relationships. The End.

Endings are hard

Okay, that ending is a little weak. There are a few things about it that I like. Having Harlan’s health completely give out there at the end is a good physical consequence to his actions. It raises the stakes nicely. Raising stakes is important and we’ll talk about that another time in greater depth. But right now that ending doesn’t quite work. It’s sloppy and comes across as too easy and convenient. We’ll get there. I’m bringing it up though because the ending is possibly the most important part of the story. The end is the last experience people have with your story. People should walk out of the theatre saying “That was a great ending to a great story. I want to see that again.” They rarely say “What a great story with a rotten ending. I want to see that again.” I like to start with a good ending to a story. It’s easy to come up with a compelling beginning to a story. How many times have you thought “this would make a cool opening to a movie”? How many times have you thought “that would make a great climactic ending to a movie”? The first probably happens far more frequently. I know people will say to me “I have an idea for a movie where such and such starts happening.” When I ask how it ends I get “I don’t know.” Unfortunately a good opening is easy. A good ending is super hard. So I need to find a good solid ending. One that makes the story worth the trip. One that makes people want to come back and watch (read) the story again.

I believe so strongly in knowing the end of a story that I don’t recommend writing anything until you have a solid ending planned.

I'm going to break that rule for now and keep moving forward despite having a weak ending. We'll get it hammered out eventually.

Enough already!

Okay, this post is long enough. Hopefully you’ve gotten a decent idea of the 3 act structure. If you have any questions or thoughts about it bring it up in the comments. We also have a decent outline for our story based on the 3 act structure. It needs work but it’s a good rough outline of the structure.

Let’s hear some ideas about the story so far. Particularly about the ending. This story needs a great ending. Maybe a great beginning too. Probably could use a great middle of the story too. So any thoughts you have feel free to share them so I can steal liberally from you.

Next time we’ll be breaking the story into beats starting with act 1. What’s a beat you ask? Come back and find out.