- The details of the three act structure<\/li>
- Examples of the structure in action<\/li>
- Why the three act structure is effective<\/li><\/ol>\n\n<\/div>\n\n\n\n
Table of contents<\/h2>
- An Overview of the Three Act Structure<\/a><\/li>
- Act I: The Setup<\/a>
- Exposition<\/a><\/li>
- Inciting Incident<\/a><\/li>
- Plot Point 1 – Crossing the Threshold<\/a><\/li>
- Act I Example:\u00a0<\/a><\/li><\/ul><\/li>
- Act II: Confrontation<\/a>
- Rising Action<\/a><\/li>
- Midpoint<\/a><\/li>
- Plot Point 2<\/a><\/li>
- Act II Example<\/a><\/li><\/ul><\/li>
- Act III: Resolution<\/a>
- Pre-Climax<\/a><\/li>
- Climax<\/a><\/li>
- Denouement\u00a0<\/a><\/li>
- Act III Example<\/a><\/li><\/ul><\/li>
- Why the Three Act Structure Works<\/a><\/li><\/ul><\/div>\n\n\n\n
If you want an easy way to plot your story, I recommend the software Plottr<\/a>. With it, you can easily follow the three act structure to outline your novel. More on that later.<\/p>\n\n\n\n
An Overview of the Three Act Structure<\/strong><\/h2>\n\n\n
\n![\"graphic](\"https:\/\/kindlepreneur.com\/wp-content\/uploads\/2022\/07\/three-act-structure.jpg\")
<\/figure><\/div>\n\n\nThe three act structure breaks down into major story beats that your protagonist(s) will follow. Here\u2019s an overview of the structure to keep in mind as I go through each act and story beat\/plot point in detail. <\/p>\n\n\n\n
- \n
- Act One:<\/strong> The Setup\n
- \n
- Exposition<\/li>\n\n\n\n
- Inciting Incident<\/li>\n\n\n\n
- Plot Point One<\/li>\n<\/ul>\n<\/li>\n\n\n\n
- Act Two:<\/strong> Confrontation\n
- \n
- Rising Action<\/li>\n\n\n\n
- Midpoint<\/li>\n\n\n\n
- Plot Point 2<\/li>\n<\/ul>\n<\/li>\n\n\n\n
- Act Three: <\/strong>Resolution\n
- \n
- Pre-Climax<\/li>\n\n\n\n
- Climax<\/li>\n\n\n\n
- Denouement<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n\n\n\n
Nine major steps or plot points to keep your story on track. Sounds pretty easy, right? Well, it is. There\u2019s a reason the three act structure is so popular and used by professional writers of all kinds. <\/p>\n\n\n\n
Does this mean you need to outline<\/a>? If you\u2019re a discovery writer (aka a \u201cpantser\u201d), should you ignore the three act structure? Absolutely not to both questions. Whether you\u2019re a discovery writer or a plotter, you can still use the three act structure effectively. More on this once I've gone over the structure in detail!<\/p>\n\n\n\n
Let\u2019s get the story started by diving into act one. <\/p>\n\n\n\r\n
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Act I: The Setup<\/strong><\/h2>\n\n\n\n
There\u2019s three key things that should happen in act one: familiarizing readers with the world and protagonist(s), inciting the conflict that will drive the story, and then introducing a major plot point that will propel the story into act two. Let\u2019s take a look at each of these three steps. <\/p>\n\n\n\n
Exposition<\/strong><\/h3>\n\n\n\n
Exposition<\/a> is all about familiarizing your readers (or watchers, or listeners) with the world in which your story takes place. It\u2019s also where you introduce your protagonist. Most often, it\u2019s also a way to show the protagonist in their everyday life<\/strong> while hinting that something is missing from their life or the world as they see it. This is the internal conflict, and it should tie in with the main conflict of the story, creating a nice through-line for the reader. <\/p>\n\n\n\n
The type of exposition will depend on what genre you\u2019re writing in, but it\u2019s important to keep things interesting. A lot of new writers get bogged down in exposition, showing the character going along in their everyday life for too long. The last thing you want to do at the very beginning of your book is bore your reader. So accomplish the following quickly and interestingly:<\/p>\n\n\n\n
- \n
- Show your character as a three-dimensional person<\/a> with unfulfilled wants or needs. <\/li>\n\n\n\n
- Give a reason for the reader to like the character. (i.e. \u201cSave the cat.\u201d) <\/li>\n\n\n\n
- Introduce the reader to the character\u2019s world.<\/li>\n<\/ul>\n\n\n\n
Tip: The general rule of thumb for Exposition is that it shouldn\u2019t exceed 10% of the total story.<\/em> <\/p>\n\n\n\n
Inciting Incident<\/strong><\/h3>\n\n\n\n
We like stories because they have conflict. Which is why too much \u201ceveryday life\u201d will bore readers. So it\u2019s best to get to the inciting incident<\/a> as soon as you have the world and your character established. The inciting incident is where things get interesting \u2014 and difficult for the protagonist. It\u2019s also known as the \u201ccall to adventure.\u201d\u00a0<\/p>\n\n\n\n
In a mystery, this will be a murder. In a survival story, it could be a plane crash. In a romance, it often features the two characters' first meeting, or the first \u201cspark\u201d between characters who already know each other.<\/p>\n\n\n\n
The inciting incident is the impetus for the rest of the story<\/strong>, so it\u2019s important to get it right. It should be nearly impossible for the character to ignore. Even though the protagonist may be initially unwilling to engage, he or she shouldn\u2019t have the choice to just walk away. The inciting incident sets up the external goal (find the murderer, get back to civilization, live happily ever after). But it should also play into the protagonist\u2019s internal conflict. The inciting incident is a turning point in a good story.<\/p>\n\n\n\n
- \n
- Throw your character out of their comfort zone. Ask yourself, \u201cwhat should go wrong?\u201d<\/li>\n\n\n\n
- Make the stakes of the character\u2019s action or inaction clear. (Make inaction unacceptable or impossible.)<\/li>\n\n\n\n
- Show how the external conflict ties in with the character\u2019s internal conflict.<\/li>\n<\/ul>\n\n\n\n
Tip: The inciting incident should happen around the 15% mark of the story.<\/em><\/p>\n\n\n\n
Plot Point 1 – Crossing the Threshold<\/strong><\/h3>\n\n\n\n
Plot Point One marks the point of no return for the protagonist. Your character can be reluctant to leave their comfort zone, but this first major plot point should solidify the stakes of that indecision. It should force them to head out on the journey, leaving their normal life behind. <\/p>\n\n\n\n
This doesn\u2019t have to involve physical action. It can be emotional, as in a romance. But there should be a clear threshold that the character crosses, heading into a world that is far out of their comfort zone. <\/p>\n\n\n\n
Sometimes Plot Point One involves a mentor\u200c, but not always. And in some stories, the Inciting Incident and Plot Point One happen almost simultaneously. <\/p>\n\n\n\n
- \n
- Mark the point of no return \u2014 the character is invested from this point on, whether willingly or not. <\/li>\n\n\n\n
- Re-establish the main conflict of the story and how it ties to the character\u2019s internal conflict. <\/li>\n<\/ul>\n\n\n\n
Tip: Plot Point One marks the end of Act One and should happen around the 25% mark.<\/em> <\/p>\n\n\n\n
Act I Example: <\/strong><\/h3>\n\n\n\n
In the first act of the movie The Matrix<\/em>, we can see clearly the different story beats of this structure. The movie starts with Trinity, who becomes surrounded and escapes using superhuman powers. This opening sequence lays some ground rules for the world (exposition) while simultaneously engaging the audience by presenting conflict and posing questions that will be answered as the movie continues. <\/p>\n\n\n\n
We then shift to Thomas Anderson (Neo) in his everyday life, working in the rat race during the day and hacking at night. It\u2019s clear that Neo isn\u2019t happy. Something is missing, and he spends much of his time searching for it, knowing it has something to do with \u201cthe Matrix.\u201d A lot of this is also exposition and character establishment. <\/p>\n\n\n\n
Neo meets the mysterious Trinity, and she tells him that a man named Morpheus has the answers he\u2019s looking for. When he\u2019s at work the next day, police and \u201cagents\u201d show up to arrest him, but Neo receives a phone call from a man who guides him perfectly to an escape route. But Neo decides it\u2019s too dangerous and he can\u2019t do it. He resists this initial call to adventure.<\/strong><\/p>\n\n\n\n
Neo then meets up with Trinity and their people again, and again he almost leaves when they have guns on him in the car. Trinity talks him out of it. They remove the \u201cbug\u201d from his belly and then take him to meet Morpheus, who then provides more exposition and gives Neo a choice: the blue pill or the red pill. When Neo takes the red pill<\/strong> and consequently goes \u201cdown the rabbit hole,\u201d it marks Plot Point One and the end of Act One<\/strong>. <\/p>\n\n\n\n
Act II: Confrontation<\/strong><\/h2>\n\n\n\n
The second act is usually the longest portion of the story \u2014 and it\u2019s also where a lot of writers struggle. You may have heard people talk about \u201cthe muddle\u201d instead of the middle. It\u2019s easy to let things get \u200cdull in this act, but as long as you keep increasing the conflict and raising the stakes with setbacks, you can write a second act that\u2019s completely enthralling! <\/p>\n\n\n\n
Rising Action<\/strong><\/h3>\n\n\n\n
The rising action<\/a> is just what it sounds like. This part of the story should ultimately \u200cpropel the protagonist toward the climax<\/strong>, but it should seem an impossible feat at this stage. The character is now out of their comfort zone and fully engulfed in the adventure and the challenges that come along with it.\u00a0<\/p>\n\n\n\n
Most often, the protagonist is reacting to things in this stage, trying to get oriented to the new world he or she is in. Things don\u2019t go smoothly, and the character needs to learn from the setbacks<\/strong>, getting gradually better and more confident. <\/p>\n\n\n\n
- \n
- The Rising Action portion is a great place to introduce other characters who will help the protagonist. <\/li>\n\n\n\n
- The challenges should be dangerous (whether physically, emotionally, or mentally) and the protagonist should fail at some challenges \u2014 with real consequences.<\/li>\n\n\n\n
- Feel free to explore subplots here. Just make sure they interweave with the main conflict. <\/li>\n<\/ul>\n\n\n\n
Tip: Rising Action should take place around the 30% mark. <\/em><\/p>\n\n\n\n
Midpoint<\/strong><\/h3>\n\n\n\n
At the Midpoint, the protagonist should have undergone some growth and adjusted to the new world. Often, characters think they\u2019re ready to face the antagonist at this point in the story, but they soon find out that they still have more work to do. This lesson should be hard, and it should make the protagonist rethink their goal and consider whether they\u2019re really up to the task at hand. <\/p>\n\n\n\n
However, this setback shouldn\u2019t completely break the character down<\/strong>. Not yet. Still, the stakes continue to rise, so the setback at the Midpoint should be bigger than any previous. It should also \u200crestate the central conflict of the story, ensuring that the reader knows what success looks like. Perhaps more importantly, it should show what failure looks like. <\/p>\n\n\n\n
- \n
- Re-establish the goal and raise the stakes.<\/li>\n\n\n\n
- Make sure the midpoint causes the protagonist to reflect on their goal and doubt whether they can accomplish it. <\/li>\n<\/ul>\n\n\n\n
Tip: The midpoint should happen right around the 50% mark. <\/em><\/p>\n\n\n\n
Plot Point 2<\/strong><\/h3>\n\n\n\n
After the setback of the midpoint, the protagonist should doubt their abilities. But they push through regardless, often with the help or tough love of a mentor character. This is often a time for reflection, digging deep to see what the character is really made of. <\/p>\n\n\n\n
After being reactive, this is the place for the protagonist to become proactive<\/strong>. It\u2019s also a good place to have the character build their confidence back up with small successes that involve the skills or tools needed to succeed against the antagonist. <\/p>\n\n\n\n
- \n
- Plot Point Two should involve a revelation, pushing the protagonist back into action with renewed vigor. <\/li>\n\n\n\n
- It\u2019s a good time to start bringing some subplots together with the main conflict. <\/li>\n<\/ul>\n\n\n\n
Tip: Plot Point Two should happen around the 75% mark of the story.<\/em> <\/p>\n\n\n\n
Act II Example<\/strong><\/h3>\n\n\n\n
The second act in The Matrix<\/em> begins as Neo is pulled out of the Matrix and into the real world. Once on the ship with Morpheus and Trinity, he gets a more in-depth explanation of what exactly the Matrix is. At first, he rejects this. But then, he begins to adjust to the new world. He trains with Morpheus. There\u2019s promise there, but he still has a lot to learn. This is the Rising Action sequence of the second act. <\/p>\n\n\n\n
The Midpoint of the movie comes when Neo and company go to see the Oracle in the Matrix. Neo is told that he isn\u2019t the One, which is a setback in and of itself. However, on their way out of the Matrix, they see a \u201cglitch\u201d and suddenly come under attack. Morpheus gets kidnapped by the agents, leaving Neo distraught. One crew member gets killed in the skirmish and another two by a traitor on the ship in the real world. This shows the stakes rising<\/strong>. <\/p>\n\n\n\n
Although the Oracle has given Neo bad news, he resolves to go back into the Matrix with Trinity to save Morpheus before the agents can interrogate him and learn the location of the hidden city of Zion in the real world. This marks Plot Point Two \u2014 Neo is no longer being reactive. He decides to go into the Matrix in spite of the news about him not being the One<\/strong> and the defeat they\u2019ve just suffered. This is the end of Act Two.<\/p>\n\n\n\n
Act III: Resolution<\/strong><\/h2>\n\n\n\n
The final act of this narrative structure is where things get their worst for the protagonist. It\u2019s also where you should wrap up any subplots and answer any questions posed in the preceding chapters. Character development<\/a> should come clear here, as well. It has all been building up to this, so make the payoff as satisfying as possible for the reader! And if you follow this format, you\u2019ll do just that. <\/p>\n\n\n\n
Pre-Climax<\/strong><\/h3>\n\n\n\n
The protagonist is now being proactive, heading for a confrontation with the antagonist. There\u2019s often some kind of plan to defeat the antagonist (or to finally overcome the biggest obstacle and win the heart of the other protagonist). But that plan often comes crumbling down. Things don\u2019t work out at all for the main character. In fact, this is the biggest setback yet<\/strong> \u2014 and the most dramatic turning point. The antagonist is stronger than imagined, and all hope seems lost. It is the Darkest Hour.<\/p>\n\n\n\n
- \n
- This setback will often be both physical and mental. <\/li>\n\n\n\n
- Even though the reader knows this isn\u2019t the climax, the severity of the protagonist\u2019s defeat should surprise them. <\/li>\n\n\n\n
- This section should deal directly with the main conflict of the story, ending in the antagonist's favor. <\/li>\n<\/ul>\n\n\n\n
Tip: The Pre-Climax should happen around the 80% mark. <\/em><\/p>\n\n\n\n
Climax<\/strong><\/h3>\n\n\n\n
- Show your character as a three-dimensional person<\/a> with unfulfilled wants or needs. <\/li>\n\n\n\n
- Climax<\/a><\/li>
- Midpoint<\/a><\/li>
- Inciting Incident<\/a><\/li>
- Act I: The Setup<\/a>
- An Overview of the Three Act Structure<\/a><\/li>