An Introduction to Three-Act Structure Classical story form, handed down to us from the ancient Greeks, is based on a three-act structure, In the most general terms, the three "acts" are what ensure that the story has a beginning, a middle and an end. Within each act, there are functional points which, when fulfilled, will help give the story an effective progression from beginning to end. When a writer departs from classical story form, it should be done in a purposeful manner that serves the dramatic effect of the story. Three Act Structure. The average screenplay is 90 to 120 pages long, based on a ‘measurement of one page per minute of screen time, and contains approximately 60 scenes. There are three "acts" which guarantee that the story has a beginning, a middle and an end. In very general terms, the first act is measured at approximately 30 pages and 15 scenes, the second act is approximately 60 pages and 30 scenes and the third act is approximately 30 pages and 15 scenes. These measurements should be taken as guidelines as opposed to rules and should be modified to serve the story. The most common variations are that the first act may be longer when a large amount of complex information needs to be established, and the third act may be shorter when little needs to be done to resolve the story. The First Act. The story is set up. The first act introduces the main characters, gives background exposition, sets up the basic situation, the time and place, sets the tone and style of the film, introduces the "world of the story" and establishes the main conflict, central question or the main character's goal or objective or need. 1. The Set Up. Introduce the main characters and the current situation in the characters! lives. Show us what "normal" is for this main character. Give some sense of the "world of the story” 2. Inciting Incident. (This is also called the Point of Attack, Plot Point #1, Catalyst, Hook, etc.) Approximately 10-15 pages in but sometimes much earlier and sometimes (but less frequently) as late as page 25 or 30, this is a rabeventi at begins the plot in_motion, the first point in the story when something happens, the moment when the audience begins to see that there is a problem. Whereas the first half of the first act shows us what "normal" is for the main character, the second half of the first act shows us “normal” getting out of control nd of the First Act. (Also called the First Turning Point.) This is a moment of {did on the part of the main character from which they take their first step that will ikad them towards the story's resolution. The conflict has been set up and something must be done about it causing the main character to choose a course of action that takes the narrative drive of the story into the second act. At this point the Main Tension’ of the story (see Tools of Screenviriting, pages 52-54) usually can be recognized Quad) The Second Act. The problem is played out as the characters try to grapple with it. The main character begins confronting obstacles and complications and external events serve to raisethe stakes. Characters are further developed, backstory is further revealed, setbacks, reversals and ticking clocks serve to increase the tension of the story. 4. Midpoint. Asfexternal event hresents d major setbacl} orfreversal hat significantly changes the main charaéfer's involvement in the story, propelling them toward the resolution of the problem, Up until this point the main character could go back to being the person they were at the beginning of the story. After the major event of the midpoint, the character crosses aver the 50% mark, shifting the balance so that the character is being pulled toward their own transformation and the resolution of the story. NOTE: Not all screenplays have this recognizable ee ee 5. End of the Second Act. (Also called the Second Turning Point or the Culmination.) This is the moment of the main character's internal transformation. Extemal events, such as a point of no return or a confrontation with the darkest hour or a major discovery, have pushed the character so far afield from their normal world that they have to internalize a new world view. With his/her back up against a wall, the main character ales Statement of tatormata The Third Act. The “Main Tension” of the screenplay has been resolved or brought to a head at the end of the second act. The end of the second act then asks the question, "What happens now?” The third act provides the answer. The conflict is resolved, the central question is answered, the subplots are tied up and secondary characters are settled in the new circumstances. 6, Climax. External events or the actions of the main character (or both) have pushed the situation to its most extreme state. This is where the main character's statement of transformation is put to the test and must be demonstrated through external action, The climax offers the final opportunity for the character's success or failure. 7. Resolution. The problem has been dealt with, a new order is established. We are given a sense of how the main character's life has been changed as a result of this experience.