I’ve recently converted my structure lecture to article format, but, if you’d like, you can click through this link to view some slides in PDF format.

STORY 5: THREE-ACT STRUCTURE

In this article, we’ll look at what is known as Three-Act Structure, perhaps the most well-known kind of story structure.

We’ll break down the various parts of Three-Act Structure, and even throw in a couple parts of Joseph Campbell’s Monomyth and others that help fill in the gaps.

What is narrative structure?

In short, a narrative structure is how your story plays out on the page or on the screen. Motion pictures and screenplays work in a linear fashion, which means that order matters in the way that the viewer experiences and understands your story.

Structure is the order of the dramatic moments in your story, and any larger format or template that your story follows.

What’s an act?

In discussing Three-Act Structure, it’s worth addressing a term at the core of the structure’s name: the act.

An act is basically a section or sequence of the story. It might be clearly defined by the writer, but this isn’t common in modern motion pictures. On television, it’s easier to understand the acts because they usually exist between commercial breaks, where they’ll hit general story beats. It can be easy to figure out the act format in a play, especially if there are ‘act breaks’ to change the set.

So how do we know when one act ends and the next begins in a feature? Good question.

Depending on the scope and style of the narrative, there might be smaller, but clearly defined goals over a series of scenes. The collection of scenes that pertain to the achievement of a smaller goal might form an act.

Likewise, another way to define an act is by location, or energy. Most narratives have an Ordinary World and an Other World, as we’ll discuss below. Moving from one of these to the other is a good sign that we’re moving into a new act, but not always.

Ultimately, what defines an ‘act’ is a bit arbitrary and fluid. Luckily, it doesn’t matter whether the viewer knows when we move from act to act. Frankly, the writer might not know at first either, and that’s okay.

(Plot) Structure

It’s always important to remember that plot and story are different things, and should be treated as such. Plot is usually concerned with your protagonist and their outer goal. Story, on the other hand, contains plot as well as the ideas of character and theme.

Narrative structure mostly influences the positioning of our scenes as they relate to plot, as this is the most cause-effect concept within story. As such, many of the ‘stages’ detailed below are predominantly concerned with the protagonist’s pursuit of their goal.

In addition to these scenes, you’ll also have scenes in between these that will advance character and theme as well.

Linear vs Non-Linear Narratives

We just referred to motion pictures as linear, referencing the way that they ‘play’ chronologically. You start the film, sit on the couch, and the motion picture’s linear nature plays the full thing with no further input required from you.

The concept of linear and non-linear narratives is separate from this, but still pertains to a chronological nature.

While most narratives are linear, meaning their scenes proceed in a mostly chronological manner, it’s important to recognize that there are many narratives that follow a non-linear plot structure. What this means is that scenes in the story are sequenced out of chronological order, usually for dramatic effect, to create a more stimulating viewing experience, or simply as a means of being different. Perhaps the most well-known example of this in the West is Quentin Tarantino’s Pulp Fiction (1994). Many Christopher Nolan films utilize a non-linear structure as well.

What’s perhaps most interesting about non-linear stories is that the scenes are almost always arranged in the same general story structure that we’re used to. In other words, if the narrative was laid out in a chronological fashion, it wouldn’t feel much like a conventional story. It’s only when you rearrange the scenes in the non-linear manner that the story feels familiar.

‘Three-Act Structure’

For most aspiring storytellers, their first exposure to story structure is with the Three-Act Structure. Many folks act like this is the holy grail of story structure, but is it really as great and helpful as people think? Perhaps.

The Three-Act Structure is applicable to possibly any story that you wanted to apply it to. But how? It’s universal applicability lies in its simplicity and, frankly, generality.

At its core, the Three-Act Structure represents one fundamental truth: stories have a beginning, a middle, and an end. Here lies the secret of the Three-Act Structure. Who could deny this simple fact?

Most Three-Act Structure models also feature some more detailed moments in a story, which we’ll look at below, but are also fairly universal in their application.

Walking through the Three-Act Structure, I also include some aspects of the Monomyth story structure by Joseph Campbell. Those included are most commonly found in modern stories of all genres. We’ll talk about the Monomyth in more detail below, but it’s a thorough story structure model that has served as the foundation for many other models that have followed.

Three-Act Structure is actually derived from the Monomyth, but has been boiled down and simplified a bit too far, in my opinion, which is why I’ve included some helpful bits from the Monomyth and other models as well.

Three Acts?

Before we jump into the most common story stages, there’s something suspicious about most Three-Act Structure models. Notice anything?

Three-Act Structure is often modeled in a way that has four acts, not three. The ‘middle’ of the story - Act 2 of the Three-Act Structure - is actually two of the four acts, and as such takes up about half the story.

This doesn’t really matter or affect anything. It’s just a bit ironic.

Act 1: The Beginning (Set-Up)

In the beginning of the story, we should be focused on introducing the characters, the world, and the driving force behind the protagonist’s goal, or the nature of the journey.

The Ordinary World (Stasis)

In most narratives, we’ll spend some time in The Ordinary World of the protagonist. This is where we’ll learn about the rules and ways of the world, what the protagonist’s normal life is like, and who the characters of that world are.

It might be glaringly obvious what’s wrong in the protagonist’s life. Or maybe their life seems like an idyllic slice of heaven in a shire. Either way, something’s about to change, and showing us the ordinary world establishes us and orients us for the changes that are to come.

In some feature films, we might spend several scenes introducing many aspects of the Ordinary World. In some stories, especially short films, the ordinary world might be implied more than explicitly shown, however, as the short runtime means the story needs to get moving.

Not all Three-Act Structure models shine a light on the Ordinary World, but this is a defined stage in the Monomyth, as well as many other structure models derived from the Monomyth. The fact that it’s almost always present in motion pictures makes it worth including in this breakdown.

The Inciting Incident (Call to Adventure)

Inevitably, something has to change. The Inciting Incident either brings about that change, or sets into motion what will bring the change. It might define the protagonist’s goal for the story, but it certainly kicks off the journey or adventure.

The Inciting Incident might come in the form of a new character, a major event, some sort of message, or perhaps a divine realization.

This is the first major stage that’s always found in Three-Act Structure. After all, it wouldn’t be much of a story if we spent the whole time in the Ordinary World. In the Monomyth, this stage is called the Call to Adventure.

Refusal + Hesitation

It’s normal for the protagonist to refuse, resist, or hesitate when the Inciting Incident comes knocking. This is even the case when the protagonist’s ordinary world is full of problems. Why?

Because people are afraid of change. Even if that change offers the hope of happiness and prosperity, change is scary. Our everyday lives, as problematic as they are, are ours, and we understand them. Change means entering the unknown.

But no matter the amount of resistance, the wheels of fate are turning, and the story is set in motion. The protagonist will make a leap of faith, and accept their quest, or they will be dragged into the story against their will. Up to you.

Not all Three-Act Structure models include a stage for Refusal. While this stage of the adventure doesn’t always have a full scene given to it, it’s rare to find a story where the protagonist doesn’t resist change for at least a moment or two.

The End of the Beginning

By the end of Act 1, or the beginning of your story, the reader/viewer should usually know:

Who the protagonist is
What their ordinary world is like
What the nature of the quest is
Who or what the sources of antagonism are
Who some of the supporting characters are

Act 2: The Middle (Complications)

Moving into ‘Act 2’, the protagonist is working toward their goal. As such, they are learning new things, testing what they learn, making mistakes, and probably meeting new people.

It’s in Act 2, specifically, that the Three-Act Structure is seriously lacking in guidance, so many of these stages are pulled from the Monomyth.

The Other World

Once the Protagonist sets out to achieve their goal, they enter The Other World. This is a place that is different physically, culturally, energetically, and/or emotionally from The Ordinary World.

Depending on the narrative, The Other World might not actually look different, or even be in a new location. The change brought about by the Inciting Incident, however, has filled the world with a different energy.

Whatever the protagonist needs to succeed can be found in The Other World, whether it be an item, a skill, and/or knowledge.

The Other World is not a stage from Three-Act Structure, nor is it pulled directly from the Monomyth. Rather, it’s an amalgam of stages from the Monomyth.

The Point of No Return

At some point in the story, it will become impossible for the protagonist to give up and return to their life the way that it was; they’ve passed the Point of No Return. This can happen at almost any point in Act 1 or Act 2.

Oftentimes, this is a change in the protagonist. They’ve had a taste of The Other World, and what they’ve learned has changed them to the point that returning to The Ordinary World isn’t an option anymore.

Other times, the Point of No Return is more akin to that in a plane’s or ship’s journey: the protagonist has come too far, and the distance back to the start is longer than the distance to the destination. There’s only so much fuel.

If your protagonist is one that adamantly resists their quest, the Point of No Return might make it so that they have little or no choice but to take part in the adventure.

In Star Wars: A New Hope (1977), Luke refuses to join Obi-Wan in his endeavor to save Princess Leia from the clutches of the Empire. Luke’s Point of No Return comes soon, though, when Stormtroopers pillage his Aunt and Uncle’s farm, leaving Luke with no Ordinary World to go back to.

Once again, the Point of No Return isn’t pulled from Three-Act Structure. It’s not directly pulled from the Monomyth either, but is somewhat of a blend of stages from the Monomyth and another story structure that was based on the Monomyth, Christopher Vogler’s The Writer’s Journey.

The Midpoint

As its name implies, the Midpoint is around the middle of your story. Above all else, it serves as a moment when your protagonist has a moment of clarity or revelation about something. They might learn something new that allows them to see their journey differently. Perhaps they’ve learned something that makes them view The Other World differently.

Oftentimes, it’s at the Midpoint when the protagonist wants to give up their quest. Their newfound perspective has them feeling like their life would be better or easier if they just gave up and created a new Ordinary World with what they’ve learned and experienced so far. If this is the case, a mentor or ally to the protagonist might need to help them remember their motivations. This literally motivates the protagonist to press onward with their quest.

The Midpoint is found in most Three-Act Structure models.

The Road of Trials (Obstacles)

The bulk of the middle of your story will be a series of obstacles, challenges, tests, trials, etc., known collectively as The Road of Trials.

This is where your protagonist comes face-to-face with antagonism. In many stories, the protagonist will use newfound knowledge and skills to get past these obstacles, or they’ll experience setbacks. If nothing else, these challenges can show that the protagonist is learning from their mistakes and growing (or not).

The Road of Trials is a stage of the Monomyth, as well as being the basis for what Christopher Vogler calls ‘Tests, Allies, and Enemies’ in The Writer’s Journey. Most Three-Act Structure models feature a series of obstacles over Act 2. This stage represents those obstacles.

Act 3: The End (Resolution)

The end of the story puts what the protagonist has learned to a final test. Before this, however, we need to hit the lowest of lows.

The Crisis (The Ordeal)

The protagonist has failed, or something has happened that has seemingly taken away all of the protagonist’s hope. This is the Crisis.

At this moment, your protagonist might need motivation from their allies or mentors. They also might need a bit of time to reflect, to come to some realization or epiphany about what’s needed to succeed.

Another common moment around the Crisis is one of death and rebirth. This is where it seems like the protagonist dies or is defeated. This could be a passing moment where we’re waiting for the protagonist to resurface on the water, or to come around the corner. Or it could be an entire scene or two that we believe our hero to have fallen.

The Crisis is a common stage in Three-Act Structure. In Christopher Vogler’s The Writer’s Journey, this stage is called The Ordeal.

The Climax

The Climax is when the protagonist’s goal is within reach. Will they succeed?

In many movies and video games, this is the big boss fight.

If the plot was pursuing some sort of MacGuffin, then the device or item is right there.

It’s important to reiterate that the protagonist does not always succeed. Along those same lines, achieving success does not always grant the hero happiness, redemption, or peace of mind. Failures and the folly of success can be illuminating learning moments for the protagonist, and for the audience.

The Climax is a defined stage in all Three-Act Structure models.

Denouement (Descending Action)

Most stories use the last stretch to tie up all of the other subplots, and put an overall sense of closure on most aspects of the story. That stretch is known as the Denouement.

It’s common for the Denouement to take us back to the Ordinary World, and show us how things have changed. (Usually for the better.)

Not all stories have a denouement, but it is common in American films, which mostly possess the circular aspect of The Hero’s Journey, or Monomyth.

Denouement is found on most Three-Act Structure models, and is a combination of stages from the Monomyth and The Writer’s Journey.

The Open-Ended Story

In some stories, certain parts of the story and ending are left open-ended, leaving the viewer or reader to fill in the blanks. Perhaps the plot is partially unresolved, or some subplots are left unaddressed.

This style of ending is fairly rare in modern American (studio) cinema, but is more common in Japanese and Korean cinema, as well as ‘Classic’ and indie cinema.

On one hand, the open-ended story is seen as artistic, because the nature of the ending usually posits a type of rhetorical question, causing the audience to ask something of themselves. To sort and make sense of what they’ve experienced.

On the other, this is a riskier style of ending, as it leaves the audience with quite a bit of responsibility in completing the story. For those who go to the cinema for simple escapism, they might not like that the story wasn’t handed to them with a bow on top. This is predominantly the reason that American studio films don’t frequently feature this style of ending.

Their motivation is profit, and if moviegoers aren’t happy with the ending, then they won’t be a repeat viewer, and they’ll tell others not to see it. This isn’t something you want to risk when you’ve potentially spent nine figures ($100M+) on a film.

With indie films, however, there’s a lot less money at stake, and viewers of independent cinema are generally more open to challenging narratives.

Circular (Closed-Loop) Storytelling

Rather than being open-ended, many narratives feature a Circular Storytelling narrative structure.

Joseph Campbell’s Monomyth and Christopher Vogler’s The Writer’s Journey are both frequently depicted as being circular-type narrative structures.

What this means, ultimately, is that the story ends in a way that’s similar to how it begins. Perhaps the story literally ends, geographically, where it started. More likely, however, is that it ends at a ‘place’ that is thematically or situationally similar to the start of the story. This helps the story feel cohesive and whole, and is what gives the ‘Circular Storytelling’ narrative structure its name.

Additionally, these types of stories are roughly split in half, in regards to time spent in different ‘worlds’. As mentioned above, these worlds might literally be different geographically, but the polarization of the worlds can be something much subtler and thematic to your story.

Another hallmark of the Circular Storytelling model is that it almost always wraps up all of the plot and subplots. In this way, the Circular Storytelling model feels mythical and fantastic in its complete nature.

Past Three-Act Structure

If you’re new to writing, or the study of story structure in general, then some of the above might seem somewhat specific. In reality, though, all of those stages can be found in most stories. Not all of the stages above are from Three-Act Structure, however, as I noted throughout when I included stages from the Monomyth, The Writer’s Journey, and other stages inspired by them.

If you were to decide that you were going to base your story’s structure exclusively on the Three-Act Structure, you’d quickly find that there’s not actually much direction there, especially as it pertains to the middle of the story.

If you’re looking for something that’s substantially more detailed than Three-Act Structure, look no further than Joseph Campbell’s Monomyth, otherwise known as The Hero’s Journey.

Joseph Campbell’s Monomyth, or The Hero’s Journey

Joseph Campbell was a literature professor at Sarah Lawrence College, and studied mythology and religion. From his studies, Campbell developed the Monomyth, which features 17 story stages that he found most commonly appeared in stories from cultures around the world, and through time.

His work builds onto psychologist Carl Jung’s work about the collective unconscious in humans, and the archetypes that he derived from these ideas. Campbell references Jungian Archetypes when describing the stages of the Monomyth.

The Monomyth is highly applicable to some of the most powerful and well-known stories, even today. The Monomyth was the foundation for films like Star Wars: A New Hope (1977) and The Matrix (1999), among countless others.

The Writer’s Journey

One story structure that’s referenced a few times throughout this article is The Writer’s Journey by Christopher Vogler. As you might imagine from the title, The Writer’s Journey is a modern adaptation of The Hero’s Journey (the Monomyth), adapted for today’s audiences.

Vogler himself spent many years as a story supervisor for Disney, and helped advise some of the most beloved films of the 1990’s.

Other Models

There are other narrative structure models as well; seemingly all of which are derived from The Monomyth. After all, if The Monomyth is accurate in the way it breaks down the human story, all story structures will seem as if they’re derived from The Monomyth, even if they aren’t done so consciously.

Story, Never-Ending

I don’t know if anyone could ever exhaustively cover all the aspects of story, but in this series of articles, I’ve tried to touch on the ones that I personally find to be the most important to constructing a substantive and impactful story.

These topics are the ones that have stood out to me most in my studies of story, and the ones that I find the most useful in constructing and workshopping stories.

These are not easy answers, nor are they meant to be, but they are rhetorical questions. They hopefully get you thinking about your story in a way that you hadn’t thought of it before, which allows you to fill in those details to create a richer and more fulfilling narrative.

Most importantly, I hope these articles have interested you, not only in their content, but interested you to learn more. And maybe someday you’ll teach me some new things about story, too.