The "three act structure" is a tool for storytelling. It's a model used by writers frequently to get a sort of "skeleton" down of what their story will be before they actually go in and write; it provides a sort of "road map," if you will. Recently I was talking to someone about the three-act structure, and they wanted to know what it looked like in its bare-bones state, so here's how I summed it up:
I like to break down the three act structure this way, as it helps me plan out where my story will go and what routes it will take. I always start by filling in these plot points:
ACT ONE
- World Building
- Theme Hinted At
- Some More World Building
- Something Happens!
- Transitioning into Act II
- Exploring the "world" of Act II
- Sub-Plot (if necessary)
- Story Build-Up
- The "Pinch"
- Midpoint/The Point of No Return-----
- Things Complicate
- The Second "Pinch"
- The Build to Defeat
- "All is Lost!"/Heroes hit Rock Bottom
- Rising from the Ashes
- Setting Up the Dominos
- The Dominos Begin to Fall
- The Final Confrontation
- Resolution
- The Ashes Settle and Loose Ends are Tied Up
 |
| A handy visual, though not quite the same as I'm talking about here (Act II is a little different), this gets the point across. |
ACT ONE
World Building - This is basically where you introduce the characters and the world they live in. Straightforward stuff.
Theme Hinted At - Here's where you let the audience know "Okay, this is what the story's about." You should NOT tell them point-blank, however; there's the trick - you have to get them to realize what the story's about without resorting to saying "This is a story about [theme]." You see? It's a little tricky, but - if done well - is awesome for storytelling.
Some More World Building - Here you continue to set things up, introduce characters, whatever's necessary for the story. Just remember, though - you just need bare essentials! If something isn't important or foundational to the rest of the story, chances are it shouldn't be included (I mean, unless it's a short joke or something - you can obviously include that stuff; just don't waste the reader's time).
Something Happens! - BAM! Okay, here's where the story starts. You've set up their little world, and now it's time to break it apart. Because you're the author - your job is to be the world's biggest jerk to your characters (yes, more wonderful advice I've gotten, but it rings true - you're their biggest enemy, even if you love them). Whatever you do to get the plot rolling, this is where that goes. It also has to yank your hero out of his/her comfort zone and force them to face their problems. it ALSO has to tie in with the theme (this is a given). You'll see some examples later, and - trust me - it will all make sense.
Transitioning into Act II - You've thrown down the gauntlet, so to speak, and now you're looking at your characters and you're saying, "What are you gonna do about it?" Here's the thing; they can either run headfirst on their journey (be it emotional or physical) or you can grab 'em by the neck and drag them - kicking and screaming - into the story. Either one works out great.
ACT TWO
Exploring the "world" of Act II - Alright, how has that "Something Happens!" moment changed things? What's this new situation like? You've got to redo your worldbuilding a little bit here; you have to show the heroes exploring the world, and you have to show the audience what's different.
Sub-Plot (if necessary) - this step is optional, of course. Do you really need a secondary plot? Sometimes yes, sometimes no, but if you do need one, this is where you introduce it (not necessarily the characters inside it, mind you, but the subplot itself). HOWEVER! WARNING! CAUTION! DANGER! you MUST make it related to the story's theme, too. You can't have your theme be "Sometimes you lose," and the subplot be "Cherish your parents." The two don't work together, you see? They make no sense together! Sure, they're both great, but they're in conflict, and you really should limit yourself to a single theme. Hence the need to make the subplot about the same theme that your main plot is about (again, only IF you absolutely need a subplot).
Story Build-Up - Self explanatory, it's basically how you get from the previous plot point to the midpoint. What are some questions you need to answer? What are the flaws your hero is still holding onto? Where are we going on this "road trip" called a story? Whatever the case, this is just more of the plot thickening. Again, when in doubt, remember the golden rule: You're an author - your job is to be a jerk to the characters. ALMOST give them what they want, then yank it out from under their feet and go "Nope! That's not the right way!" Mean? Yes. Entertaining? YES.
The "Pinch" - Alright, the pinch is - in conventional storytelling - the point where the villain pops up again to basically remind the audience, "Hey! Guess what? I exist! Lookie here! Look at how eeeevil I am!" But the thing is, your "villain" doesn't have to be an actual bad guy - it can be an idea, or a character's personal flaw - whatever the "villain" is, here's where he/she/it rears her/his/its ugly head.
Midpoint/The Point of No Return----- BAM. Your hero - up to this point - was acting only wanting things to go back to the way they were, but now, thanks to the villain showing up and being evil, they've decided to do things the RIGHT way. Up till now, they've wanted to be selfish, but - at this point - they've got a vague hint at what the theme is (not literally of course, they don't know they're in a story, but the beginnings of them changing is here).
Things Complicate - Because you're a jerk. And now is the time to begin your biggest act of jerkishness to your characters to date. Oh, sure, you COULD let them drive smoothly down the road, just as they think they've got a grip on things, but you know what? BAM! Pop their tires and leave the hero stranded in the desert with the theme. Guess what? Now the two have no choice but to get along! Beforehand, the hero may be fighting the theme or always trying to find a way around it, or maybe flat out misunderstanding things. No more! Now he/she has to look at the theme and actually understand what it means. To bad you're a jerk, like I said, because - just before they have a "eureka" moment...
The Second "Pinch" - You send in your ace in the hole, the villain, to smack the hero in the face again. The hero thinks they've got a handle on this? Pssh. Please. They don't. You know it. The villain knows it. The audience knows it. Now the hero is about to know it, because...
The Build to Defeat - Oh, they are about to get hit so hard...
"All is Lost!"/Heroes hit Rock Bottom - BOOM! Lowest point of the story. The night is just darkest before the dawn, right? Well, here you go. They've fallen straight into the pit of their darkest fears, maybe figuratively, maybe literally, I don't know. Point is: they're at the lowest point they'll ever be, and they sit there in utter defeat. "Woe is me!" They say, "All is lost! I'm an idiot! I messed it all up! I'm doomed! Sad ending!"
And, if you wanted to write a tragedy, this is the point where the story would end. However, chances are, you want a more upbeat story, so...
Rising from the Ashes - That little light-bulb goes off in the hero's head, and they think, "Wait! Time out! Hold on a second... Oh... OH... OH!! I get it now! I understand what I've been doing wrong all this time! Oh my gosh, it all makes sense now!" And, because of their new found understanding, you're no longer going to be a complete jerk to them. This is the point where you, as the author, go "Good boy!" and throw the dog a bone, getting them a way out of their pit and giving them one last shot (which they'll take, of course)...
ACT THREE
Setting Up the Dominos - But they have to hurry! The forces of evil are closing in, and time is no friend of the hero(s). The clock is against them, they're thinking by the seat of their pants, coming up with a way to still win, and the audience gets the chance to see just how bad the situation is. Give everyone a second to realize just how high the stakes are here.
The Dominos Begin to Fall - And someone kicks off the last part of the story. If time was ticking earlier, it's erupting now! Someone (hero or villain) makes the first move, maybe not directly at the other, but now all bets are final, and the hero is moving the story rapidly to its conclusion:
The Final Confrontation - King Kong up on the Empire State Building. Luke Skywalker trying to blow up the Death Star. Ripley confronts the Queen Xenomorph. This is the part where it all comes to a head, the climax. This is the most exciting moment in your story, where good is fighting completely against evil. The theme, needless to say, is practically dripping off the conflict here.
Resolution - But, of course, we know how these things end. The hero thwarts the villain (maybe at the cost of the hero's life, but the hero still wins). Good triumphs over evil. Maybe it looks briefly like evil will come out on top, but - at the last minute- BOOM! Hero wins. Hands-down, the villain is defeated.
The Ashes Settle and Loose Ends are Tied Up - Then you, as an author, have to clean up your mess. You got out the toys, now you have to pick them up because you're done playing. You've taken the hero, put them through turmoil, and they've come out the other side all the better for it. Your ending should reflect this (without dwelling too much on it). It should show how much better things are now, and how the theme relates to this.
No comments:
Post a Comment