story-structure

Apply this skill when:

• Planning screenplay structure
• Analyzing narrative arc
• Placing story beats
• Validating structural integrity

Overview

```

ACT ONE (Setup) ≈ 25 pages (25%)

ACT TWO (Confrontation) ≈ 60 pages (50%)

ACT THREE (Resolution) ≈ 25 pages (25%)

≈ 110 pages total

```

Act One: Setup (Pages 1-25)

Goal: Establish world, character, and conflict.

| Beat | Page | Purpose |

|------|------|---------|

| Opening Image | 1 | Visual thesis, tone, world |

| Theme Stated | 5 | Theme spoken (often missed by protagonist) |

| Set-Up | 1-10 | Ordinary world, status quo |

| Catalyst | 12 | Inciting incident, life disrupted |

| Debate | 12-25 | Protagonist resists call to action |

| Break Into Two | 25 | Commitment to journey, no turning back |

Act Two: Confrontation (Pages 25-85)

Goal: Escalating conflict, character tested.

| Beat | Page | Purpose |

|------|------|---------|

| B Story | 30 | Subplot begins (often carries theme) |

| Fun and Games | 30-55 | Promise of the premise delivered |

| Midpoint | 55 | False victory or false defeat, stakes raise |

| Bad Guys Close In | 55-75 | Obstacles intensify |

| All Is Lost | 75 | Lowest point, seems hopeless |

| Dark Night of the Soul | 75-85 | Reflection before final push |

Act Three: Resolution (Pages 85-110)

Goal: Climax and resolution.

| Beat | Page | Purpose |

|------|------|---------|

| Break Into Three | 85 | Solution found, synthesis of lessons |

| Finale | 85-110 | Final confrontation, stakes resolved |

| Final Image | 110 | Transformation visualized |

Blake Snyder's 15-beat structure:

```markdown

1. Opening Image (1)
2. Theme Stated (5)
3. Set-Up (1-10)
4. Catalyst (12)
5. Debate (12-25)
6. Break Into Two (25)
7. B Story (30)
8. Fun and Games (30-55)
9. Midpoint (55)
10. Bad Guys Close In (55-75)
11. All Is Lost (75)
12. Dark Night of the Soul (75-85)
13. Break Into Three (85)
14. Finale (85-110)
15. Final Image (110)

```

Christopher Vogler's adaptation of Joseph Campbell:

Act One: Departure

1. Ordinary World - Hero's normal life
2. Call to Adventure - Problem or challenge appears
3. Refusal of the Call - Hero hesitates
4. Meeting the Mentor - Guidance received
5. Crossing the Threshold - Hero commits to journey

Act Two: Initiation

1. Tests, Allies, Enemies - Hero is tested
2. Approach to Inmost Cave - Preparation for ordeal
3. Ordeal - Major crisis, death/rebirth
4. Reward - Hero gains something

Act Three: Return

1. The Road Back - Return journey begins
2. Resurrection - Final test, transformation complete
3. Return with Elixir - Hero returns changed

Structure

```

ACT ONE

Sequence 1: Status Quo & Catalyst

Sequence 2: Debate & Break Into Two

ACT TWO (First Half)

Sequence 3: Fun and Games A

Sequence 4: Fun and Games B → Midpoint

ACT TWO (Second Half)

Sequence 5: Consequences

Sequence 6: All Is Lost → Dark Night

ACT THREE

Sequence 7: Break Into Three → Finale A

Sequence 8: Finale B → Resolution

```

Sequence Length

• Each sequence: ~12-15 pages
• Each sequence has its own mini-arc
• Sequences end on a turn or revelation

Action

• Midpoint is often big action set piece
• Faster pacing through Act Two
• Extended finale sequence

Comedy

• Fun and Games section is critical
• Midpoint often a comic disaster
• Third act reconciliation

Drama

• More time in Dark Night of the Soul
• Subtler beat placement
• Character-driven turns

Horror

• Midpoint: Monster fully revealed
• All Is Lost: Final girl alone
• Finale: Confrontation and survival

Thriller

• Midpoint: Major revelation
• Bad Guys Close In is literal
• Ticking clock in Act Three

```markdown

Act Breakdown

| Act | Pages | Target | Variance |

|-----|-------|--------|----------|

| One | X-X | 1-25 | [+/-] |

| Two | X-X | 25-85 | [+/-] |

| Three | X-X | 85-110 | [+/-] |

Beat Placement

| Beat | Target Page | Actual Page | Status |

|------|-------------|-------------|--------|

| Catalyst | 12 | X | [OK/Early/Late] |

| Break Into Two | 25 | X | [OK/Early/Late] |

| Midpoint | 55 | X | [OK/Early/Late] |

| All Is Lost | 75 | X | [OK/Early/Late] |

| Break Into Three | 85 | X | [OK/Early/Late] |

Assessment

[Analysis of structural strengths and issues]

Recommendations

1. [Specific adjustment]
2. [Specific adjustment]

```

Act One Too Long

• Cut setup scenes
• Enter scenes later
• Combine expository scenes

Saggy Middle

• Strengthen midpoint
• Add reversals
• Increase obstacles

Rushed Third Act

• Earn the climax
• Don't skip Dark Night
• Resolution needs breath

Per "Words To Film By" methodology, use this simplified template for story planning:

Act One Template

Work out your story using these essential components:

```markdown

OPENING EVENT: ___________________________________

(What first happens that grabs attention?)

BASIC SITUATION: ___________________________________

(What is the protagonist's normal world?)

DISTURBANCE: ___________________________________

(What disrupts the normal world?)

DECISION: ___________________________________

(What choice must the protagonist make?)

DRAMATIC QUESTION: ___________________________________

(The question that will be answered by the climax)

```

Act Two Template

```markdown

CONFLICTS: ___________________________________

(What opposes the protagonist?)

CRISES: ___________________________________

(What moments of critical decision arise?)

OBSTACLES: ___________________________________

(What stands in the way?)

COMPLICATIONS: ___________________________________

(What makes things worse?)

DARK MOMENT: ___________________________________

(The lowest point before the turn)

```

Act Three Template

```markdown

ENLIGHTENMENT: ___________________________________

(What does the protagonist finally understand?)

CLIMAX: ___________________________________

(The final confrontation or decision)

CATHARSIS: ___________________________________

(The emotional release and resolution)

```

Alternative structure using the 12-step Hero's Journey:

```markdown

1. THE ORDINARY WORLD: ___________________________________

(Hero's normal life before the adventure)

1. THE CALL TO ADVENTURE: ___________________________________

(The problem or challenge that appears)

1. THE RELUCTANT HERO: ___________________________________

(Hero hesitates or refuses the call)

1. THE WISE OLD MAN: ___________________________________

(Mentor who provides guidance)

1. INTO THE SPECIAL WORLD: ___________________________________

(Crossing the threshold into adventure)

1. TEST, ALLIES AND ENEMIES: ___________________________________

(Hero is tested, meets friends and foes)

1. THE INMOST CAVE: ___________________________________

(Approach to the most dangerous place)

1. THE SUPREME ORDEAL: ___________________________________

(Major crisis, facing greatest fear)

1. SEIZING THE SWORD: ___________________________________

(Hero gains the reward/knowledge)

1. THE ROAD BACK: ___________________________________

(Return journey begins, often with pursuit)

1. RESURRECTION: ___________________________________

(Final test, transformation complete)

1. RETURN WITH THE ELIXIR: ___________________________________

(Hero returns changed, bearing wisdom)

```

Per WTFB, identify your story's narrative approach:

| Type | Description | Example |

|------|-------------|---------|

| Linear | Beginning to end chronologically | Most traditional films |

| Non-Linear | Not chronological | Memento, Pulp Fiction |

| Multi-Narrative | Multiple points of view | Crash, Traffic |

| Dual | Two perspectives or time periods | The Godfather Part II |

| Fragmented | Non-linear sequence | 21 Grams |

| Metafictive | Breaking fourth wall | Deadpool, Ferris Bueller |

| Personal | Autobiography, biopic | The Pursuit of Happyness |

The foundational elements of drama (per Aristotle):

1. Plot: The arrangement of events or incidents
2. Characters: Provide motivation, plot, and conflict
3. Language: Dialogue (both dramatic and narrative)
4. Themes: Thought and ideas behind the story
5. Rhythm: Music/mood (the emotional pacing)
6. Spectacle: The set, costumes, and special effects

The Greeks' Essential Truth: A show or scene must have a beginning, middle, and end.

• Beginning: Protagonist lives a good life but has a great character flaw
• End of Beginning: Reversal of fortune brought on by the flaw
• Middle: Protagonist fights change but recognizes error, changes from ignorance to knowledge (too late)
• End: Catastrophe brings suffering, resulting in soul cleansing (catharsis)

• [ ] Three acts properly proportioned
• [ ] Catalyst by page 12
• [ ] Clear Break Into Two
• [ ] Strong Midpoint
• [ ] All Is Lost moment exists
• [ ] Theme stated and proven
• [ ] Character arc complete
• [ ] Opening/Final images mirror or contrast
• [ ] Narrative type identified
• [ ] WTFB template completed
• [ ] Aristotle's six components addressed