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    The Three Act Structure

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    Sukriti Bajaj
    The document outlines the three-act structure, which divides fictional narratives into three parts: Setup, Confrontation, and Resolution. In the Setup (Act One), the main character, dramatic premise, and situation are introduced. The Inciting Incident occurs halfway through, thrusting the plot forward. In the Confrontation (Act Two), obstacles prevent the protagonist from achieving their goal, culminating at the Midpoint where they reach their lowest point. Plot Point Two occurs at the end of Act Two. In the Resolution (Act Three), the story's tension is resolved through the Climax.

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    © All Rights Reserved

    The Three Act Structure

    Uploaded by

    Sukriti Bajaj
    753 views31 pages
    The document outlines the three-act structure, which divides fictional narratives into three parts: Setup, Confrontation, and Resolution. In the Setup (Act One), the main character, dramatic premise, and situation are introduced. The Inciting Incident occurs halfway through, thrusting the plot forward. In the Confrontation (Act Two), obstacles prevent the protagonist from achieving their goal, culminating at the Midpoint where they reach their lowest point. Plot Point Two occurs at the end of Act Two. In the Resolution (Act Three), the story's tension is resolved through the Climax.

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    The Three Act Structure

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    The document outlines the three-act structure, which divides fictional narratives into three parts: Setup, Confrontation, and Resolution. In the Setup (Act One), the main character, dramatic premise, and situation are introduced. The Inciting Incident occurs halfway through, thrusting the plot forward. In the Confrontation (Act Two), obstacles prevent the protagonist from achieving their goal, culminating at the Midpoint where they reach their lowest point. Plot Point Two occurs at the end of Act Two. In the Resolution (Act Three), the story's tension is resolved through the Climax.

    Copyright:

    © All Rights Reserved
    753 views31 pages

    The Three Act Structure

    Uploaded by

    Sukriti Bajaj
    The document outlines the three-act structure, which divides fictional narratives into three parts: Setup, Confrontation, and Resolution. In the Setup (Act One), the main character, dramatic premise, and situation are introduced. The Inciting Incident occurs halfway through, thrusting the plot forward. In the Confrontation (Act Two), obstacles prevent the protagonist from achieving their goal, culminating at the Midpoint where they reach their lowest point. Plot Point Two occurs at the end of Act Two. In the Resolution (Act Three), the story's tension is resolved through the Climax.

    Copyright:

    © All Rights Reserved
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    The key takeaways are that stories are often structured using a three act structure with setup, confrontation, and resolution phases. Each act has essential elements that move the plot and character development forward.

    The three act structure divides a story into three parts - the setup, the confrontation, and the resolution. These parts take the story in different directions and build to a solid conclusion.

    The essential elements of Act One (the setup) include establishing the characters, dramatic premise, dramatic situation, inciting incident, and plot point one.

    THE THREE ACT

    STRUCTURE
    By Sukriti Bajaj

    Writing should be an adventure, shrouded


    in mystery and uncertainty, blessed with
    amazing grace. In theory, of course.
    Syd Field

    THE THREE ACT


    STRUCTURE

    THE THREE ACT


    STRUCTURE

    The 3-act structure is an old principle widely adhered to in storytelling


    today. It can be found in plays, poetry, novels, comic books, short
    stories, video games, and the movies.

    The three-act structure is a model used in writing, including


    screenwriting, and in evaluating modern storytelling that divides a
    fictional narrative into three parts, often called the Setup, the
    Confrontation and the Resolution.

    These three parts, often literally taking place in different worlds physically and/or figuratively - can work independently of each other,
    yet when connected, they build a solid whole.

    THE THREE ACT


    STRUCTURE

    Scripts are generally 100 to 120 pages. Each page, on


    average, equates to 1 minute of screen time. Of course
    some action-filled pages may take 5 minutes a piece while
    some pages loaded with dialogue only 20 seconds but it all
    evens out.

    The easiest way of keeping to this unwritten rule is to break


    your story into three acts. In a 120 page script the first act
    would take up one quarter (30 pages) of the script. Act II
    takes up half (60 pages) of your script. Act III takes the final
    quarter (30 pages) of your script.

    ACT ONE SETUP

    ACT ONE - SETUP

    SET-UP

    Exposition--The part of a story that introduces the characters,


    shows some of their interrelationships, and places them within
    a time and place.

    This part of the story introduces the main character, the


    dramatic premise, and the dramatic situation.

    Main character--the person in the story who has a


    need/objective to fulfill and whose actions drive the story

    Dramatic premise--what the story's about

    ACT ONE - SETUP

    SET-UP

    Dramatic situation--the circumstances surrounding the action

    Inciting Incident--an event that sets the plot of the film in


    motion. It occurs approximately halfway through the first act.

    The "Plot Point"--According to Field, the three acts are


    separated by two plot points. A plot point, often called a
    reversal, is an event that thrusts the plot in a new direction,
    leading into a new act of the screenplay.

    ACT ONE - SETUP


    SET-UP

    Plot Point1--It leads into Act II.

    It is the moment when the protagonist confronts the


    problem.

    The event will test your main character and challenge them
    to answer how far will you go to achieve your goal?

    ACT ONE - SETUP


    ESSENTIAL ELEMENTS

    TONE: Very quickly you want to establish the tone of


    the script: is it a serious film, a comedy, a fantasy, a
    spoof? Let people know right away that it is okay to
    laugh, to cry, to dream, etc.

    THEME: You will also want to establish the theme of


    the film - what message are you trying to convey:
    Dont judge a book by its cover, The underdog
    triumphs, Good versus evil.

    ACT ONE - SETUP


    ESSENTIAL ELEMENTS

    WORLD OF THE STORY: As the story begins, you will


    introduce the world of the story - where does it take place?
    What is different and interesting to this world? What are the
    rules of this place?

    CHARACTER INTRODUCTIONS: At the same time, you will


    introduce the principle characters to the audience. Be
    specific and original. Let us know their age, how they dress,
    walk, talk. Give them a scene in which they stand out from
    the others. Let the audience know these people are special.

    ACT ONE - SETUP


    ESSENTIAL ELEMENTS

    PROTAGONIST WEAKNESS: The main characters


    weakness(s) must be clear so that the later obstacles can
    attack that weakness in the second act

    INCITING INCIDENT: The inciting incident (or point of attack)


    is the moment when the dramatic conflict announces itself.
    Its the first perception of the predicament to come, and
    usually, a moment that is very visual.

    ACT ONE - SETUP


    ESSENTIAL ELEMENTS

    MAIN TENSION: And this predicament sets up the main


    tension around which the story will be built: Will they fall in
    love? Will they rob the bank? Will they escape alive? Will
    they do all three?

    THE STAKES: The stakes have to be clear in order to show


    the audience how and why this tension is important to
    them, or - more importantly - what will happen if the
    character does not solve his/her problem. It should be huge
    - a matter of life and death.

    ACT ONE - SETUP


    ESSENTIAL ELEMENTS

    OBJECTIVE: A characters objective or goal is what drives


    him. This should be very specific, very clear. How badly
    does he/she want something and what are the lengths
    he/she is willing to go to get it.

    LOCK-IN: The first act concludes once the main character is


    locked into the predicament, propelling him/her forward on
    a new quest trying to accomplish a specific goal. Now the
    reader/audience knows the character, the predicament, and
    the objective, so everything else is about the future.

    ACT TWO
    CONFRONTATION

    ACT TWO - CONFRONTATION


    CONFRONTATION (OBSTACLES)

    Obstacles--In the second act, the main character


    encounters obstacle after obstacle that prevent him from
    achieving his dramatic need.

    First Culmination--a point just before the halfway point of


    the film where the main character seems close to achieving
    his or her goal/objective. Then, everything falls apart,
    leading to the midpoint.

    ACT TWO CONFRONTATION


    CONFRONTATION (OBSTACLES)

    Midpoint--a point approximately halfway through the film


    where the main character reaches his/her lowest point and
    seems farthest from fulfilling the dramatic need or
    objective.

    The "Plot Point"--According to Field, the three acts are


    separated by two plot points. A plot point, often called a
    reversal, is an event that thrusts the plot in a new direction,
    leading into a new act of the screenplay

    ACT TWO CONFRONTATION


    CONFRONTATION (OBSTACLES)

    Midpoint--a point approximately halfway through the film


    where the main character reaches his/her lowest point and
    seems farthest from fulfilling the dramatic need or
    objective.

    The "Plot Point"--According to Field, the three acts are


    separated by two plot points. A plot point, often called a
    reversal, is an event that thrusts the plot in a new direction,
    leading into a new act of the screenplay

    ACT TWO CONFRONTATION


    CONFRONTATION (OBSTACLES)

    Plot Point2-- It leads into Act III.


    Force the main character to take action in attempt to solve
    the problem created by the inciting incident.
    Make the character (and audience) fully aware of the
    ticking clock. Time is running out for your main character
    to finish the job.
    Focus the main character on their ultimate goal.

    ACT TWO CONFRONTATION


    CONFRONTATION (OBSTACLES)

    Plot Point2-- It leads into Act III.


    Force the main character to take action in attempt to solve
    the problem created by the inciting incident.
    Make the character (and audience) fully aware of the
    ticking clock. Time is running out for your main character
    to finish the job.
    Focus the main character on their ultimate goal.

    ACT TWO CONFRONTATION


    ESSENTIAL ELEMENTS

    OBSTACLES: The second act is all about obstacles. It elaborates


    in great detail and intensity on the difficulties and obstacles the
    hero faces as he or she struggles to achieve his or her goal. Just
    when we think the situation cant get worse, it does. And when
    there is no way that our hero can get out of the jam, he does,
    only to end up in a worse jam. Basically, each sequence centers
    around a new obstacle or obstacles of increasing difficulty.

    FIRST ATTEMPTS: Now that the character is locked-in, he makes


    his first attempts to solve the problem. This is usually the
    simplest, easiest manner to resolve the problem, and these
    attempts usually fail.

    ACT TWO CONFRONTATION


    ESSENTIAL ELEMENTS

    RAMIFICATIONS: It is important to show the ramification of the


    attempts, which must result in an increase in complications.

    ACTION: Every move the character makes traps him even


    more. Each actions leads to more entrapment. Be merciless
    on the character.

    SUB-PLOT: A solid sub-plot that carefully intertwines with the


    main tension in both plot and theme will be a great channel in
    which to relate the characters emotions (in regards to the
    main tension).

    ACT TWO CONFRONTATION


    ESSENTIAL ELEMENTS

    FIRST CULMINATION: This is the midpoint of the film. If our


    hero is to win in the end, this then is the first time the
    character finds a solution that seems to work. It is a victory.
    If the script is a tragedy, however, this often a low point for
    the character.

    MIDPOINT MIRROR: The first culmination and ending of the


    film usually mirror each other: both victories or both
    failures.

    ACT TWO CONFRONTATION


    ESSENTIAL ELEMENTS

    MIDPOINT CONTRAST: The first culmination (Midpoint) and


    the main culmination (End of Act II) are usually in contrast
    with each other.

    NEW ATTEMPTS: By the first culmination, our hero has


    failed in his/her first attempts but in failure, realizes the
    weight of the issue and becomes aware of the correct
    method in which to resolve the main tension. He/she then
    can begin new attempts, still faced with new obstacles, that
    get him/her closer to resolving the issue

    ACT TWO CONFRONTATION


    ESSENTIAL ELEMENTS

    CHARACTER CHANGE: Throughout the second act, the main


    character starts changing, learning, and developing, or at
    least intense pressure is put on the character to change,
    and that change will manifest in the third act.

    MAIN CULMINATION: this is the end of the second act and


    the point where the character sees what he things he has
    been doing is not what he has been doing. The tension is at
    the highest point, and this is the decisive turning point. You
    must convince the audience that their worst fears are going
    to come true. This moment will change the main character
    in some way.

    ACT THREE
    RESOLUTION

    ACT THREE - RESOLUTION


    RESOLUTION

    Climax (Second Culmination)--The point at which the plot


    reaches its maximum tension and the forces in opposition
    confront each other at a peak of physical or emotional
    action.

    Denouement--The brief period of calm at the end of a film


    where a state of equilibrium returns.

    ACT THREE - RESOLUTION


    ESSENTIAL ELEMENTS

    CONDENSED: Fast. Organized. No new characters. No new


    locations. The story is unraveling.

    TWIST: The final twist is a surprising, explainable, and motivated


    change in direction of the action.

    FINAL CULMINATION: Up to this point, our hero has been tested,


    has tried everything he could, and there is only one way left,
    because all the alternatives were presented and eliminated, and
    therefore, comes the final culmination, often where the main plot
    and sub-pot collides, which propels our hero head on into a new
    confrontation with the inevitable.

    ACT THREE - RESOLUTION


    ESSENTIAL ELEMENTS

    CHARACTER ARC: The main character is now in a new


    situation with a new tension, and he/she must have
    opportunities to go back to the old character and see if
    there is a change. There should be.

    OBLIGATORY SCENE: The obligatory scene the scene the at


    the end of the film in which the viewer has been waiting
    and looking forward to. If tension is an eager anticipation of
    the future, then the obligatory scene is one that the viewer
    almost consciously expects. In a way, it has been promised
    to the audience.

    ACT THREE - RESOLUTION


    ESSENTIAL ELEMENTS

    RESOLUTION: This is the end. The third act conflict is


    complete, character arc complete, all issues resolved, and
    the audience sees the new status quo - or what the future
    holds for the characters.

    THANK YOU !

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