Screenwriting : Today's Wish and Creative Tip by Laurie Ashbourne

I'm still working out the kinks in my writing and filmmaking, but one thing that helps me is thinking of 3 act structure in terms of Set Up (1), Confrontation (2A), Crisis (2B), and Resolution (3). That alone helps me understand that the first and second halves of the second act serve different functions... Concerning flat and flab, I think it helps to use structure within the structure. My story obviously needs a Set Up, Confrontation, Crisis, and Resolution (1, 2A, 2B, and 3). But each act ALSO needs a Set Up, Confrontation, Crisis, and Resolution (1, 2A, 2B, and 3).

Absolutely, Jacob -- one could argue each scene needs this as well. Best of luck with your stories.

Laurie, what a great example of how a script shall read and show! Fantastic post, again.

Sure Jeff -- there are different forms of story that don't adhere to the classical, restorative 3 act structure, TV, one act plays etc. But I think it's fair to say that on a macro level, a good 90% of feature screenplays hold true to the restorative 3 act structure. Where you have a beginning, middle and end where order is restored.

Jacob: TV dramas uses a minimum of the 4 Act structure A) Introduce Conflict B)Heighten Conflict C)Move to Resolve Conflict D)Resolve Conflict. Just about the same as the three act structure you describe. Laurie describes perfectly with the human cannonball how the TV 4 act structure can fit into a 3 act screenplay. They could be stretched or condensed into how every many acts it takes like Jeff said. But who would read it, or think there is a market for it today? Everything needs a spine, it's how we arrange the 26 letters that make us each unique in our storytelling. Keep the cannons firing, Laurie!

David - Dudes like Syd Field and Blake Snyder talked about the midpoint, which breaks act 2 up into 2A and 2B. It is my understanding that those two parts are two distinct story movements... So I always wondered why they don't just call it 4 act structure.

Jacob: I think we are getting into semantics here. Look from the sides the viewpoint comes from. A studio wants to stick to a certain structure. There are many who don't go according to Snyder. I understand your perspective. I've read articles where some very experienced screenwriters write with no act structure in mind, they just know how to tell the story and get it into the right page count. Have to play the game until you get to change the rules, unfortunately.

Hi Jacob, I think David Levy's right re: semantics. I'm not a historian, but like Laurie said, most people understand a story to have 3 acts - a beginning, a middle, and an end. Goes back to Aristotle. Personally, I refer to "Act 2" as a whole, before Midpoint and after. I don't typically use Act 2a and 2b. But some people break down Act 1 similarly - 1a is before the Inciting Incident, and 1b is after. Act 3a is before the Climax and 3b is after. That said, in nearly all meetings, in my experience, people tend to discuss story by referring to 3 acts. Peter Jackson likes to discuss narrative in "emotional blocks." But really, in my experience, it's semantics.

To be even clearer, you could call it semantics - or you could break down stories into how you prefer to THINK about story, TALK about story, or how you prefer to TEACH story. For example, I don't typically use the mini-movie method, but I've read outlines by 2 people who use it: http://scriptshadow.net/screenwriting-article-the-easy-way-to-write-a-sc...

Sorry to hijack, Laurie!!

Hi, Regina. I agree, it's semantics. I think it's probably best to use industry standard terminology (e.g., Act 1, Act 2, Act 3). Thanks for the great link!

hi guys, hope you don't mind me commenting i find that the three act structure which as we all know has a beginning ,middle and end well the beginning has a beginning, beginning has a middle and beginning has an end so each act has a beginning ,middle and end. would you agree?

Dawn - I agree. I think story structure is really just a way of understanding and explaining story movements. Syd Field explains it his way; Blake Snyder his way; Robert McKee his way; Chris Soth his way; Linda Seger her way; Christopher Vogler, John Truby, and Michael Hauge their way... I think there are multiple layers of story movements, and therefore, multiple layers of story structure. Acts are overall story movements, sequences are movements within the act (which relates to what you're saying), scenes are movements within the sequence, and beats are movements within the scene... Of course, this is just my way of understanding and explaining it. :)

Greetings, It is of paramount consequentiality that, you have the fundamentals in place before you begin writing your screenplay. That said; I first ensure that I have addressed the “one sheet” before I put pen to paper. As outlined below: 1. Title 2. Genre 3. Tagline 4. Premise 5. Concept 6. Theme / Statement of intent 7. Synopsis 8. Characters Profiles (Biographies): 8.1. Protagonist 8.2. Antagonist 8.3. Antagonistic Forces 8.4. Guide / Mentor 8.5. Supporting 8.6. Function - Narrative & Plot structure: Point of view - Who will tell the story? And do you want to start with Character or with Story? - Target Market Demographic Profile (Fog Index, Language Syntax)? In closing, There are many narrative and plot structures to choose from. One of my recent feature film screenplays’ has a Character-Centered Circular Tale Narrative with a Six Stage Plot Structure. The Six Stage Plot Structure was used in the feature films’ “Erin Brockovich” and “The Gladiator.” Moreover, as a screenwriter you need to appeal to the emotive side of the viewer. Furthermore, to transport them into the world of the protagonist, where he or she i.e. “the viewer” feels that they can relate to the character been depicted. Best regards, Kevin

thank you Jacob wishing you all the success in your career. Look forward to hearing how you get on : )