What Happens in Acts One, Two and Three?

By Melanie Anne Phillips

Here’s a good general template for beginning writers that outlines some of the key events and activities that are best addressed in each of your three acts.

ACT ONE

Act one is about the Set Up. It establishes the way things are when the problem begins. It introduces the problem, establishes the goal and its requirements, as well as the consequences if the goal is not achieved.

Many stories include a journey or quest that leads to the goal. In such stories, the first act concerns discovery of the need for and nature of the quest, the acceptance of the quest, and preparations to embark. Act one then concludes with the final preparations and a restatement of the necessity of the quest by reminding the reader/audience of the potential consequences.

In all stories, by the end of act one, the reader/audience must understand what the story is about, what is to be achieved, and how the effort toward that end is expected to proceed.

Keep in mind that for storytelling purposes you may intend to fool your audience into believing the goal is one thing when it will later turn out to be another.

Also, the plot of many stories includes a “teaser” at the very beginning of the act. The teaser is an emotional “hook” meant to snare reader interest and draw them into the book or movie. Almost every television episode begins with a teaser to keep the audience from changing the channel.

Teasers may or may not have anything to do with the story at large. Sometimes they are simply exciting emotional or action-oriented extravaganzas which are nothing more than entertainment, and add nothing to the structure of the real story about to begin.

In any event, by the end of the first act, your reader/audience must feel it understands what the story is about and the direction it appears to be taking.

ACT TWO

This is the Act of Development. The second act develops plot points that you set up in your first act, adding richness and detail to your story.

If there’s a journey in your story, act two is about the beginning and progress of that quest. As progress is made, the obstacles to progress become more substantial. Every step taken towards that goal increases in difficulty.

Somewhere in Act Two there is a major plot twist, either physically or due to information uncovered, that throws the whole story into left field. In some stories this twist happens in the middle of the act. The second half of the act is spent trying to recover from the set back and begin anew. In other stories, this twist occurs at the end of the second act, driving the quest in a whole new direction with the beginning of act three.

ACT THREE

This is the Act of the Climax. The whole of the third act is leading up to that point, creating tension and suspense. This is what your entire story has been leading up to. You want your third act to be more fast-paced than the rest of your story, and a lot more suspenseful.

The most compelling stories build the forces for and against the goal so that each becomes stronger and stronger. At the point of climax each is so powerful that something has to give – the tension is just too great. And yet, since they are balanced, the outcome is still uncertain.

The progression of the third act of plot is often heavily influenced by genre. For example, a compelling mystery might be designed to spread suspicion even wider than before, rather than narrowing in on just a few characters. Therefore, the sense of building tension may spring from increasing confusion, rather than understanding.

In all cases, act three must draw all dynamic forces to a head and eventually tie up all loose ends.

SUMMING UP

Certainly there are a lot of other structural and storytelling tasks readers or audience are used to encountering in each act, such as character introductions and growth, exploration of your theme, and employment of dramatic elements specific to your genre.

Still, using this template as a foundational guide can help provide a framework for additional development and insure that the spine of your dramatics is sound.

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Character Relationships Baselines

Relationships begin with a “baseline” and then evolve. You will need to establish how your characters feel about one another at the beginning of your story. Later, in as things unfold, you’ll describe the growth of these emotional relationships over the course of the story.

Both characters need not be present to establish a relationship between them. You might your readers a look at one character’s room where he keeps a score of framed pictures of the second character, his female co-worker, in a little shrine. Then, you describe the second character’s room where there is but a single picture of the first character which has been made into a dart board. It is obviously well-used due to the great quantity of dart holes. There are three darts in it as another slams in to join it, thrown by the second character.

One character might write a story about the other for a newspaper or a school report. A photo album might show two people in a series of pictures over the years. In Citizen Kane, the relationship between Kane and his wife is established by a series of vignettes over the years in which the size of their dinner table grows, moving them farther and farther away from each other.

Of course, in real life most emotional relationships are not a single melody but a rich and complex symphony. You may want to develop a different specific means of revealing each aspect of a complex emotional relationship, or you might prefer to have a single illustration that reveals the complexity all at once.

Keep Your Protagonist Human

Characters have dramatic functions, but the reader or audience needs to identify with them as real people as well. A necessary but difficult task is to intertwine the personal and structural aspects of each character so that they blend seamlessly together and become interdependent in a unified person.

If your character is a protagonist, for example, what personal qualities or previous experiences have led them to become a protagonist, the Prime Mover in the effort to achieve the goal? Similary, if your character is wishy-washy, how does that affect their ability to function as a protagonist?

By integrating both the structural and personal elements in every character, each will seem to be driven by real motivations, enacted in a truly human manner.

The Core of Your Protagonist

The Protagonist is one of the most misunderstood characters in a story’s structure. When creating your Protagonist, don’t let him or her get bogged down with all kinds of additional dramatic jobs that may not be necessary for your particular story.

It is often assumed that this character is a typical “Hero” who is a good guy, the central character, and the Main Character. In fact, the Protagonist does not have to be any of these things. By definition, the Protagonist is the Prime Mover or Driver of the effort to achieve the goal. Beyond that, he, she, or it might be a bad guy (such as an anti-hero).

Being the Central character just means that character is the most prominent to the audience. For example, Fagin in “Oliver Twist” is perhaps the most prominent, but he is certainly not the Protagonist. So, a Protagonist may actually be less interesting than the Antagonist, or may actually be almost a background character.

In addition, the Protagonist is not always the Main Character, who could be any one of the characters in your story who represents the reader or audience position in the story.

So, the only attribute you should consider in selecting your structural Protagonist is whether this character is the one with the most initiative toward reaching the Goal.

Success or Failure?

A story without a clear indication of success or failure is a failure with your readers or audience. You need to work out exactly how the audience will know the goal is achieved or not.

This might seem obvious in an action story, but may be much more difficult in a story about character growth.

Success and Failure don’t have to be binary choices; they can be matters of degree. For example, the effort to bring back a treasure may fail, but the adventurers discover one large ruby that fell into their pack. Or, someone seeking true love might find love but with someone who is rather annoying.

Whether either of these examples is a partial success or a partial failure depends largely on how you portray the characters’ attitudes to the imperfect achievement. To ensure a sense of closure in your readers/audience, make sure they know exactly how things end up on the success/failure scale.

Creating Extra Tension with Consequences

A goal is what the characters chase, but what chases the characters? The consequence doubles the dramatic tension in a story by providing a negative result if the goal is not achieved.

Consequences may be emotional or logistic, but the more intense they are, the greater the tension. Often it provides greater depth if there are emotional consequences when there is an external goal, and external consequences if there is an emotional goal.

Your story might be about avoiding the consequences or it might begin with the consequences already in place, and the goal is intended to end them.

If the consequences are intense enough, it can help provide motivation for characters who have no specific personal goals.

Don’t Forget the Requirements!

 

The achievement or failure to achieve the goal is an important but short moment at the end of the story. So how is interest maintained over the course of the story? By the progress of the quest toward the goal. This progress is measured by how many of the requirements have been met and how many remain.

Requirements can be specific, such as needing to obtain five lost rubies that fit in the idol and unlock the door to the treasure. Or, they can be nebulous, such as needing to reach three progressive states of enlightenment before the dimensional portal will open.

The important thing is that the requirements are clear enough to be easily understood and “marked off the list” as the story progresses.

Quick Tip: Characters’ Personal Goals

Personal Goals are the motivating reasons your characters care about and/or participate in the effort to achieve or prevent the overall goal. In other words, they see the main story goal as a means to an end, not as an end itself.

Although a personal goal for each character is not absolutely essential, at some point your audience or readers are going to wonder what is driving each character to brave the trials and obstacles. If you haven’t supplied a believable motivation, it will stand out as a story hole. e trials and obstacles. If you haven’t supplied a believable motivation, it will stand out as a story hole.

Quick Tip: The Collective Goal

Some novice writers become so wrapped up in interesting events and bits of action that they forget to have a central unifying goal that gives purpose to all the other events that take place. This creates a plot without a core.

But determining your story’s goal can be difficult, especially if your story is character oriented, and not really about a Grand Quest.

For example, in the movie “Four Weddings and a Funeral,” all the characters are struggling with their relationships and not working toward an apparent common purpose. There is a goal, however, and it is to find happiness in a relationship.

This type of goal is called a “Collective Goal” since it is not about trying to achieve the same thing, but the same KIND of thing.

So don’t try to force some external, singular purpose on your story if it isn’t appropriate. But do find the common purpose in which all your characters share a critical interest.

Revealing Your Goal

Sometimes the goal is spelled out right at the beginning, such as a meeting in which a General tells a special strike unit that a senator’s daughter has been kidnapped by terrorists and they must rescue her.

Other times, the goal is hidden behind an apparent goal. So, if your story had used the scene described above, it might turn out that was really just a cover story and in fact, the supposed “daughter” was actually an agent who was assigned to identify and kill a double agent working in the strike team.

Goals may also be revealed slowly, such as in “The Godfather,” where it takes the entire film to realize the goal is to keep the family alive by replacing the aging Don with a younger member of the family.

Further, in “The Godfather,” as in many Alfred Hitchcock films, the goal is not nearly as important as the chase or the inside information or the thematic atmosphere. So don’t feel obligated to elevate every story point to the same level.

As long as each key story point is there in some way, to some degree of importance, there will be no story hole. You may still have a lot of interest in that story point, however. A character’s personal goal, for example, may touch on an issue that you want to explore in greater detail.

When this is the case, let your imagination run wild. Jot down as many instances as come to mind in which the particular plot point comes into play. Such events, moments, or scenarios enrich a story and add passion to a perfunctory telling of the tale.

One of the best ways to do this is to consider how each plot point might affect other plot points, and other story points pertaining to characters, theme, and genre.

For example, each character sees the overall goal as a step in helping them accomplish their personal goals. So, why not create a scenario where a character wistfully describes his personal goal to another character while sitting around a campfire? He can explain how achievement of the overall story goal will help him get what he personally wants.

An example of this is in the John Wayne classic movie, “The Searchers.” John Wayne’s character asks an old, mentally slow friend to help search for the missing girl. Finding the girl is the overall goal. The friend has a personal goal – he tells Wayne that he just wants a roof over his head and a rocking chair by the fire. This character sees his participation in the effort to achieve the goal as the means of obtaining something he has personally longed for.

And how does your story goal exemplify or affect the moral message of your story as part of the theme? When you see the story goal mentioned in your story synopsis, see if you can incorporate aspects of theme, and when you see theme, try to add a reference to the goal.

In Huckleberry Finn, Mark Twain has the boy cooking up some food for Tom Sawyer. He puts all the vegetables and meat in the same pan and explain that his pop taught him that food is better when the flavors all “swap around” a bit.

The same is true for stories. Don’t just speak about goal, speak about goal in reference to as many other story points as you can.

In the space below, first describe how you will reveal the goal to your audience so you are sure you’ve at least covered that base. Then, describe as many other scenarios as you can where goal impacts, influences, or affects other story points.