Story Structure Skill Invocation Triggers Apply this skill when: Planning screenplay structure Analyzing narrative arc Placing story beats Validating structural integrity Three-Act Structure 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 Save the Cat! Beat Sheet Blake Snyder's 15-beat structure: 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) The Hero's Journey (12 Stages) Christopher Vogler's adaptation of Joseph Campbell: Act One: Departure Ordinary World - Hero's normal life Call to Adventure - Problem or challenge appears Refusal of the Call - Hero hesitates Meeting the Mentor - Guidance received Crossing the Threshold - Hero commits to journey Act Two: Initiation Tests, Allies, Enemies - Hero is tested Approach to Inmost Cave - Preparation for ordeal Ordeal - Major crisis, death/rebirth Reward - Hero gains something Act Three: Return The Road Back - Return journey begins Resurrection - Final test, transformation complete Return with Elixir - Hero returns changed Sequence Method (8 Sequences) 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 Genre Considerations 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 Structural Analysis Template
Structure Analysis: [TITLE]
Act Breakdown | Act | Pages | Target | Variance | |
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|
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| | One | X-X | 1-25 | [+/-] | | Two | X-X | 25-85 | [+/-] | | Three | X-X | 85-110 | [+/-] |
Beat Placement | Beat | Target Page | Actual Page | Status | |
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| | 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]
- Common Structural Issues
- 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
- WTFB Three-Act Template
- Per "Words To Film By" methodology, use this simplified template for story planning:
- Act One Template
- Work out your story using these essential components:
- 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
- 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
- ENLIGHTENMENT: _____
- (What does the protagonist finally understand?)
- CLIMAX: _____
- (The final confrontation or decision)
- CATHARSIS: _____
- (The emotional release and resolution)
- WTFB Hero's Journey Template
- Alternative structure using the 12-step Hero's Journey:
- 1.
- THE ORDINARY WORLD: _____
- (Hero's normal life before the adventure)
- 2.
- THE CALL TO ADVENTURE: _____
- (The problem or challenge that appears)
- 3.
- THE RELUCTANT HERO: _____
- (Hero hesitates or refuses the call)
- 4.
- THE WISE OLD MAN: _____
- (Mentor who provides guidance)
- 5.
- INTO THE SPECIAL WORLD: _____
- (Crossing the threshold into adventure)
- 6.
- TEST, ALLIES AND ENEMIES: _____
- (Hero is tested, meets friends and foes)
- 7.
- THE INMOST CAVE: _____
- (Approach to the most dangerous place)
- 8.
- THE SUPREME ORDEAL: _____
- (Major crisis, facing greatest fear)
- 9.
- SEIZING THE SWORD: _____
- (Hero gains the reward/knowledge)
- 10.
- THE ROAD BACK: _____
- (Return journey begins, often with pursuit)
- 11.
- RESURRECTION: _____
- (Final test, transformation complete)
- 12.
- RETURN WITH THE ELIXIR: _____
- (Hero returns changed, bearing wisdom)
- Narrative Types
- 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
- Aristotle's Six Components
- The foundational elements of drama (per Aristotle):
- Plot
-
- The arrangement of events or incidents
- Characters
-
- Provide motivation, plot, and conflict
- Language
-
- Dialogue (both dramatic and narrative)
- Themes
-
- Thought and ideas behind the story
- Rhythm
-
- Music/mood (the emotional pacing)
- 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) Validation Checklist 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