Our next topic as part of this blog series is structure. I
touched on this a bit in the previous post on plotting, but now, we’re going to
take a more detailed look. Over the next several weeks—yes, it will take that long. We’re going to look
at four different structures: three act, Hero’s Journey condensed (13 posts),
Propp’s Fairy Tale (10-15 posts), and Snyder’s 15 key beats (5-8 posts). As I’ve
said before, there is no right or wrong way to write a story. You might find
these structures useful, or you might not. My hope is that you’ll find that
your stories closely resemble one of these structures, and you’ll be able to
apply the structure to give your story more depth.
Since the three act structure is the simplest, I’ll cover it
today. This is the structure you learn about in grade school. Act I is your beginning,
the exposition, where you introduce the characters, the setting, and the inciting
incident. Act II is your middle, the rising action, where all the cool stuff
leading up the climax happens. Act III is where the big event happens, the climax, the moment that the story has been
leading to all along. And directly after the climax comes the falling action
and denouement, the final resolution of the story.
While it is a simple structure, it doesn’t really say
anything, you know? It’s a bit boring. I prefer a different representation. I
took this diagram from Christopher Vogler’s The
Writer’s Journey: Mythic Structure for Writers:
To me, this diagram makes more sense, even though the idea
is the same. It implies struggle, a dynamic plot. The former diagram works best
with short fiction, but novels need several little climaxes leading up to the
big one. Vogler defines the peaks of his diagram as the high point of each act.
Each peak is the former diagram, minus the exposition and denouement. After
each miniature climax, the excitement settles for a bit before climbing again
toward the next climax. The final climax should be the hardest struggle, the
most significant trial the characters of your novel face.
Another thing that you’ll notice in the latter diagram is
that the acts are not divided equally. Act I is very short, while Act II takes
up half of the diagram. Act III should be a bit shorter and Act I a little
longer than I drew, and the break between Act II a and Act II b should be
directly in the middle, but you get the general idea.
Act I is the setup. Like I said before, it is where you
introduce the characters, setting, and inciting incident. The break into Act II—that
first little peak in the diagram—should be the moment when the character’s life
changes, when the story really starts.
Act II spans half the diagram and is broken into two parts.
In the first half of Act II, we see the consequences of the change in the main
character’s life. We see the immediate result of the inciting incident and how
the character chose to deal with it. The diagram steadily climbs as tension
rises, as we see the effect of those consequences, until it reaches the
midpoint, the break between parts a and b of Act II. This is where the story
gets real. The danger is real. The
consequences are real. It isn’t fun and games anymore. The rest of Act II leads
into Act III, mounting the tension until the break into Act III. This is the
moment where the main character begins to face the problem head on. They make a
conscious decision to fight, to defeat the antagonist, whoever or whatever that
might be.
Act III is rife with tension. That’s why it’s the rockiest
part of the diagram. Everything that the character has done comes back to them
in this act—characters they’ve met previously, lesser antagonists they’ve
beaten or failed to beat, the consequences of earlier actions, etc. Act III
holds the climax, the big moment of the story, where the main character either
wins or loses against the main antagonist. This is the moment where the
character faces the biggest threat.
Immediately following the climax, the story begins to
settle. The denouement presents the result of the climax, the end of the story.
The plot and subplots are wrapped up, and possibly, the theme is stated or
expressed in a way. And the characters have clearly been changed by the story.
The story ends in a different place than it began, the characters are different
than when they began the story, and the world itself has changed.
This is a simple structure, but that doesn’t mean it isn’t
worth using. Every story should have at least three acts, regardless of what
specific structure it is. So, make sure your story has three acts and that it
has the five parts of a story arc: exposition, rising action, climax, falling
action, and denouement. If you have these things, then your story has
structure, even if it’s a simple structure.
Happy writing!
I will definitely have to check this out with my current WiP. Thanks for the helpful posts.
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