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WriterDuet | Professional Screenwriting Software You'll Love

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Plan, write, and share with the industry-standard software used by over 1 million screenwriters, TV shows, and blockbusters.

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As I see it deconstructive animation is an animation genre that comes close to a comic. Removing elements of animation creating this effect of sketchiness (if I can say it like that). In a sense questioning the structure of a narrative animation .
I am thinking about McLaren as an example for this one
(76) Hen Hop - YouTube

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(76) Neighbours - YouTube

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Abstract animation as I get it is more technical genre. Space where different types of animations and film together. Trying to experiment with different materials and movement. Breaking the narrowness of the traditional animation study.

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Political genre consists of an animation that carries a political message or communicates beliefs towards viewers. It can be propaganda, criticism of certain systems, social commentary or public information. The writers of such animations usually have good understanding of political systems, ethics and morals.

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Political animation is genre of animation that is having the personal perception and ideology of the artist. It is talking about the problem of the nowadays. In a sense I see it as a propaganda or animation having motives and metaphors regarding the political/social environment.

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From Paul Wells book
Scriptwriting

First things first : Read through the one genre that makes you presume your story is connected to (or the one that resonates with you) and extract a definition from the text in the handOut

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Free screenwriting software
(Windows only)

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Trelby is simple, fast and elegantly laid out to make screenwriting simple. It is infinitely configurable. Trelby is free software, that you can contribute to. Screenplay editor : Enforces correct script format and pagination, auto-completion, and spell checking. Multiplatform : Behaves identically on all platforms, generating the exact same output.

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Free online screenwriting software

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WYSIWYG screenplay editor using Fountain format. Supports hierarchical navigation, content assist, advanced reporting and printing to PDF.

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Written By: Alex Garland (screenplay), based on the characters byJohn Wagner & Carlos Ezquerra

Synopsis: In a violent, futuristic city where the police have the authority to act as judge, jury and executioner, a cop teams with a trainee to take down a gang that deals the reality-altering drug, SLO-MO.

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Here are the best free movie scripts online. A library of some of the most iconic and influential screenplays you can read and download right now.

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How I Write Screenplays For My Animations

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Start with to practice whith script writing by elaborating the first minute of your film. This can be the start or some later scenes.

Use dedicated screenwriting software.

Upload your page(s) in PDF format to your THEORY folder in teams.

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Writing Treatments That Sell by Dr. Ken Atchity

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Watch the short video in which a definition of Treatment is given.

Now write a short maximal one page treatment for the folktale of your choice.

Focus on the first purpose of a treatment, the design of your story. (save the selling purpose for later)

Upload your text in the folder on teams.

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https://blog.reedsy.com/guide/story-structure/heros-journey/

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ACT 1

Ordinary world (beginning) - before 1:04

1:04 call to adventure - when the dumpling came alive

ACT 2

1:44 obstacle - realisation that bao can get hurt/ smushed

Build up

2:39 obstacle - when bao wants to be free

2:52 obstacle - bao gets hurt

3:01 mid point- everything is going to go downhill

3:53 obstacle - he leaves the house the first time alone

4:02 Blot twist- when the girlfriend arrives

5:00 disaster - when she eats him

5:21 crisis - when she was crying

5: 45 Plot twist - when the bao turned out the be an actual son

6:16 climax - when they made up

ACT 3

6:37 Descending action - eating together

6:47 Wrap-up - all family eating together

End- happy

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https://www.youtube.com/watch?v=uh4dTLJ9q9o

00-1.30 beginning to climax 1
1.30-1.50 obstacle
3.00 plot twist
4.25 climax
4.40-5.00 act three, ending

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Kuana Torres Kahele, Napua Greig, James Ford Murphy - Lava (From "Lava" (Official Lyric Video))

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If you've read anything about the basic building blocks of storytelling, you've probably come across the three-act structure. If not, you've definitely seen it being used in your favorite novels and films, even if you didn't realize it. As one of the oldest and most reliable plot structures in the world, the three-act story structure has been the foundation of some of our most beloved stories throughout literature.

Let's dive into why this narrative structure works in writing, some three-act structure examples, and how to begin applying it to your own work.

What is the three-act structure in writing?

The three-act story structure represents a full story arc composed of a beginning, middle, and end. We call these distinct sections Act I, Act II, and Act III. Each of these acts are divided further into essential plot points, which we'll look at in more detail below.

This familiar structure takes us through the self-discovery and growth of the main characters, from landing in a strange new world (literally or metaphorically) to mastery of it. This is where we get our character development and character arcs.

The standard three-act structure as we know it today can be traced all the way back to Aristotle, a Greek philosopher who's been credited as the grandfather of storytelling. It was his treatise on narrative structure that introduced scholars and writers to the three-act story structure.

What's the difference between three-act structure and story structure?

You may hear writers talking about both three-act structure and story structure, but they're not interchangeable. The three-act structure is a type of story structure. In fact, there can be many different story structures; the three-act structure is one of the most commonly used and universal story types. However, there is also the five-act structure, dramatic pyramid (or Freytag's pyramid) story structure, the hero's journey structure, and others.

You'll find many of these narrative types overlap, because the shape of a good story is a universal concept that exists instinctually within us. However, story structures give both new and experienced writers a way to make sure they're hitting the right story beats and turning points in ways that will keep readers engaged from beginning to end.

Do you need to use the three-act structure in your writing?

Some new writers might feel nervous about applying story structure to their work, because they're worried it may inhibit their creativity. This is not the case; using structures that have been shown to work throughout history can actually free your creativity and give your story direction when you're not sure where to go.

The three-act structure works because it mimics the shape of the stories we naturally tell each other. To be satisfying, even short stories need a beginning, a middle, and an end.

You don't need to consciously use the three-act structure in your story-you're should look at all different types of structure and plotting techniques to find the one that works best for you-but you'll often find that most stories follow the three-act structure even if it's not done consciously. That's because it's the most natural path for a story to take.

The three-act story structure, explained

Now that we know why this ancient narrative technique is so beloved by writers, let's break it down into its essential elements and what each act of your story needs. We'll look at The Hobbit, a well-known and well-loved work of literature, to illustrate each essential mechanism of the three-act structure.

Act I

This is sometimes called the "setup" act, and it lays the groundwork for the conflict and revelations to come. It takes up roughly the first 20% of your plot. The first act is made up of three core parts that lead the reader into your story.

Exposition

Your story begins with exposition, or the foundation of your story world. This is where the reader learns who your protagonist is, where they live, and what their "normal world" looks like. It will generally take up between 5% and 15% of your story, but you can sneak in world building and backstory later in the narrative, too.

Exposition is essential in helping your readers understand why your characters make the choices that they do.

In The Hobbit, the exposition shows us what a hobbit is, where Bilbo Baggins lives, and what sort of perspective he has on the world around him.

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Inciting incident

This is the moment where your protagonist's life changes forever. It might be quiet-such as a stranger showing up at the local tavern and ordering a drink-or it might be loud-such as a natural disaster that forces the main character from their home.

In some way, large or small, the main character will be pulled out of their comfort zone and set on a new path unlike any they've known before. This plot point can happen anywhere between the first 1%-20% of your story.

In The Hobbit, the inciting incident is when Gandalf and the dwarves invite Bilbo to come on an adventure with them. He struggles with his own natural apprehension, but agrees.

First key plot point

The first major plot point is when the story's main character begins to engage with their new path. Although the inciting incident has already happened, in many cases it could be ignored or dismissed.

The first key plot point represents the first major turning point of the story, and shows the hero accepting their new circumstance by taking action towards it. This will usually happen at the end of the first act, about 25% of the way into your story.

In The Hobbit, the first key plot point happens when Bilbo discovers the dwarves have left without him. In this moment he could have chosen to go back to sleep, but instead he runs out to join them and begin his new adventure, leaving his everyday life behind.

Act II

Sometimes called the "confrontation act," the second act forms the bulk of your story-from about the 25% mark to 75%, or the second and third quarters. This is where the complexities of your characters, conflicts, and themes will evolve through the events of the plot. It is also made up of three core parts.

Rising action

As the second act begins, the protagonist comes across other characters and makes new friends, faces new enemies, and overcomes new challenges.

This is where your core characters face obstacles that inhibit the path to wherever they're going, be that a physical place or some sort of internal transformation (often both). These are the events leading to the shocking, pivotal midpoint, which we'll look at next.

This section begins around your 25% mark and continues up until the start of the third act.

In The Hobbit, the rising action involves encountering hungry trolls, facing giant spiders, and being captured by elves.

Midpoint

The midpoint is the hinge on which your story hangs, and represents a concrete before and after for the protagonist. The main character's goal may shift or evolve into something new.

In some ways, it's like a second inciting incident. A significant event takes place that directly impacts the protagonist's journey in a new and surprising way. This will happen-surprise!-at the midpoint, or 50% of the way through your story.

In The Hobbit, Bilbo becomes separated from his company and is forced to defend himself in a battle of wits. This leads to him discovering the ring of power, which makes him invisible and earns him the respect of his new friends.

Second key plot point

Just as your heroes think they're getting things under control, the second key plot point sends them careening off into a new direction. This forces them to recalibrate and take stock of what they have to lose. The hero reflects on how far they've come, and how far they're willing to go. This will usually happen at the end of the second act, or around the 75% mark.

In The Hobbit, the second key plot point that changes everything is when the dragon Smaug destroys the Lake Town, turning the people against Bilbo and the dwarves.

Act III

The third act is the culmination of the main conflict and everything that the heroes have faced on their journey. The protagonist's goal is finally within reach. During the last act, battles will be waged, triumphs celebrated, losses mourned, and loose ends tied off.

This final act comprises the final quarter of the story, or from the 75% point to 100%. It's also made of three essential pieces.

Pre-climax (or false climax)

Sometimes called "the Dark Night of the Soul," this is the protagonist's first experience in facing the antagonist head on and taking a hard look at what's truly at risk. This will usually happen about 80%-85% of the way through the story.

Sometimes, this plot point will function as a "false climax"-the hero will defeat the villain and for a moment, it will seem like the story's over... only to discover that the real final battle is still headed their way. It's the moment that gives them one final push towards the story's true climax.

In The Hobbit, this happens when Bilbo steals the precious Arkenstone and gives it to the Lake Town, hoping for peace. This causes his company to ostracize him and only makes things worse.

Climax

The climax is the showstopper of literature-the moment when everything burns the brightest and the heroes are pushed to their ultimate limit.

Everything in the plot, right from the inciting incident, has led to this moment. This is where everyone, heroes and villains alike, knows that it's all or nothing, now or never, that the choices they make in these moments will make or break their entire journey. Your protagonist will emerge victorious, or they won't emerge at all. This will usually happen at around 85%-90% of the way into the plot.

In The Hobbit, the climax is the epic Battle of Five Armies as all the characters of the story finally come together.

Resolution

Sometimes called the "denouement," this section shows what happens when the dust of the climax settles and the characters move forward into the rest of their lives. They return to the ordinary world of their everyday life, but with a new perspective.

All the loose ends are tied off, lessons are revealed, and the reader is given a glimpse into what the future holds. This will take up the last couple of scenes in your story, beginning at around 95% through.

In The Hobbit, Bilbo is forgiven for his betrayal and takes his share of the treasure home to begin the next chapter of his normal life. Years later, a dwarf visits him and they recount their adventures together.

An example of the three-act structure from literature

Let's look at one more literary example of the three-act structure. A great story that uses these three acts is Jane Austen's Pride and Prejudice. Let's look at how to apply it to this narrative model.

Act I

Exposition: Within the first scene, the reader is introduced to the family, the upper-class English setting, the problem of their impending eviction, and the dynamic between each character.

Inciting incident: The arrival of two handsome new bachelors in a nearby estate sets an irreversible chain of events into motion.

First key plot point: Bingley, Darcy, and company depart from the estate to return home, leaving poor Jane Bennett bereft.

Act II

Rising action: Jane goes to London to investigate under the guise of visiting family, and Elizabeth grows closer with Mr. Wickham. She meets Mr. Darcy by chance.

Midpoint: Darcy proposes(!). And in return, Elizabeth shoots him down(!!). Their relationship and understanding of one another is changed forever.

Second key plot point: Fast-and-loose Lydia Bennett absconds with Mr. Wickham, bringing shame upon the family.

Act III

Pre-climax (or false climax): Lydia and Mr. Wickham return properly married; Lydia reveals that Darcy orchestrated the entire thing and paid off her hapless new husband. Bingley and Jane are reunited, and it looks like everyone is set to live happily ever after.

Climax: Darcy gives himself one last shot at securing Elizabeth's love and proposes. This time, she accepts.

Resolution: The Bennett family is thrilled for the daughters, Elizabeth and Jane celebrate their weddings, and the reader gets a glimpse into their future lives.

How to apply the three-act structure to your own story

Writers work with a variety of different tools and perspectives, and no two writers will approach their stories in exactly the same way.

If you prefer to organize your thoughts into a coherent pattern right from the very beginning (a "Plotter"), you may find it helpful to work with each of the plot points in the three-act structure to develop your idea into a coherent narrative.

If you prefer to explore your story world as you go and discover new things through the writing process (a "Pantser"), you may find it more helpful to look at the three-act structure through the editing stage to help refine the pacing, character arc, and overall shape of your plot.

When you begin your work, you should try to have an idea of where your story begins (the exposition and inciting incident), the major turning point of the story and character arc (the midpoint), and where you want it all to end up (the climax and resolution). Then you can build your story outwards from these core moments.

If you're beginning a new story, try filling out each element of the three-act structure: exposition, inciting incident, first key plot point, rising action, midpoint, second key plot point, pre-climax, climax, and resolution.

Ask yourself what you want your protagonist to learn along the way, what they need to overcome in order to reach their goal, and how each of these moments brings them closer to it or pulls them further away.

If you already have a story that you've written, try transposing it over the three-act structure and identify each of those key moments. Are any of them missing? Are some too close together, or too far apart? This is where you might run into pacing issues where your story lags behind or feels too rushed.

This can be a wonderfully helpful tool for ensuring that your work reads smoothly and feels like a complete, satisfying narrative.

Using the three-act structure creates stories that work every time

Many great stories have been born from these three acts. They form a pattern we've learned to recognize since before even the written word, dating all the way back to fireside oral traditions. By learning from these three-act stories and how they're put together, you can create enduring stories of your own that readers will return to again and again.

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The Three-Act Structure: What It Is and How to Write It, with Examples

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If you've read anything about the basic building blocks of storytelling, you've probably come across the three-act structure. If not, you've definitely seen it being used in your favorite novels and films, even if you didn't realize it.

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God of War Ragnarök - State of Play Sep 2022 Story Trailer | PS5 & PS4 Games

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Inciting Incident/Call to Adventure: A Plot: 0:53 B Plot: 0:25

Refusing the Call: A Plot- 3:07

Point of No Return: A Plot- 3:26 , B Plot- 4:18

Midpoint: A Plot- 5:08, 6:39, 7:20 , B Plot- 4:40

Low Point: A Plot- 9:10, B Plot- 7:52

Climax: A + B Plot: 10:14

Falling Action: A Plot: 10:41

Resolution: A + B Plot: 11:03

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It seems you are either blocking or disabling Javascript on your browser, and we totally get that. However this endpoint uses Angular, so the front end is in full JavaScript and won't work without it.

There might be numerous reasons you refuse to use JavaScript. If it just has to do with security (or lack thereof) of JavaScript-based web applications, then depending on your threat menace you might want to go through the code running on the node you are trying to access, and look for security audits.

There are other non JS-based unofficial clients to access PeerTube. You can find a list maintained by the PeerTube project in the thid-party applications section. You can also develop your own as our code is open source and libre software under the GNU AGPLv3.0 and documented on docs.joinpeertube.org.

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It seems you are either blocking or disabling Javascript on your browser, and we totally get that. However this endpoint uses Angular, so the front end is in full JavaScript and won't work without it. There might be numerous reasons you refuse to use JavaScript.

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News

(Fall 2023) Hi Friends, hope you're all staying safe and well!
I am drawing/writing a graphic novel calledWorld's End Detective Agency. I finished the story synopsis and the first draft of the scenes outline; Now I am working on the script and am on page 218!! of 250-ish :D Check out the reveal of page 200 in a public Patreon page. Join as a patron there to help fund my creative endeavors...or help out using Paypal! Click here to contribute!

Follow along on Instagram!

Backstory: In Spring 2020, I concluded 2 lovely seasons of bunny re-enactments. The most recent season (wherein I partnered with TV news site PrimeTimer.com), saw the bunnification of five breakout TV episodes! Including:

The (original) Twilight Zone buns! (Winner of our Viewers' Choice event)! Season 5, Ep. 3: "Nightmare at 20,000 Feet"

...As well as the Festivus episode of Seinfeld!

Preceded by... S1E1 of The Walking Dead ("Days Gone Bye")!

Prior to that was: Episode 1 of Stranger Things S1!

And the start of the season... Game of Thrones buns!

Here is the cartoon announcement I made about the 2019-20 TV Buns season.

Notice certain re-enactments missing? In the spirit of combating racism and hate in daily American life, I have taken stock of my 30-Second Bunnies Theatre parody library and decided to shelve certain re-enactments containing arguably racist content. Even though my intention was never to cause offense, I see now that even parodies can perpetuate racism and cause harm. Therefore I have removed the following re-enactments from the collection:
Godzilla bunnies
The Grudge bunnies
Pirates 3 bunnies
Sixteen Candles bunnies

I have also removed Brokeback Mountain bunnies due to an offensive, tacked-on ending scene. I do not want to perpetuate homophobic content, either.

I deeply apologize and will work to stay vigilant in any future content I create.

Other projects:

- I completed ashort animated excerpt from the Ombudsman webcomic: The Inventor!
More about Baldwin P. Leninforth, Ombudsman.

Pic of me from Denver Comic Con (photo courtesy Erik Larsen)

Support me on Patreon!

Or via a Paypal donation. THANKS!

Bunnies and Social Media
- The Bunnies' Twitter and Instagram

Dig this sweet game: Spiro! created by bunny voice and game developer extraordinaire Doug McInnes. Spiro is 13K of pure analog Tempest power! Check out this excellent HTML5 zombie game, Dead Valley he also created. Here's a video of game play. And now you can find it on the Google Chrome Web Store!

30-Second Bunnies Theatre WON two Webby Awards for Online Film and Video/Animation, plus the People's Voice award in that category!

Hooray! We've exceeded 1 billion page views since the site began (and since I started keeping track some time in 2001)...THANK YOU for your viewership!!

I want to say thank you to everyone who's written in with such kind words and great requests. I read every single email that comes through here, and your correspondence means more to me (and the bunnies) than I can express. THANK YOU VERY MUCH!

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Angry Alien Productions: 30-Second Bunnies Theatre and other cartoons.

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(Fall 2023) Hi Friends, hope you're all staying safe and well! I am drawing/writing a graphic novel calledWorld's End Detective Agency. I finished the story synopsis and the first draft of the scenes outline; Now I am working on the script and am on page 218!!

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"I took a master class with Billy Wilder once and he said that in the first act of a story you put your character up in a tree and the second act you set the tree on fire and then in the third you get him down."

The Three-Act Structure is a typical and frequently-used narrative structuring template. Most of the mainstream movies released by Hollywood conform to this template, but it can be found in other story-telling forms as well. The idea is that the story is structured so that all of the action falls into one of three acts, with regular plot-points (or reversals) used to bridge each act, and send the narrative into a different direction than it had previously been going.

The First Act is the Setup. Generally speaking, it lasts the first quarter of the story (the first half-hour for a typical two hour movie), and is where the main characters are introduced and the dramatic premise (i.e. what the story's about) and the dramatic situation (i.e. the setting and context in which the story's taking place) are established. At some point in the First Act (usually half-way, but not always) the Call to Adventure (or in more mundane settings, an Inciting Incident) occurs to set the plot of the film in motion. Whether the protagonist accepts it or not, it doesn't matter; events are set in motion causing the protagonist to follow the path of the narrative, whether they want to or not.

Occasionally, "Point of Attack" is included as a separate concept to the Inciting Incident - the Point of Attack sets the plot in motion, and is often outside the protagonist's control; the Inciting Incident is when the conflict is thrust upon the protagonist, forcing them into action and setting up the motivation for the main character.

Related to the first act is a general screenwriting rule of thumb which states that the protagonist, the central supporting characters, and the scenario must all be introduced and clearly established within the first ten minutes of the movie in order to hook the audience's interest - any longer, and you risk losing them. Novel writing generally follows the same rule, replacing the first ten minutes with the first fifty pages.

The Second Act, the Confrontation, is the longest, generally twice as long as the other two acts, or the second and third half-hours in a two hour movie. In this act, the main character(s) meet their Mentors, Love Interests are established, and, most especially, the protagonists will encounter obstacles in the form of people, objects, and settings that appear with rising potency and increasing frequency in order to stymie the protagonist. In particular, the presence of the foe will be felt, causing the first clashes between The Protagonist and The Antagonist.

At the "Midpoint," the protagonist will seem to be close to accomplishing the ultimate goal, but events will conspire to prevent success. Expect The Centerpiece Spectacular to unfold. As a result, the protagonist will reach their lowest point and will often temporarily give up in despair. In a tragedy, the Darkest Hour becomes their Brightest Hour and the Midpoint flips from one of near-victory to one of near-defeat.

The Third Act, the Resolution, is where the story wraps up. The protagonist returns to the fight (even coming Back from the Dead to do so, in some cases) and the struggle will renew.

The Climax is where the battle reaches its peak in emotional and physical intensity. The protagonist will either prevail or - if it's that sort of story - fail again, and fail so painfully and completely as to make further continuation of the struggle impossible.

After this comes the Dénouement, where things calm down and an equilibrium similar to the state of affairs at the very beginning is restored. However, having experienced the events of the story, the characters have hopefully grown and evolved beyond what they were at the beginning, and often have difficulty re-adjusting to the way things were.

If done well, the Three-Act Structure is a useful tool in making interesting stories that develop and progress logically. If done poorly, there's a feeling that what we're experiencing is something we've seen many, many, many, many times before.

Bear in mind that the three-act structure comes from Ancient Greek drama, and actually from Aristotle's who analysed a number of plays as conforming with this structure, and some which did not but which he still saw as good works. This structure was more influential on European drama rather than English drama. For instance, William Shakespeare was famous for his plays not really adhering to it, filled with asides, subplots, and characters and not really putting his characters motivations in such clear lines. In classical Hollywood, the term came in from the sound era where the influx of theatrically trained talent as screenwriters, directors, and producers which also lent the films to be fitted on the more rigid studio system model. Film-makers actually experimented and rebelled against this structure constantly between The '60s and The '80s as noted by film scholar David Bordwell but since The Blockbuster Age of Hollywood, a new intensified version of the three-act structure has become the production norm, and has become widely known and imitated on the internet later on.

In the case of television, owing to its serial nature, the three-act structure is modified or streamlined either for season-arcs or in the case of episodes, mini-arcs that was mapped out by Dan Harmon as a kind of miniature circle whereby episodes would start from a stable setting, flirt with some change and problem before returning to the status quo.

See Act Break for how the Three-Act Structure gets adapted for the small screen. See also The Hero's Journey, which isn't directly related to the Three-Act Structure, but happens to fit nicely within it, and likewise gets used a lot when plotting stories, particularly of a epic, heroic, or fantasy/sci-fi nature. (To give an idea: the terms Call to Adventure, Refusal of the Call, and Threshold Guardians are all based on Hero's Journey concepts.) Compare/contrast Kishōtenketsu - a four-act structure found in East Asian stories that isn't centered on a driving conflict.

Alternative Title(s): Freytags Pyramid, Dramatic Structure, Plot Mountain

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The Three-Act Structure is a typical and frequently-used narrative structuring template. Most of the mainstream movies released by Hollywood conform to this template, but it can be found in other story-telling forms as well. The idea is that the ...

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What is the three act structure?

A three-act structure keeps your beginning separate from your middle and your middle separate from your end. That's it.

Thanks to some entrepreneurial screenwriters, formulas have been built on top of this basic outline via screenwriting manual after screenwriting manual. But before we get into the intricacies of story structure, let's provide an all-encompassing three act structure definition.

THREE ACT STRUCTURE DEFINITION

What is the three act structure?

The three act structure is a narrative model that divides stories into three parts - Act One, Act Two, and Act Three, or rather, a beginning, middle, and end. Screenwriter Syd Field made this ancient storytelling tool unique for screenwriters in 1978 with the publishing of his book, Screenplay. He labels these acts the Setup, Confrontation, and Resolution.

Some writers label these three acts the setup, build, and payoff. Both are correct. But the basic point of each of these acts is that they have their own set of guidelines to develop, build, and resolve a story.

On a basic level, Act One sets up the world, characters, the character's goal, as well as the conflicts or obstacles that are preventing them from achieving their goal. Act Two raises the stakes for the character to achieve the goal, escalating the conflict. Act Three resolves the story with either an achievement of that goal or a failure.

WHAT DOES A 3 ACT STORY STRUCTURE CONSIST OF?

Act 1 - Setup

Act 2 - Confrontation

Act 3 - Resolution

History of the 3 Act Structure

Brief history of the three act structure

Now that we've defined the three act structure in film, I want to rewind to the early days of storytelling. No, not Syd Field.

Aristotle.

Aristotle's Poetics is the first book any aspiring screenwriter should read. It's the first playwriting manual on record.

But that's not why you should read it.

The theoretical text lays out critical insights into the foundations of all of storytelling. All stories (or using his language, tragedies and comedies) must have a beginning, middle, and an end. These represent the three acts in the three act structure.

This is important to note before we define what the three act structure is considered to be today. Some screenwriters get much more detailed with the requirements of what goes into each of these acts.

But the most important takeaway of the 3 act is understanding that one event must lead to another and then to another - this unifies actions and meaning and creates the semblance of a story.

HISTORY OF THE 3 ACT STRUCTURE

The Basics of Three Act Structure

A beginning, middle, and an end, isn't a formula. It brings cohesion to otherwise random events. It's what makes a story, a story.

Today, when writers discuss three act structure, this is the model they're typically referring to:

Three act structure chart

This is pretty standard. We'll go over each act below, but this should be used as a guideline, not a rule book.

Act I: Setup

The setup involves introduction of the characters, their story world, and some kind of '' inciting incident," typically a moment that kickstarts the story. It's usually the first 20-30 minutes of a film.

Let's take a look at the inciting incident in Man on Fire's screenplay, which we imported into StudioBinder's screenwriting software:

Man on Fire Screenplay

The inciting incident here is Creasy's introduction to Pinta, the girl for whom he'll be a bodyguard. It's an inciting incident for two reasons. First, it begins the key relationship that propels the movie: the down-and-out Creasy finds a reason to live in Pinta. Second, it starts the core narrative arc: Creasy gets the job and his duties as a bodyguard who will stop at nothing to protect Pinta begins.

This inciting incident happens on page 16, a little deeper into the script than most inciting incidents, but it's a bit of a longer script, so it fits with the pacing.

Typically a first act ends around 20-30 pages into a screenplay, at around the 25% mark.

Act II: Confrontation or Build

The middle of your story should raise the stakes, you want the audience to keep watching. This is the main chunk of the story and often leads us to the worst possible thing that can happen to the character.

Note that the plot doesn't have to move in one direction. There are ups, downs, turnarounds. In fact, if the story just builds and builds in a straightforward manner, you may bore the audience with a predictable movie.

Act III: Resolution or Payoff

The end should bring some kind of catharsis or resolution, (regardless if the ending is happy or sad). It's a sigh, either of relief or despair.

has one of the most famous climaxes of all time- check it out on the page:

Jack and Rose chatting

Titanic is a tragedy in all the best ways, and this scene highlights why it's so successful. The audience is devastated, yes, but there's still the sentiment that it's better to have loved and lost than to have never loved at all. It's bittersweet, heartwarming and tear-jerking.

WHY SOME SCREENWRITERS DISAGREE

Making sense of the 3 act structure

As you may have noticed, each act has their own set of guidelines that help develop, build, and resolve a story. What exactly these guidelines look like depends on the structure you want to subscribe to (if you want to subscribe to any at all).

Here's one option:

Three act structure broken down

This one looks a bit more involved, doesn't it?

Do I really need two obstacles halfway through the second act? Will my story suffer with three or five, or one?

Of course not. You also can have as many of these "plot points" as you need to, to tell an effective, meaningful story.

One such structure that can help make sense of a traditional 3-act structure was developed by Blake Snyder and it's called Save the Cat! Snyder's Save the Cat! structure takes a traditional 3-act structure and breaks it up into 15 story beats.

Watch as we take this beat sheet and run Avengers: Infinity War through to see how they gave Thanos a complete protagonist character arc.

There is no predetermined formula for knowing exactly where and when these critical events should occur within each act.

Most of the time, big events like the inciting incident or resolution will obviously, and naturally, happen in their intended acts, but the specifics should come from the organic nature of your story, not a formulaic page count or act break.

Now, let's take an in-depth look at the three act structure in action.

WHY SOME SCREENWRITERS DISAGREE

3 Act Structure Breakdown

Most mainstream Hollywood films follow a conventional three act structure. Once you start paying attention, you'll notice that a lot of the story beats they hit happen in nearly identical places.

Writer and story expert K.M. Weiland has synthesized these recurring story beats into a three act structure that is subdivided into eight sections. Of course, following this structure doesn't necessarily mean a movie is unoriginal.

One example of a great movie which closely follows this three-act structure is Jurassic Park. Let's go through its beats, one by one.

The Hook

This is the opening of the movie and, in turn, the first act. The main goal here is to captivate the audience. Why should they care? Why should they keep watching?

Jurassic Park piques our interest expertly. Take a look at the alluring first scene in David Koepp's script:

Jurassic Park PDF

Steven Spielberg diverged a little from the specifics Koepp lays out, but the core idea is still there: scary, suspenseful, and filled with mystery. As an audience, we want to know where we are, what's going on, and, by the end of the scene, we really want to see those dinosaurs.

The Inciting Event

We've already gone over what an inciting event does, so let's jump right into the inciting incident in Jurassic Park - when John Hammond convinces Grant and Sattler to visit the park.

Why is this the inciting event? It gets the plot moving. Our interest has been piqued, and now our protagonists are going right into the belly of the beast.

First Plot Point

The first plot point is also commonly referred to as the break into act 2. It's the point of no return- after the characters cross this barrier, they can't go back. That's how this is different from the inciting incident. Sattler and Grant can say no to Hammond and walk away.

This is not so after our first plot point, which is when Alan and Ellie see the dinos in all their glory. Spielberg knows this is a big beat, and thus he uses every trick in his playbook to heighten the awe of the moment:

Welcome to Jurassic Park

After the characters see the dinosaurs, there's no going back. As scientists, they simply have to know more.

The First Pinch Point

The first pinch point happens about a quarter of the way through the second act. This is often the first obstacle, albeit minor, and typically involves the antagonist. Perhaps most importantly, this pinch point sets up the midpoint (more on that later).

In JP, the first pinch point is when Hammond and his team notice that the storm is getting much worse. They recall the Jeeps and Ellie sticks behind, an important moment that affects the structure of the rest of the film.

Of course, this beat also prepares us for the midpoint...

The Midpoint

The midpoint is, unsurprising, the halfway mark of the movie. Typically, it is a moment that redirects the plot; a hero thinks they have things figured out when the rug is pulled from under their feet.

Jurassic Park has a very famous midpoint. Again, this is Spielberg we're talking about: he's going to make important beats feel important. The reveal of the T. Rex is indelibly imprinted on the mind of anyone who has seen it:

The T. Rex emerges

After this, the story has completely shifted. We've moved from a narrative of wonder and excitement to one of horror and survival.

Second Pinch Point

Like with the first pinch point, this moment is not as big as, say, the break into act 2 or the midpoint. But it's important in setting up the third act. Usually, the pinch point is a setback. The protagonist is really in trouble and the audience is starting to wonder how on earth they'll get out of this.

In Jurassic Park, this is when Nedry dies. This is a huge setback because now the park is very broken, and someone's going to have to fix it.

Third Plot Point

Otherwise known as the break into act 3. As such, this plot point segues us into the highest stakes of the story yet.

This is when Ellie turns on the power. It's a win, but it's simultaneously a low point for Alan and the kids- Timmy's almost killed.

This moment also reintroduces the final act's primary antagonists: the raptors. They kill Arnold and Muldoon, and they're hungry for more.

Climax

The climax is the moment the whole story has been leading up to. It's the big bang, the final battle, the big kiss.

In Jurassic Park, the climax is when Alan and Ellie are reunited only to be chased down by the velociraptor killing machines. In a moment of deus ex machina, they are saved by the T. Rex. It doesn't feel cheap, however, because it reinforces the core theme of the film: nature can't be controlled. This dino food-chain will persist no matter what the humans are doing.

Jurassic Park ending

Resolution

And finally, at long last, the story comes to a close. The resolution is a moment to catch our breath and see how the journey has permanently affected our characters.

The resolution in Jurassic Park shows Alan as a guy who doesn't hate kids so much after all. The protagonists choppers out of the island, safe and sound.

As Jurassic Park shows us, a story can follow a three-act structure beat-for-beat and never feel boring or unoriginal.

UP NEXT

Dan Harmon's Story Circle

Professional screenwriter and creator of shows like "Community" and "Rick and Morty," Dan Harmon, gives his two cents on how to build a story from the ground up, instead of breaking down what already exists. It still follows a familiar structure but it's another exciting way to approach breaking and developing story.

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VIDEO: The Three Act Structure Explained in Jurassic Park

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midpoint - 02:15
climax - 12:08

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Juul en Rosalie

0-2.20: there is an introduction of her and the dog.
From that point on the call for action starts and at 2.26 climax 1 appears.
Here is where act 2 begins.
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Disaster strikes if the bone/drop almost falls off the cliff.
There is a crisis when the dog grabs it and it is hurt during the process but the bone is saved. The girl is still running so the crisis is still going.
4.51: Then the next climax is when she grabs the drop, puts it on the stick and then holds it up, hoping it will save them from the big foot coming down on them.
From this point on act 3 starts and the descending starts to take place. Everything goes back to the ordinary.

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Spring (Blender Short Animation) - Rescored Soundtrack

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The Walking Dead: Episode 1 Launch Trailer

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True Damage - GIANTS (ft. Becky G, Keke Palmer, SOYEON, DUCKWRTH, Thutmose) | League of Legends

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The Animation of Guilty Gear Xrd & Dragon Ball FighterZ

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Credits

Designed & Directed by David OReilly
Written by David OReilly & Vernon Chatman
Produced by David OReilly & Henning Kamm
Sound design & music by Bram Meindersma
Animation by Tobias Von Burkersroda, Jim Levasseur & Max Stöhr
Character Rigs by Amy Hay
Voices by Julian Barratt, Pearl Brilmyer, Adam Buxton, Christopher Kline, Stefanie Jones, Bram Meindersma, Hanayo Nakajima, Tenko Nakajima

Awards

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Designed & Directed by David OReillyWritten by David OReilly & Vernon ChatmanProduced by David OReilly & Henning KammSound design & music by Bram MeindersmaAnimation by Tobias Von Burkersroda, Jim Levasseur & Max Stöhr Character Rigs by Amy HayVoices by Julian Barratt, Pearl Brilmyer, Adam Buxton, Christopher Kline, Stefanie Jones, Bram Meindersma, Hanayo Nakajima, Tenko Nakajima

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https://www.davidoreilly.com/everything/

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A Universe of Things

Things are the basic unit of Everything, and the entirety of the game is designed to be playable. Levels can be characters and vice versa. The game's universe is designed to let you travel freely in any direction, and intuitively find things when and where you'd expect them to be. Continued exploration will lead you to unseen environments, containing new sights, sounds, things, thoughts and abilities.

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HORIZON Highlight: David OReilly Debuts MOUNTAIN

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His breakthrough as an independent animator