story-structure

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

1. Ordinary World - Hero's normal life
2. Call to Adventure - Problem or challenge appears
3. Refusal of the Call - Hero hesitates
4. Meeting the Mentor - Guidance received
5. Crossing the Threshold - Hero commits to journey

Act Two: Initiation

6. Tests, Allies, Enemies - Hero is tested
7. Approach to Inmost Cave - Preparation for ordeal
8. Ordeal - Major crisis, death/rebirth
9. Reward - Hero gains something

Act Three: Return

10. The Road Back - Return journey begins
11. Resurrection - Final test, transformation complete
12. 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 |
|-----|-------|--------|----------|
| One | X-X | 1-25 | [+/-] |
| Two | X-X | 25-85 | [+/-] |
| Three | X-X | 85-110 | [+/-] |

### Beat Placement
| Beat | Target Page | Actual Page | Status |
|------|-------------|-------------|--------|
| 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):

1. Plot: The arrangement of events or incidents
2. Characters: Provide motivation, plot, and conflict
3. Language: Dialogue (both dramatic and narrative)
4. Themes: Thought and ideas behind the story
5. Rhythm: Music/mood (the emotional pacing)
6. 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