So, you have a great premise, figured out your central story and done your research. Now what? The next stage is to think about your story structure. Our Writing the Fact-Based Film 101 series gives you a quick intro to screenplay structure and suggests a few resources for digging deeper into this fundamental skill.
Why is structure important?
Basically, it is the framework which allows the writer and reader to navigate the story. As an audience, we have an inherent understanding of how a screen story unfolds: the act breaks, ebbs and flows, and the build-up to the climax and ending. This is screenplay structure at work.
For all writers, it makes the process of drafting a script easier, breaking down the narrative and providing a roadmap for telling your story. For writers of the fact-based film, structure is especially important, as it is the place where all the research and the historical facts are shaped into a screen narrative.
Three-act structure
While it has been criticised for its rigidity, the three-act structure is still the go-to method taught in screenwriting classes, as it remains the industry standard. If you plan to try and sell your work, mastering this structure is an important way to show you can “play by the rules”. For new writers, it is a simple way to tackle a screen story. This is because is essentially boils down to the main elements of (Western) storytelling: Beginning, Middle, End.
In the world of screenwriting, this breaks down to:
- Act One: Set-up
- Act Two: Conflict
- Act Three: Resolution
One of the criticisms of three-act structure is the “page numbers” requirement. This means that, as often taught, certain things have to happen on set pages of the script. However, this is really just a guide as to when the story needs to move on to its next stage to avoid getting bogged down. For example, in a 120-page script (equating to a two-hour film):
Act One (Pages 1-30)
In the first 10 pages, we meet the protagonist and learn about their “world”. At around page 10, there’s an Inciting Incident, which is something that happens to shake the protagonist’s normal life. Towards the end of Act One (around page 25), there is a Turning Point, which sets the protagonist on their “journey”, i.e. what the story is about.
Act Two (Pages 30-90)
In this section, the protagonist faces ever-greater challenges as they struggle to get what they want. Along the way, they experience minor victories, setbacks and unexpected complications. This is the place where sublots develop (and, often, conclude). It is also where the character begins to arc (i.e. undergo change).
Towards the end of Act Two, the protagonist hits their rock bottom in the context of the story. This is often referred to as the “All is Lost” moment, as it feels as though the protagonist will not succeed and they may even come close to giving up. This creates another Turning Point, which propels the story into Act Three, in which the protagonist goes after what they want with renewed vigour.
Act Three (Pages 90-120)
This section is all about building to the Climax and Resolution, which includes the protagonist facing a Final Test, which is their biggest yet. In an action movie or thriller, this might be a literal showdown with the antagonist or monster. In other types of film, it may be a comeback musical performance, a big race or boxing match, or the point at which they confront their biggest fear.
Whatever form it takes, the test shows us the protagonist rising to the challenge and getting what they want (or not). It also shows us how they have been changed by their journey. The ending should be satisfying, rounding off the story in a way that feels authentic and organic. Often (but not always), there is a short Denouement, which shows the protagonist in their “new normal”.
Four-act structure
As we’ve seen, under three-act structure, Act Two extends from page 30 to page 90. This lengthy section of the screenplay can present significant challenges for writers. Pitfalls include: keeping the momentum of the story going, maintaining audience interest, escalating the conflict, and juggling the plot and subplot, etc.
One way to make writing this section easier is to break it into two, separated by a Midpoint (at around page 60). This offers the opportunity to put in another Turning Point, raising the stakes. Just be sure that this does not overshadow the big Turning Point at the end of Act Two.
For an example of this at work in the fact-based film, see our narrative breakdown of Moneyball (2011). You might also like to read our article on the use of the Midpoint in The King’s Speech (2010).
Go further
There is lot to learn about screenplay structure beyond the simplified three-act structure. Even though most alternatives are basically three-act structure with some fancy stuff added on, it is a good idea to explore what screenplay experts have to say on the subject. A few fundamental resources to check out include:
Screenplay: The Foundations of Screenwriting by Syd Field (Delta, revised edition, 2005): The essential book on three-act structure.
Save The Cat! The Last Book on Screenwriting You’ll Ever Need by Blake Snyder (Michael Wiese Productions, 2005): A clever and offbeat method for analysing and writing movies. There are lots of related titles, including Save the Cat! Goes to the Movies (same author)
Cut to the Chase edited by Linda Venis (Avery, 2013): A useful and easy-to-understand book used in the UCLA Extension Feature Film programme.
The Writer’s Journey: Mythic Structure for Writers by Christopher Vogler and Michele Montez (Michael Wiese Productions, 3rd edition, 2007): Harnesses the fundamentals of mythical storytelling in a screenwriting context.
The Anatomy of Story: 22 Steps to Becoming a Master Storyteller by John Truby (Farrar, Straus and Giroux, 2008): A deeper look at the fundamentals of storytelling, with a seven-step structure.
See more in our resources list.