Lesson #1: Why Use the 3-Act Story

Structure?

Behind every good story is structure

Pick any book from your bookshelf, and I can guarantee that its narrative
structure is well-plotted. So why, then, do so many writers shy away from
using story structure when planning? 

The idea that structure is too rigid or predictable is pervasive, but it’s also a
misconception. Story structure is simply a blueprint, not the story itself. It
maps the major beats or moments of conflict that give a story shape, but still
maintains the flexibility needed for unique storytelling.

The 3-Act Story Structure is perhaps the most widely used and beloved
structure. During this course, I’ll break it down with you, step-by-step.

An overview of the 3-Act Story Structure

The 3-Act Story Structure consists of three acts — or sections — with
transitions between each act serving as the story’s major turning points. 

Act One of the 3-Act Story Structure contains three major beats: 
 1. The Hook, which captivates readers by introducing the protagonist and
teasing the story’s conflict;
2.The Inciting Incident, which serves as the protagonist’s first call to
adventure;
3.The First Plot Point, which launches the protagonist into the heart of
the story.

Act Two is when the story starts to escalate:

1. The Pre-Midpoint Rising Action, in which the protagonist

cautiously sets out to achieve their goal while shying away from conflict
with the story’s antagonist;
2.The Midpoint, a major conflict between the protagonist and
antagonist that highlights the story’s stakes and irrevocably changes
the protagonist’s viewpoint;
3.The Post-Midpoint Rising Action, in which the protagonist no
longer hesitates to confront the antagonist while fighting to achieve
their goal.

And finally, Act Three rounds out the story with three more key story beats:

1. The Dark Night of The Soul, in which the protagonist suffers an

unexpected loss that forces them into a make-or-break situation;
2.The Climactic Sequence, which serves as the final conflict between
the protagonist and antagonist;
3.The Resolution, in which all or most of the story’s loose ends are
resolved.

This story structure is popular with many writers and can be clearly seen in
the recommended reads below, which we’ll use as examples throughout our
course.

Preparing to structure
Are you ready to dive deep into the wonderful world of story structure? Over
the next nine days, we’ll dive further into each of the major acts and story
beats above. By the end of this course, you’ll know how to use them to plot out
your own story. 
So my homework for you today is to choose a story idea you’d like to plot.
Since the information in this course is actionable and easy to implement, you
can action it on your story idea as you follow along. 

Lesson #2: Kicking Off the First Act — The

Hook

Introducing the first act

Welcome back, writer. Shall we dive in?

In yesterday’s lesson, we learned that Act One of the 3-Act Story Structure

contains three major story beats — the Hook, the Inciting Incident, and the
First Plot Point. This makes up the first 15% to 25% of a novel. 

Now, the main purpose of Act One is to introduce the story’s protagonist in
their everyday environment, showcasing their dissatisfaction with life and
coaxing them into the heart of the story’s conflict.

Today, we’re going to break down the first beat in Act One: The Hook.

Nailing your novel’s hook

The Hook is the first scene or sequence in your novel, designed specifically to
captivate readers. To be effective, a hook must do three things:
 1. Introduce the protagonist.
2.Establish the protagonist's everyday life.
3.Show the protagonist dealing with an everyday conflict.

These keys give readers a strong understanding of not only who your
protagonist is, but what they're like — their personality as well as the flaws,
strengths, and fears that make them unique. 

Introducing an everyday conflict that showcases your protagonist’s

dissatisfaction with life can also kickstart your story’s forward momentum.
You’re showing readers that your protagonist's life cannot go on as is.
Something needs to break — and it’s going to break soon.

See The Hook in action

Curious to see how The Hook plays out in popular stories? Check out these
examples (spoilers ahead!):

In The Hunger Games by Suzanne Collins, Katniss is introduced as a

responsible, determined teenager who hunts illegally to feed her family, which
suffers under the rule of the Capitol.

In Pride and Prejudice by Jane Austen, readers meet Elizabeth, one of five
daughters facing financial insecurity should they remain unmarried upon their
father’s death.

And in The Fault in Our Stars by John Green, Hazel is introduced as a

teenaged cancer patient battling depression and her mother’s insistence that
she attend a cancer support group.

Crafting your protagonist

As you can probably guess, a successful Hook cannot exist without a well-
developed protagonist. If you’ve yet to craft your story’s protagonist, I’ve listed
a few helpful resources below. Once you’ve better defined your story’s main
character, you can return to today’s lesson and brainstorm the conflict that
will hook readers into your story.

Have your story’s Hook mapped out? Fantastic! Join us tomorrow to break
down Act One’s second story beat: the Inciting Incident.
Lesson #3: The Taste of Adventure — Defining
Your Story's Inciting Incident

Ready to jump back into the 3-Act Story Structure? With The Hook in place,
it’s time to turn our eyes toward Act One’s second major beat: the Inciting
Incident.

The Inciting Incident is an event that sets the story in motion. Something in
your protagonist’s world changes, providing them with an opportunity to
assuage their dissatisfaction — or presenting them with new dangers they
must overcome.

This moment typically takes place between The Hook and the First Plot Point
(which we'll discuss in-depth in tomorrow’s lesson).

 A few notes about the Inciting Incident

Keep in mind that there can be several expositional scenes between a story’s
Hook and Inciting Incident. That said, it’s the Inciting Incident that will first
give readers a hint of the adventure to come.

It’s also important to note that many protagonists won’t immediately seize the
opportunity presented in the story’s Inciting Incident! The proposed journey
would push the protagonist outside their comfort zone, and so they hesitate to
act because of a core fear or flaw. 

See the Inciting Incident in action

Curious to see what the Inciting Incident is in our popular stories? Spoilers
ahead!

In The Hunger Games, Katniss’ beloved younger sister, Prim, is randomly

chosen to participate in a televised fight to the death.

In Pride and Prejudice, Elizabeth meets Mr. Darcy at the Netherfield ball and
immediately takes a disliking to him, despite the financial security his hand in
marriage could provide her family.
In The Fault in Our Stars, Hazel meets Augustus at a cancer support group,
and the two begin to forge a friendship.

Crafting the Inciting Incident

To craft the Inciting Incident for your story, consider the following questions:

1. How is my protagonist dissatisfied with their life?

2.What would it take for my protagonist to find satisfaction?
3.What are my protagonist’s biggest fears and character flaws?
4.How would the actions that my protagonist needs to take to find
satisfaction force them to confront their fears and/or flaws?

After mapping out the aforementioned questions and defining your story’s
Inciting Incident, it’s finally time to draw your protagonist into the heart of
your story. But more on that in tomorrow’s lesson on the First Plot Point. 

Lesson #4: Wrapping Up Act One — Using the 1st

Plot Point as a Springboard

We’ve defined The Hook and the Inciting Incident. Now, at last, we’ve come to the final
major beat in the first act of the 3-Act Story Structure: the First Plot Point.

This is the moment of no return. Typically arriving between the 15% - 25% mark of a
story, the First Plot Point not only represents the first turning point in your story, but
also the moment the protagonist chooses to engage with the action of the story.

Breaking down the First Plot Point

Between the Inciting Incident and the First Plot Point, you may find that you need to
write one or more scenes to continue to expand upon your protagonist’s world and inner
conflict. After all, our readers must first care about our protagonist if they’re to want to
join in on the journey. 

In some cases, however, the Inciting Incident and the First Plot Point may actually be
the same event. This typically occurs when a character is thrust into engaging with the
story, whether by force or extreme stakes, rather than hesitating and later choosing to
do so. (See: the example of Hunger Games below.)

Nevertheless, if your protagonist initially resisted the call to adventure during the
Inciting Incident, they will now answer that call as a result of raised stakes. No longer
can they afford the consequences of inaction: they must engage with the events that
have been set in motion or risk far greater consequences.

See the First Plot Point in action

Ready to see how the First Plot Point plays out? Let's return to the examples we've used
before.

In The Hunger Games, Katniss volunteers to take her sister’s place in the Games — thus
pulling her into the heart of the story.

In Pride and Prejudice, Darcy encourages Bingley to break off his relationship with
Elizabeth’s sister Jane. This cements Elizabeth’s hatred for Darcy, despite the man’s
growing affection.

In The Fault in Our Stars, Augustus shocks Hazel by revealing he has arranged a
meeting with her favorite author, whose book has an ambiguous ending that’s haunted
Hazel for years.

The end of Act One

With the First Plot Point effectively functioning as a point of no return, the protagonist
has finally begun to engage with the story set in motion. And so Act One of the 3-Act
Story Structure comes to a close.

What's next? What trials and tribulations await our protagonists in Act Two? Keep an
eye out for tomorrow’s lesson to find out.

Lesson #5: Opposition in Act Two — The

Reactionary Hero

An introduction to Act Two

Act One is complete, and now it’s time to dive into the heart of your story: Act
Two.

Act Two makes up the bulk of the 3-Act Story Structure. It begins where Act
One left off and ends anywhere between the 75% - 90% mark of the story.
Typically, Act Two is broken into two sections: before and after the story’s
midpoint. Today, we’re going to break down the first section, the Pre-Midpoint
Rising Action, which runs roughly up to the 50% mark of your story.

Hello, opposition!
If Act One was all about introduction, Act Two is about opposition. As your
protagonist chases down their story goal (whatever they believe will bring
them satisfaction), they’ll encounter resistance in the form of an antagonist or
antagonistic force.

If you’ve yet to define these elements, I’ve included a few resources at the end
of this email that you may find helpful.

It goes without saying that your protagonist will face many trials and
tribulations during the Pre-Midpoint Rising Action. These may include
physical roadblocks, opposition from the antagonist, tension among friends,
and/or inner conflict. Whichever the case, this beat is often the one in which
the opposition forces grow. 

Hello, reactionary hero!

During the Pre-Midpoint Rising Action, the protagonist is largely reactionary.
Their journey is new and overwhelming, and their core flaw or fear still weighs
heavily upon them. 

Remember what we said earlier about the opposition? Well, because the
protagonist is still reactionary, they typically won’t take direct action against
that antagonist or antagonistic force. They’ll instead focus all their energy on
merely surviving conflicts, so that they can get back to chasing down their
story goal.

Examples from literature

Want to see the Pre-Midpoint Rising Action in...well, action? Let's follow our
trusty heroes and heroines back into the fray.

In The Hunger Games, Katniss trains to survive the Games. After the Games
start, she gathers supplies and runs for her life. Thereupon, she faces many
physical dangers before being discovered and hunted by a fearsome group of
Tributes.
In Pride and Prejudice, Elizabeth refuses a marriage proposal from Mr.
Collins and grows complacent after Mr. Wickham, a beloved new
acquaintance, leaves town with his regiment. She then decides to visit her
friend Charlotte — and unexpectedly runs into Mr. Darcy.

In The Fault in Our Stars, Augustus reveals that he worked with a cancer
charity to fund Hazel’s trip to Amsterdam and a visit to the ICU nearly
prevents Hazel from going on the trip. But she is at last deemed well enough to
travel, and her overseas journey begins.

Lesson #6: Changing the Game — Exploring

Your Story's Midpoint

The world turned upside down

Welcome back to Act Two, writer!

Let’s recap what we’ve learned so far. In the first half of your story, your
protagonist has faced many trials and tribulations. They've been called to
adventure through the Inciting Incident, and the First Plot Point launched
them straight into the heart of the story.

Then the Pre-Midpoint Rising Action saw our protagonist cautiously moving
forward — though they still might not yet understand the consequences of
their reactionary state. Fortunately, a game-changing conflict between
protagonist and antagonist is on the way... 

Introducing the Midpoint of Act Two

As the name suggests, the Midpoint takes place at roughly the 50% mark of a
story. It represents the biggest conflict yet between the protagonist and
antagonist (or antagonistic force).

During this conflict, the protagonist comes to realize the true dangers of the
antagonist’s actions or intent. The protagonist can no longer (or will no
longer) ignore the threat the antagonist presents: from here on out, they have
to do everything they can to face the conflict head-on.
Thus, your protagonist pivots from reactionary to proactive: paving the way
for the second half of Act Two. But for now, let's take a look at the Midpoint of
some famous books. 

See the Midpoint in action

Want to see this game-changing story beat in action? Let's see what our
protagonists do when they reach the midpoints of their stories:

In The Hunger Games, Katniss — having been hunted and trapped by her
fellow Tributes — has to take violent action to escape their clutches. This is the
event that convinces her to stop running and start fighting to win the Games.

In Pride and Prejudice, the conflict between Elizabeth and Darcy comes to a

head when Darcy confesses his love and proposes marriage. An argument
ensues when Elizabeth refuses. Later that night, Darcy gives Elizabeth a letter
that challenges everything she believes about him.

In The Fault in Our Stars, Hazel and Gus arrive in Amsterdam, only to
discover that her favorite author is a miserable drunk who refuses to answer
Hazel's questions. Hazel, distressed and angry, decides to live for what
happiness she can get and finally admits her love for Gus.

Nailing your story’s Midpoint

As you can see, an effective Midpoint hinges on two key elements:

1. The conflict between the protagonist and antagonist, and...

2.The potential consequences — a.k.a. the stakes — should the antagonist
achieve their goal.

So if you need more help defining these two elements for your story, you can
check out the helpful resources below.

Things have escalated! Now, with your protagonist shifting from a reactionary
to a proactive state, what will the remainder of your story look like? Join us for
tomorrow’s breakdown of the Post-Midpoint Rising Action.
Lesson #7: On the Offensive — The Rise of an
Act Two Action Hero

Wrapping up Act Two

Welcome back to our discussion on the 3-Act Story Structure, writer.

Today, we’re closing out Act Two by discussing the Post-Midpoint Rising
Action, which begins after the Midpoint and wraps up anywhere between the
75% - 90% mark of your story. 

Remember, after the events of the Midpoint, the protagonist shifts

from reacting to conflict to actively pursuing it. They do this because they
know that directly opposing the antagonist (or antagonistic force) is the only
way to protect themselves and/or others.

An internal shift
During the Post-Midpoint Rising Action, the protagonist no longer waits to
confront the antagonist. This may precipitate the action around this
point. Several plot points — or significant events — will occur between your
story’s Midpoint and the end of Act Two. They will churn readers ever faster
toward your story’s climax as your protagonist make strides toward both
achieving their goal and overcoming the antagonist.

Typically, these strides will bolster your protagonist’s confidence and resolve,
continuing to strengthen the shift in mindset that they experienced during
your story’s Midpoint. However, despite all this progress, a devastating loss
looms just over the horizon. It's one that will threaten to derail your
protagonist’s entire journey…

But more on that tomorrow! For now, let's turn to some examples.

Examples of the Post-Midpoint Rising Action

Alright, you know the drill. Ready for a few examples of the Post-Midpoint
Rising Action? Spoilers ahead!

In The Hunger Games, Katniss works to destroy the Tribute’s supply cache
and kills a Tribute in an effort to protect Rue. She later tracks down Peeta,
fights another Tribute for medicine that will heal his injured leg, and makes
sacrifices to keep them both alive.

In Pride and Prejudice, Elizabeth must challenge her opinion of Mr. Darcy
after reading his letter and learning more about his true nature upon visiting
his home. Meanwhile, Darcy makes a concerted effort to right his wrongs by
helping Elizabeth’s family weather her sister’s scandalous marriage.

In The Fault in Our Stars, Hazel and Gus begin dating in Amsterdam before
he finally confesses that his cancer has returned. Gus’s condition worsens
significantly after they return to America. Hazel reclaims her love for her
favorite book by using one of its quotes to show Gus that, no matter what
happens, she doesn’t regret their time together.

What’s next?
Despite their growing confidence and strength of character, your protagonist
has yet to address one key element: their core flaw or fear. 

Well, guess what? That flaw or fear is soon to rear its ugly head in the Dark
Night of The Soul: a powerful turning point that we’ll discuss in tomorrow’s
foray into Act Three of the 3-Act Story Structure.

Lesson #8: Starting Act Three on a Low — The

Dark Night of the Soul

An introduction to Act Three

Welcome to the third and final act of the 3-Act Story Structure!
Act Three picks up where Act Two leaves off, and it flows through to the very
last page of your book. If Act One was the introduction and Act Two was about
the opposition, Act Three is all about resolution.

But rather than kicking off Act Three by tying up loose ends, we’re going to stir
things up. Why? Because your protagonist has yet to address their core flaw or
fear — and it’s about to come back to bite them.
This is the beat in which your antagonist comes roaring in. After recognizing
the protagonist’s growing strength, your antagonist rallies to deliver a
shocking blow moments before the climax, blindsiding your protagonist.

This blow forces your protagonist to face their core flaw or fear — or give up
everything they've worked so hard to achieve.

The power of the Dark Night

Though the Dark Night of the Soul is often short in length, this key turning
point is immensely powerful. 

It’s this event that will reiterate your antagonist's power, reinforce or upgrade
your story’s stakes, and establish your protagonist's full development as the
story's hero.

Examples from literature
Not convinced? Check out these powerful examples from literature (spoilers
ahead, as always!):

In The Hunger Games, Katniss realizes that the mutated hounds chasing her
bear striking resemblances to deceased Tributes, including those she killed,
dredging up trauma Katniss suppressed to survive.

In Pride and Prejudice, Elizabeth is forced to confront her feelings for Mr.
Darcy when his haughty aunt arrives, demanding Elizabeth state she will
never accept a marriage proposal from her nephew.

In The Fault in Our Stars, Hazel must confront the inevitability of death —
which she has repressed throughout her battle with cancer — when Augustus
dies.

It’s always darkest before dawn

Fortunately for your protagonist, the Dark Night of the Soul — while proving
to be a make-or-break moment — is unlikely to be the end of their journey. 

All that newfound strength and confidence will help your protagonist finally
address the core flaw or fear that has plagued them for so long. From the
ashes, they will rise — stronger than ever — to leap headfirst into the Climactic
Sequence of your story.
Lesson #9: The Final Showdown — Nailing
Your Story's Climactic Sequence
What is the Climactic Sequence?
Now that your protagonist has risen from the ashes of the Dark Night of the
Soul, it’s time for the Climactic Sequence — the final conflict between your
protagonist and antagonist — to begin.

The stakes are higher than ever, and your protagonist’s odds of success are
slim. Still, that won’t stop them from doing everything they can to overcome
the antagonist and achieve their story goal.

The purpose of a strong Climactic Sequence

The Climactic Sequence will spell an end to the conflict between your
protagonist and antagonist, but contrary to popular belief, the Climactic
Sequence isn’t all about external action. It also solidifies the theme of your
story. How so? 

Theme is intricately tied to the protagonist’s core flaw or fear — and their
journey to overcome it. Though the Dark Night of the Soul is the moment that
will solidify your protagonist’s transformation, it’s the Climactic Sequence that
will showcase just how important that transformation is to protagonist’s
future.

Unsure of how to weave theme into your story’s Climactic Sequence? Check
out the excellent resources in the recommended reads below.

The Climactic Sequence in action

Let’s see how the Climactic Sequence plays out in literature. Spoilers ahead
again:

In The Hunger Games, Katniss saves Peeta from Cato, the final tribute whom
she later kills as an act of mercy when he is mauled by mutts. When the
Gamemakers try to force Katniss and Peeta to fight to the death, they move to
commit suicide instead, maintaining their integrity despite the Capitol’s
demands.

In Pride and Prejudice, Elizabeth’s conversation with Darcy’s aunt rekindles

Darcy’s hope in her affections. He invites Elizabeth on a walk, where they both
confess their wrongdoings—and their love. Darcy proposes, and Elizabeth
accepts.

In The Fault in Our Stars, the author of Hazel’s favorite book confesses that
his main character was based on his daughter, who died of cancer. Hazel
realizes that the author no more has the answers to life’s ambiguous ending
than she does, forgives him for his actions in Amsterdam, and encourages him
to begin writing again.