TGV3M 3-Act Plot Structure Elements

Almost all movie scripts can be broken down into a 3-Act Structure. In fact, most things in life can be broken
down into the structure of a Beginning, Middle, and End. Each Act consists of Key Points that advance the
plot forward. Listed below are definitions of each Act and the Key Points within them.
ACT ONE 25% The Setup

poa

ACT 2 50% Confrontation

tp #1

midpoint

ACT 3 25% Resolution

crisis

tp #2

climax

ACT 1 The Setup Consists of the first 25% of the script

The Introduction of who the main characters are particularly the Protagonist as well as establishing the
Underlying Question of the Script. Specific Elements include:
1. POA (Point of Attack) The POA should occur within the first 5-10 minutes and it establishes the reason
why the audience is watching the movie. It sets up an Underlying Question in the minds of the viewers that
will be answered by the CLIMAX with a simple Yes or No.
ACT 2 Confrontation Consists of the next 50% of the script
The Body, to throw as many conflicts and obstacles in the Protagonists way to raise the stakes, heighten the
tension, and provide complications in order to keep the audience engaged. Specific Elements include:
1. Turning Point #1 The first TP is something that happens to the Protagonist that changes their Visible
Motivation 180 degrees. It is never the Protagonist thinking about something it is an event that happens
to them. It usually happens about a quarter of the way in and officially launches the story into ACT 2.
2. Midpoint This is the halfway point in the script both literally and figuratively. The Midpoint is also known
as the Point of No Return because the Protagonist usually comes to a fork in the road and must choose
one path over another. Once that path is chosen, they cannot backtrack.
3. Crisis Near the end of ACT 2 is a Heaven or Hell situation. That is, it is either the best thing (Heaven)
that could happen to the Protagonist or the worst thing (Hell) that could happen to them with regards to
their overall objective (as defined by the Underlying Question). The Crisis is usually inversely related to the
Climax and Heaven and Hell can also be defined Positive and Negative respectively. Therefore, if the
Crisis is Negative, the Climax (and answer to the Underlying Question) is Positive. And vice versa.
ACT 3 Resolution Consists of the last 25% of the script
The Conclusion to resolve all problems either positively or negatively so long as they are resolved, which
answers the Underlying Question of the script that was set-up in the beginning. Specific Elements include:
1. Turning Point #2 The second TP is another event that happens to the Protagonist that changes their
Visible Motivation another 180 degrees. It also usually gets them out of their Crisis by either solving the
dilemma or buying them some time.

2. Climax The moment in the script that answers definitively Yes or No the Underlying Question setup by
the POA in ACT 1.
3. Conclusion The Conclusion is usually the RESULT of the Climax. A good Conclusion usually points to
a new Story.

3-Act Design A Case Study: ROMEO AND JULIET

Romeo and Juliet is complicated in that Juliet acts almost as a dual Protagonist. However, we can explore the
essential plot points through Romeo.
ACT 1:
Protagonist We can identify Romeo as the Protagonist since a lot of the story will unfold through the actions
that he takes.
POA When we are introduced to Romeo he is lamenting the fact that the lady he is in love with (Rosaline)
will have nothing to do with him. He is your typical young romantic. The Underlying Question that is setup
is: Will Romeo find true love?
Visible Motivation What Romeo wants is to wallow in grief. Benvolio, his friend and cousin, wishes him to
forget the girl but Romeo insists he cant. While on their way to a masquerade ball at the Capulets, Romeo
says he will go but not participate, continuing to wallow in self-pity.
ACT 2:
TP#1 When Romeo sees Juliet (and vice versa). From the moment he sees her, it is love at first sight. Note
it is not Romeo thinking about something TP#1 is the act of meeting Juliet. Romeos visible motivation
changes from wallowing in self-pity to wanting Juliet.
Midpoint When the Friar marries Romeo and Juliet at the end of Shakespeares Act II. This is the Point of
No Return because they have been united in holy matrimony and what God hath joined, let no man put
asunder. Romeo has committed himself totally to Juliet.
Crisis When Romeo kills Tybalt. This is the Hell (Negative) situation for Romeo on two counts: Firstly,
Tybalt is Juliets cousin and at this point in the story, Romeo and Juliet are married, so by extension Tybalt is
Romeos cousin. Secondly, according to the laws of Verona, Romeo himself will receive the death sentence for
killing Tybalt. It must be noted that the first point makes it more poignant because Romeo may lose Juliets
love and this would lead to a Negative answer to the Underlying Question.
ACT 3:
TP#2 Instead of receiving the death sentence, Romeo only receives banishment. This changes his Visible
Motivation to wanting to return to Juliets side.
Climax I would argue that the Climax is not Romeo killing himself but Juliet killing herself. Through the
story, the definition of true love that is presented is a love worth dying for. However, a further extension of
that definition is not what you are willing to do, but what the other person is willing to do for you. If Juliet
woke up and did not kill herself, it would not be true love. It is her giving of herself that is the final climactic moment. Thus, the answer to the Underlying Question Will Romeo find true love? or even Is it true
love? is Yes (Positive Answer).
Conclusion The hatred between the two families is finally put to rest.

3-Act Design A Case Study: SAVING PRIVATE RYAN

Saving Private Ryan has a bit of a problem because the first 20 or 30 minutes is superfluous. The only purpose
that the storming of Normandy sequence serves is for shock value. Its minimal link to the story is that it
shows Millers Visible Motivation to fight for his country, or at least that he wants to help win the war.
ACT 1:
Protagonist Captain John H. Miller (Tom Hanks)
POA Captain Miller receives a direct order to find Private James Francis Ryan (Matt Damon) to relieve
Ryan of his duty in the army so that Ryan can go home. The Underlying Question becomes, Will Captain
Miller save Private Ryan?
Visible Motivation Captain Miller carries out his orders but still views himself as a soldier first and foremost.
He wants many thingsone of which is to go home himself. Millers opening Visible Motivation is more of
what Miller doesnt want than what he wants. He doesnt want to go find Ryan and he doesnt care about
Ryan, but he carries out his mission regardless because he is a soldier and soldiers dont gripe.
ACT 2:
TP#1 Miller mistakenly finds the wrong Ryan and one of his men is killed doing so.
Now that the stakes have been risen by the loss of one of his men, Millers Visible Motivation turns from
wanting to simply carry out his orders to focusing entirely on finding Ryan. The loss of his soldier hardens
his resolve and all that he wants to do is complete his missionhe still doesnt care about saving Ryan.
Miller meets a friend of Ryans at an Allied rally point and learns that Ryan was taken to a neighboring town to
hold a bridge. This is called a PINCH. A PINCH foreshadows the Midpoint.
Midpoint Miller finds the real Ryan.
Crisis Ryan refuses to leave. This leads to a Negative answer to the Underlying Question since Ryans life
continues to be in jeopardy the longer he is in combat.
ACT 3:
TP#2 After being unable to convince Ryan to leave battle, Miller takes command to establish a defensive
line to hold a key bridge against the oncoming Germans. In a heart-to-heart talk with his friend Sergeant
Horvath (Tom Sizemore), Miller comes to the conclusion that if they can take one good thing away from the
war after its over it would be that they were responsible for getting Ryan safely back home to his mother.
Millers Visible Motivation changes from finding Ryan and not caring about him to wanting to protect Ryan
to ensure that he survives. Millers mission is over and at this point he could leave Ryan but he chooses to stay.
Miller now cares whether Ryan lives or dies and the significance of this is that Millers Visible Motivation now
directly relates back to answering the Underlying Question, Will Captain Miller save Private Ryan?
Climax In the final battle against the Germans, Miller ensures that Ryan stays by his side for protection.
Millers ultimate sacrifice of his life to ensure Ryans safety strengthens his Visible Motivation to the audience.
The answer to the Underlying Question, Will Captain Miller save Private Ryan? is Yes.
Conclusion Private Ryan returns home to his mother to live out his life.

Definitions
Protagonist The main character that leads the audience through the story, whose choices and actions are
responsible for driving the plot forward.
Visible Motivation (of the Protagonist) What the Protagonist wants, also defined as their objective to
achieve, clearly defined and recognizable to the audience through the Protagonists actions.
Protagonists Arc The rising and falling action of the Protagonists journey over the course of the three Acts.
Underlying Question Will _________ get _________? yes or no
Exposition The introductory material which gives the setting, creates the tone, presents the characters, and
presents other facts necessary to understanding the story.
Foreshadowing The use of hints or clues to suggest what will happen later in the story. Frequently, future
events are merely hinted at through dialogue, description, or the attitudes and reactions of the characters.
Foreshadowing frequently serves two purposes. It builds suspense by raising questions that engage the audience
to want to learn more about the event that is being foreshadowed. Foreshadowing is also a means of making a
narrative more believable by partially preparing the audience for events to follow.
Inciting Force The event or character that triggers the conflict.
Conflict The essence of storytelling. It creates plot. The conflicts we encounter can usually be identified as
one of four kinds: 1. Human versus Human: Conflict that pits one person against another. 2. Human versus
Nature. A run-in with the forces of nature expressing the insignificance of a single human life in the cosmic
scheme of things and testing the limits of a persons strength and will to live. 3. Human versus Society: The
values and customs by which everyone else lives are being challenged. The character may come to an untimely
end as a result of his or her own convictions. The character may, on the other hand, bring others around to a
sympathetic point of view, or it may be decided that society was right after all. 4. Human versus Self: Internal
conflict. Not all conflict involves other people. Sometimes people are their own worst enemies. An internal
conflict is a good test of a characters values. The internal conflicts of a character and how they are resolved are
good clues to the characters inner strength.
Rising Action A series of events that builds from the conflict. It begins with the inciting force and ends
with the climax.
Falling Action The events after the climax which close the story.
Resolution (Denouement) Rounds out and concludes the action.

The Golden Rule to Storytelling:

Character Intent (What they want)+ Conflict (Obstacles in their way hindering them achieving it) = Drama