It Will Get Better

Outline
Act 1 - Conflict
CONFLICT
The thing that yanks your protagonist out of his ordinary life. Yes, it’s that simple. The term “Inciting Incident”
is often used in screenwriting and movie production as well as novel writing, but we chose to call it “conflict”
because it’s more specific. This single event does not necessarily need to be tense, dramatic, or a life-or-death
situation—the nature of the inciting incident will depend on your genre. However, it does need to force the main
character into changing, which then “incites” the act. Without change precipitated by conflict, there is no story.
Example from Star Wars:
Act 1 Conflict: Luke buys the droids (R2-D2 and C-3PO) from the Jawa traders, even though he probably
shouldn’t. This simple decision kicks off the first act.
Fill these out for each scene:
In three sentences or less, explain what is happening in this scene.

What are you trying to say about life?

What does the protagonist want (external pursuits)?

What does the protagonist need (internal desires)?

What does the antagonist or force of antagonism want (external pursuits)?

What does the antagonist or force of antagonism need (internal desires)?

What’s wrong with the protagonist’s personal world? What is the disruption?

What single moment or circumstance pushes the protagonist out of the status quo? Tip: It must be “on the page,”
not something that occurred before the beginning of this scene.

What choice must the protagonist make in this scene? Tip: Label it as a Best Bad Choice or an Irreconcilable
Good and list all possible outcomes.

What event(s) occur as a result of the protagonist’s decision? Tip: Use the consequence of this scene to set up
the conflict of the next.

Act 1 - Choice
CHOICE
In every act, your protagonist must face a choice. There must be a choice. The choice is a difficult decision the
protagonist must face, born from a challenging question with equally wonderful or horrific consequences. The
best choice leaves the reader (1) arguing with himself over which option is best for the character and (2) unable
to put the book down, insistent on finding out what the character decides.
Example from Star Wars:
Act 1 Choice: Does Luke accept Kenobi’s invitation to train as a Jedi so he can honor his father and join the
rebellion or does Luke, being obedient and dutiful, deny the invitation and go back to his uncle’s farm?
Fill these out for each scene:
In three sentences or less, explain what is happening in this scene.

What are you trying to say about life?

What does the protagonist want (external pursuits)?

What does the protagonist need (internal desires)?

What does the antagonist or force of antagonism want (external pursuits)?

What does the antagonist or force of antagonism need (internal desires)?

What’s wrong with the protagonist’s personal world? What is the disruption?

What single moment or circumstance pushes the protagonist out of the status quo? Tip: It must be “on the page,”
not something that occurred before the beginning of this scene.

What choice must the protagonist make in this scene? Tip: Label it as a Best Bad Choice or an Irreconcilable
Good and list all possible outcomes.

What event(s) occur as a result of the protagonist’s decision? Tip: Use the consequence of this scene to set up
the conflict of the next.

Act 1 - Consequence
CONSEQUENCE
High-stakes consequences arise when the choice facing the character is incredibly difficult. The more difficult
the choice, the more engaged the reader will be. The consequence is the answer to the choice as well as the
new circumstance resulting from it.
Example from Star Wars:
Act 1 Consequence: Luke turns down the invitation, taking what he believes is the more practical and logical
approach. At this point, he doesn’t believe that some random kid can have an impact in the world. He
begrudgingly accepts that perceived reality.
Fill these out for each scene:
In three sentences or less, explain what is happening in this scene.

What are you trying to say about life?

What does the protagonist want (external pursuits)?

What does the protagonist need (internal desires)?

What does the antagonist or force of antagonism want (external pursuits)?

What does the antagonist or force of antagonism need (internal desires)?

What’s wrong with the protagonist’s personal world? What is the disruption?

What single moment or circumstance pushes the protagonist out of the status quo? Tip: It must be “on the page,”
not something that occurred before the beginning of this scene.

What choice must the protagonist make in this scene? Tip: Label it as a Best Bad Choice or an Irreconcilable
Good and list all possible outcomes.

What event(s) occur as a result of the protagonist’s decision? Tip: Use the consequence of this scene to set up
the conflict of the next.

Act 2 - Conflict
CONFLICT
The thing that yanks your protagonist out of his ordinary life. Yes, it’s that simple. The term “Inciting Incident”
is often used in screenwriting and movie production as well as novel writing, but we chose to call it “conflict”
because it’s more specific. This single event does not necessarily need to be tense, dramatic, or a life-or-death
situation—the nature of the inciting incident will depend on your genre. However, it does need to force the main
character into changing, which then “incites” the act. Without change precipitated by conflict, there is no story.
Example from Star Wars:
Act 2 Conflict: Ben and Luke return to the farm where they discover that stormtroopers have killed Luke’s uncle
and aunt, and then burned the house and farm to the ground.
Fill these out for each scene:
In three sentences or less, explain what is happening in this scene.

What are you trying to say about life?

What does the protagonist want (external pursuits)?

What does the protagonist need (internal desires)?

What does the antagonist or force of antagonism want (external pursuits)?

What does the antagonist or force of antagonism need (internal desires)?

What’s wrong with the protagonist’s personal world? What is the disruption?
What single moment or circumstance pushes the protagonist out of the status quo? Tip: It must be “on the page,”
not something that occurred before the beginning of this scene.

What choice must the protagonist make in this scene? Tip: Label it as a Best Bad Choice or an Irreconcilable
Good and list all possible outcomes.

What event(s) occur as a result of the protagonist’s decision? Tip: Use the consequence of this scene to set up
the conflict of the next.

Obstacle 1
OBSTACLE
Each obstacle should get progressively more challenging for the protagonist, ultimately leading up to the Act 2
choice. While three major obstacles would be a minimum, there is no maximum for the number of obstacles for
the protagonist to overcome in the second act.
Example from Star Wars:
Act 2 Obstacle 1: Luke and his small band must board the Death Star to rescue Princess Leia. In the second act,
this complicates the situation for Luke and also marks a turn as he becomes openly rebellious.
Fill these out for each scene:
In three sentences or less, explain what is happening in this scene.

What are you trying to say about life?

What does the protagonist want (external pursuits)?

What does the protagonist need (internal desires)?

What does the antagonist or force of antagonism want (external pursuits)?

What does the antagonist or force of antagonism need (internal desires)?

What’s wrong with the protagonist’s personal world? What is the disruption?

What single moment or circumstance pushes the protagonist out of the status quo? Tip: It must be “on the page,”
not something that occurred before the beginning of this scene.

What choice must the protagonist make in this scene? Tip: Label it as a Best Bad Choice or an Irreconcilable
Good and list all possible outcomes.

What event(s) occur as a result of the protagonist’s decision? Tip: Use the consequence of this scene to set up
the conflict of the next.

Obstacle 2
OBSTACLE
Each obstacle should get progressively more challenging for the protagonist, ultimately leading up to the Act 2
choice. While three major obstacles would be a minimum, there is no maximum for the number of obstacles for
the protagonist to overcome in the second act.
Example from Star Wars:
Act 2 Obstacle 2: The Millennium Falcon is captured and they must hide in Han Solo’s smuggling
compartments.
Fill these out for each scene:
In three sentences or less, explain what is happening in this scene.

What are you trying to say about life?

What does the protagonist want (external pursuits)?

What does the protagonist need (internal desires)?

What does the antagonist or force of antagonism want (external pursuits)?

What does the antagonist or force of antagonism need (internal desires)?

What’s wrong with the protagonist’s personal world? What is the disruption?

What single moment or circumstance pushes the protagonist out of the status quo? Tip: It must be “on the page,”
not something that occurred before the beginning of this scene.

What choice must the protagonist make in this scene? Tip: Label it as a Best Bad Choice or an Irreconcilable
Good and list all possible outcomes.

What event(s) occur as a result of the protagonist’s decision? Tip: Use the consequence of this scene to set up
the conflict of the next.

Obstacle 3
OBSTACLE
Each obstacle should get progressively more challenging for the protagonist, ultimately leading up to the Act 2
choice. While three major obstacles would be a minimum, there is no maximum for the number of obstacles for
the protagonist to overcome in the second act.
Example from Star Wars:
Act 2 Obstacle 3: Luke, Leia, Chewbacca, and Solo become trapped in an infested garbage compactor that
threatens to crush them all.
*Note - Obstacles do not always have to occur within the second act. They are placed here to demonstrate the
conventional 25/50/25 length of the three-act structure.
Fill these out for each scene:
In three sentences or less, explain what is happening in this scene.

What are you trying to say about life?

What does the protagonist want (external pursuits)?

What does the protagonist need (internal desires)?

What does the antagonist or force of antagonism want (external pursuits)?

What does the antagonist or force of antagonism need (internal desires)?

What’s wrong with the protagonist’s personal world? What is the disruption?

What single moment or circumstance pushes the protagonist out of the status quo? Tip: It must be “on the page,”
not something that occurred before the beginning of this scene.

What choice must the protagonist make in this scene? Tip: Label it as a Best Bad Choice or an Irreconcilable
Good and list all possible outcomes.

What event(s) occur as a result of the protagonist’s decision? Tip: Use the consequence of this scene to set up
the conflict of the next.

Act 2 - Choice
CHOICE
In every act, your protagonist must face a choice. There must be a choice. The choice is a difficult decision the
protagonist must face, born from a challenging question with equally wonderful or horrific consequences. The
best choice leaves the reader (1) arguing with himself over which option is best for the character and (2) unable
to put the book down, insistent on finding out what the character decides.
Example from Star Wars:
Act 2 Choice: Does Luke interfere with the lightsaber duel between Obi-Wan Kenobi and Darth Vader, saving
his mentor but risking his life, or does he sacrifice Kenobi on behalf of the rebellion and get Princess Leia out of
harm’s way?
Fill these out for each scene:
In three sentences or less, explain what is happening in this scene.

What are you trying to say about life?

What does the protagonist want (external pursuits)?

What does the protagonist need (internal desires)?

What does the antagonist or force of antagonism want (external pursuits)?

What does the antagonist or force of antagonism need (internal desires)?

What’s wrong with the protagonist’s personal world? What is the disruption?
What single moment or circumstance pushes the protagonist out of the status quo? Tip: It must be “on the page,”
not something that occurred before the beginning of this scene.

What choice must the protagonist make in this scene? Tip: Label it as a Best Bad Choice or an Irreconcilable
Good and list all possible outcomes.

What event(s) occur as a result of the protagonist’s decision? Tip: Use the consequence of this scene to set up
the conflict of the next.

Act 2 - Consequence
CONSEQUENCE
High-stakes consequences arise when the choice facing the character is incredibly difficult. The more difficult
the choice, the more engaged the reader will be. The consequence is the answer to the choice as well as the
new circumstance resulting from it.
Example from Star Wars:
Act 2 Consequence: He decides to save the princess while watching Darth Vader strike down Kenobi.
Fill these out for each scene:
In three sentences or less, explain what is happening in this scene.

What are you trying to say about life?

What does the protagonist want (external pursuits)?

What does the protagonist need (internal desires)?

What does the antagonist or force of antagonism want (external pursuits)?

What does the antagonist or force of antagonism need (internal desires)?

What’s wrong with the protagonist’s personal world? What is the disruption?

What single moment or circumstance pushes the protagonist out of the status quo? Tip: It must be “on the page,”
not something that occurred before the beginning of this scene.

What choice must the protagonist make in this scene? Tip: Label it as a Best Bad Choice or an Irreconcilable
Good and list all possible outcomes.

What event(s) occur as a result of the protagonist’s decision? Tip: Use the consequence of this scene to set up
the conflict of the next.

Act 3 - Conflict
CONFLICT
The thing that yanks your protagonist out of his ordinary life. Yes, it’s that simple. The term “Inciting Incident”
is often used in screenwriting and movie production as well as novel writing, but we chose to call it “conflict”
because it’s more specific. This single event does not necessarily need to be tense, dramatic, or a life-or-death
situation—the nature of the inciting incident will depend on your genre. However, it does need to force the main
character into changing, which then “incites” the act. Without change precipitated by conflict, there is no story.
Example from Star Wars:
Act 3 Conflict: With Han Solo at the helm of the Millennium Falcon, Luke and the others escape the Death Star,
thanks to Kenobi’s sacrifice, as he had disabled the tractor beam that would have kept the ship in the dock.
Fill these out for each scene:
In three sentences or less, explain what is happening in this scene.

What are you trying to say about life?

What does the protagonist want (external pursuits)?

What does the protagonist need (internal desires)?

What does the antagonist or force of antagonism want (external pursuits)?

What does the antagonist or force of antagonism need (internal desires)?

What’s wrong with the protagonist’s personal world? What is the disruption?

What single moment or circumstance pushes the protagonist out of the status quo? Tip: It must be “on the page,”
not something that occurred before the beginning of this scene.

What choice must the protagonist make in this scene? Tip: Label it as a Best Bad Choice or an Irreconcilable
Good and list all possible outcomes.

What event(s) occur as a result of the protagonist’s decision? Tip: Use the consequence of this scene to set up
the conflict of the next.

Act 3 - Choice
CHOICE
In every act, your protagonist must face a choice. There must be a choice. The choice is a difficult decision the
protagonist must face, born from a challenging question with equally wonderful or horrific consequences. The
best choice leaves the reader (1) arguing with himself over which option is best for the character and (2) unable
to put the book down, insistent on finding out what the character decides.
Example from Star Wars:
Act 3 Choice: Does Luke rely on his computer to make the shot, but knowing he’s going too fast and a more
experienced pilot has already missed and Luke is the last chance, or does Luke turn off the computer and use the
Force that he hasn’t yet mastered and others look at cynically?
Fill these out for each scene:
In three sentences or less, explain what is happening in this scene.

What are you trying to say about life?

What does the protagonist want (external pursuits)?

What does the protagonist need (internal desires)?

What does the antagonist or force of antagonism want (external pursuits)?

What does the antagonist or force of antagonism need (internal desires)?

What’s wrong with the protagonist’s personal world? What is the disruption?

What single moment or circumstance pushes the protagonist out of the status quo? Tip: It must be “on the page,”
not something that occurred before the beginning of this scene.

What choice must the protagonist make in this scene? Tip: Label it as a Best Bad Choice or an Irreconcilable
Good and list all possible outcomes.

What event(s) occur as a result of the protagonist’s decision? Tip: Use the consequence of this scene to set up
the conflict of the next.

Act 3 - Consequence
CONSEQUENCE
High-stakes consequences arise when the choice facing the character is incredibly difficult. The more difficult
the choice, the more engaged the reader will be. The consequence is the answer to the choice as well as the
new circumstance resulting from it.
Example from Star Wars:
Act 3 Consequence: Luke turns off his computer-aided navigation system to use the Force to take the shot at the
Death Star’s single vulnerability, successfully blowing it up and saving the day. The “happy ending” occurs
when Luke discovers his “new normal.” He has transformed from whiny farm boy to intergalactic hero as he’s
awarded a medal by Princess Leia.
Fill these out for each scene:
In three sentences or less, explain what is happening in this scene.

What are you trying to say about life?

What does the protagonist want (external pursuits)?

What does the protagonist need (internal desires)?

What does the antagonist or force of antagonism want (external pursuits)?

What does the antagonist or force of antagonism need (internal desires)?

What’s wrong with the protagonist’s personal world? What is the disruption?
What single moment or circumstance pushes the protagonist out of the status quo? Tip: It must be “on the page,”
not something that occurred before the beginning of this scene.

What choice must the protagonist make in this scene? Tip: Label it as a Best Bad Choice or an Irreconcilable
Good and list all possible outcomes.

What event(s) occur as a result of the protagonist’s decision? Tip: Use the consequence of this scene to set up
the conflict of the next.