How to Use This Killer 3-Act Plot Structure: Writing Tips

Today I wanted to introduce you to my favorite plot structure–the 3-Act Character Arc and Story Structure.

How to Use This Killer 3-Act Plot Structure: Writing Tips

This is my favorite structure because it actually focuses on character as much (if not more than) it focuses on the plot. It also adds emphasis on raising the tension throughout your story, which is something I’ve found to be particularly helpful. This was passed on to me by one of my writing instructors, but it originally came from Peder Hill. Unfortunately, his website with the original content is no longer running.

This post will offer a breakdown of this variation of a three-act structure and give you insights into how I use this structure for my novels.

The Structure

I want to be clear, this structure breakdown I’m about to share comes from Peder Hill. It would be my preference to link you to the original, but since it’s no longer available that’s not an option. I’m working off of a print out of his original blog post that I’ve had since grad school. When I get a chance, I’ll scan it as a PDF to share.

Beginning 

You introduce the reader to the setting, the characters and the conflict. Plot Point 1 is the situation that drives the main character from their “normal” life towards a different conflicting situation that the story is about. 

Great stories often begin at Plot Point 1, throwing the main character right into the action, but the author never really leaves out the beginning. They fill it in with back story along the way.

Middle

The story develops through a series of complications and obstacles, each leading to a mini crisis. Each of these crises are temporarily resolved, but the story leads inevitably to an ultimate crisis—the Climax. As the story develops, there is a rise and fall of tension with each crisis, but an overall rising tension as we approach the Climax. The resolution of the Climax is Plot Point 2.

End

The Climax and loose ends of the story are resolved during the Denouement. Tension rapidly dissipates.  That’s because it is almost impossible to sustain a reader’s interest after the climax, so finish your story and get out.

• Act 1 
  • In the Beginning of a story the main character, being human (even if he of she isn’t), will resist change (inner conflict). The character is  perfectly content as he is; there’s no reason to change.
  • Plot Point 1 – Then something happens to throw everything off balance.
    • It should come as a surprise that shifts the story in a new direction and reveals that the protagonist’s life will never be the same again.
      • In Star Wars this point occurs when Luke’s family is killed, freeing him to fight the Empire.
    • It puts an obstacle in the way of the character that forces him or her to deal with something they would avoid under normal circumstances.

• Act 2
  • The second Act is about a character’s emotional journey and is the hardest part of a story to write. Give your characters all sorts of challenges to overcome during Act 2. Make them struggle towards their goal.
  • The key to Act Two is conflict. Without it you can’t move the story forward. And conflict doesn’t mean a literal fight. Come up with obstacles (maybe five, maybe a dozen—depends on the story) leading up to your plot point at the end of Act 2.
    • Throughout the second act remember to continually raise the stakes of your character’s emotional journey.
    • Simultaneously advance both inner and outer conflicts. Have them work together—the character should alternate up and down internally between hope and disappointment as external problems begin to seem solvable then become more insurmountable than ever.   
    • Include reversals of fortune and unexpected turns of events—surprise your reader with both the actions of the main character and the events surrounding him.
• Plot Point2
  • Act Two ends with the second plot point, which thrusts the story in another unexpected direction.
  • Plot Point 2 occurs at the moment the hero appears beaten or lost but something happens to turn the situation around. The hero’s goal becomes reachable.
    • Right before this unexpected story turn, the hero reaches the Black Moment—the point at which all is lost and the goal cannot be achieved.  
      • In order to have a “Climax”, where the tension is highest, you must have a “Black” moment, where the stakes are highest and danger at its worst.
      • During this moment, the hero draws upon the new strengths or lessons he’s learned in order to take action and bring the story to a conclusion.
        • Dorothy’s gotta get a broom from the Wicked Witch before she can go home.
        • Luke’s gotta blow up the Death Star before fulfilling his destiny.
        • Professor Klump’s gotta save face with the investors of his formula and win back Jada.
• Act 3 
  • The third Act dramatically shows how the character is able to succeed or become a better person.
  • Resolution/denouement ties together the loose ends of the story (not necessarily all of them) and allows the reader to see the outcome of the main character’s decision at the climax. Here we see evidence of the change in a positive character arc.

How to Use it

Now, we’re getting into how I use this plot structure, so I am no longer resharing Peder’s work.

Beginning/Act I

This act is fairly short, straightforward, and similar to what you’d see in any other plot structure. This is where you set up what is ‘normal’ for your character before ending the act with your inciting incident, which kicks your story into action.

Since this plot focuses on tension, it also encourages you to get into your story pretty quickly.

As you can see from the chart, Act I wraps up less than a quarter of the way into the story. Since you don’t have a lot of time to establish your world and characters, it may be tempting to tell your reader absolutely everything–at least, I know it is for me.

Instead, what I’ve found helpful is to figure out what your readers really need to know to understand what’s going on with your characters now, in these opening scenes, and get us right into the action.

You can share more information down the line when it’s relevant. Using this structure has helped me focus on what my audience needs to know to enter my world and nothing more, which has made it a lot easier to avoid info dumping.

Middle/Act II

This is the meat of your story. The majority of the growth and development is going to happen here.

Most plot structures would consider this the “rising action” of the novel, but this model calls those actions “points of crisis.”

As you can see, once we get to the peak of a crisis point there’s a drop in tension after. This gives your audience a moment of relief. However, the tension level after that drop never goes below the previous crisis point. This ensures that your tension continues to rise as your story moves on.

I’ve found that thinking about my story like this helps to keep the middle of the book from dragging.

The end of this act should be when things are most fragile for your character–but also when their goal is within reach. It’s the “so close, but yet so far” moment that leads to your climax.

More on the Points of Crisis

These points are basically why I love this structure so much. This is also where the focus on tension seriously comes into play.

As you can see in the chart, the middle act consists of four points of crisis. These are four major events that need to happen to your character to get you closer to the climax. These points are paced relatively evenly throughout the book, which I find helps me pace my story pretty evenly.

Having these crisis point spaced out has also been really helpful in my overall process. I’ve learned I work better when I’m writing towards a particular story moment.

When I’m early in the book, the climax is just too far away for me to focus on. Having a point that’s much closer keeps me motivated and moving forward.

Also worth noting: I’ve found that four points of crisis work really well for me, but that isn’t a rule for this structure. You can have as many or as few crisis points as you/your story needs.

End/Act III

This act is made up of two core components: the climax and the denouement.

Typically my climactic event takes anywhere from 3-5 chapters. And since I’ve had my points of crisis leading up to that moment the entire book, it often seems to come together very organically.

As for the denouement, I do my best to keep it as short as possible. I shoot for no more than two chapters, but if I can, I’ll do it in one. (But if I really do need three chapters, I’ll take them. Each story is unique. These are just my basic guidelines.)

If you look at the chart, the denouement is a steep drop after the climax, which is what always encouraged me to keep it short.

Common Thoughts

Two common thoughts I’ve heard from people after they’ve read my books are: 1) They found themselves running out of pages and couldn’t imagine how everything was going to wrap up so quickly–and then it did. And 2) “That’s it?” but in a good way–as in, they want more. Which is exactly what I want as a writer.

This is the quick denouement in action. You don’t want to end your story abruptly, but you do want to leave your reader wanting more.

Tying up loose ends and getting out of your story as fast as you possibly can is how you make this happen.

Final Thoughts

Peder adds a lot of emphasis on a character’s emotional journey, which was part of what drew me to this structure in the first place.

However, I also found it to be equally helpful when considering the plot. Peder argues that if you focus on character, the plot will emerge on its own. This has proven pretty true for me. But once the plot does emerge, this structure can also be help refine it.

Once I know my character’s journey, I make it a point to tie those events into the plot. Ideally, when I’m finished, each crisis point will raise the emotional stakes for the character, as well as advance the plot and get me closer to whatever I’m unraveling.

That’s it for this one! I hope this plot structure helps you write a killer novel!

Now it’s your turn: Do you have a favorite plot structure? What do you think of this one? Do you think it will help to think about your stories like this? Tell me in the comments and follow me on Instagram.