The teachings of literature are replete with a number of formats in crafting a coherent and compelling story. Probably the most common, which forms the basis for others, is the Three Act Story Structure. As its name implies, the story, like a play, unfolds in three acts. Most often, however, they are not presented in the story as separate acts such as they usually are in stage productions. Instead, the three acts of a novel implicitly provide a framework for the story from beginning to end without explicitly being labeled as such. Although there are occasional exceptions to that convention, most often the acts of a novel seamlessly follow one another to provide a coherent story the reader can follow without knowing there is an underlying three-act structure.
At the center of any good story is a problem. This holds true for all genres of novel writing. Whether it’s a murder mystery and the problem is capturing the murderer, a conspiracy that needs to be uncovered and foiled to prevent destruction of the world or some lesser but still evil catastrophe, a fantasy where a young boy must cope with the magical powers he possesses and the evil forces that oppose him, a science fiction novel where an evil galactic empire must be battled and destroyed, or a romance. . . . Yes even a romance, whether a new relationship must be nurtured by its participants to sustain its growth and ultimate survival, or an established one which is struggling to cope with and overcome the various external and internal threats that befall a romantic relationship and threaten its survival.
The protagonist of any story is typically the main character around which the story unfolds, with, of course, supporting characters. But the protagonist is the character which the writer intends the reader to associate with and root for. It stands to reason, then, that the protagonist ultimately ends up at the center of “the problem” that forms the basis of the story.
With that in mind, Act One will usually provide a picture of the protagonist in her current world, before she becomes involved in whatever situation that is the premise of “the problem.” It’s where we get to know her and empathize with her, even if she has some character flaws. Near the end of the first act, the inciting incident occurs, something which draws our protagonist into the world of “the problem,” often without her initially even knowing what it is. It typically upsets the balance of her world and sets her and other important characters on a journey that will occupy them throughout the narrative.
Then along comes Act Two, where most of the action occurs. Our protagonist is now knowingly drawn into the problem’s world with all its complexity and confrontations with antagonists, rising tension and abundant conflict. This is it, where she faces numerous obstacles, wins some battles but loses even more, often disrupting the calm of her pre-problem world, subjecting her to challenges she must overcome to deflect threats to her reputation, her career, and possibly even her life.
This leads into Act Three, where the climax of the story, the final battle against the “the problem’s” threats, takes place and leads to resolution, and the protagonist ultimately returns to a more normal, if altered, world.
Keep in mind that all this action and conflict does not have to be physical in nature. In a romance about a struggling relationship, it’s certain to be emotional and more subjective. Often there is an Epilogue to wrap things up, which may portray our protagonist in her “new world,” adjusting as needed, or perhaps leaving a hint of a question mark for the reader to ponder over.
That’s the Three Act story structure. And now that you know what to look for, it can add a deeper texture to your reading enjoyment.
So how do writers get their idea for a story in the first place? you ask. Well, the easiest answer is that it is writer-specific, looking at the world around us as it is, and asking the question “What if .” Of course, we all have different imaginations, so this is a variable process. I once attended a conference where a prolific thriller writer said she would routinely peruse the obituary section of the paper, and if she came across someone’s obit that included a particularly interesting or unusual facet of their life, she would ask “what if” and let her imagination run wild.
But how is that idea transformed into a good story? Well, first off a good story is much easier to write if you have a good idea. In fact, it makes sense that they typically go hand-in-hand, right? After all, it’s hard to craft a good story with a very weak idea. Okay, then what makes an idea good for a story to be good?
In his book, “The Idea: The Seven Elements of a Viable Story for Screen, Stage, or Fiction,” screen writer and producer Eric Bork puts forth a set of criteria which answers just that question. And he should know. Bork is a two time Emmy and Golden Globe winner for the HBO miniseries Band of Brothers, a World War II drama, and From the Earth to the Moon, a dramatization of the Apollo space program.
Remember the importance of a “PROBLEM” to a good story? Well Bork uses that same word as an acronym for his seven elements:
Punishing: not necessarily physical in nature, this represents the trials and tribulations, obstacles and setbacks the Protagonist faces during her journey to put the problem right.
Relatable: The reader must relate to the idea, and subsequently the story itself, on some deeper level in order to become engaged from start to finish. In Bork’s words: “The main character of a story—and what they’re dealing with and why it matters—should be easy to identify with on a human level. Because of this, the reader is able to strongly care that they reach their desired outcome, making the reader want to stay with the story.”
Original: This is a tricky one. Both idea and story should be original in nature. I know what you’re thinking: “But there’s nothing new under the sun!” Well, that’s not exactly true. New ideas may be hard to come by, but in today’s world with all kinds of complexities, they are out there. In certain situations an “old” idea can be used with a new and original perspective, setting, or twist. If you separate idea and story from theme, then you can look at this differently. The theme of good vs. evil is neither new nor original. But the idea and subsequent story for an intergalactic battle with a young man and accompanying cast at the center is a new take on that theme. My absolute favorite example of a fresh adaptation of an original story is playwright Arthur Laurents’ West Side Story, a brilliant contemporary re-telling of Shakespeare’s Romeo and Juliet, the classic story of star-crossed lovers.
Believable: I know what you’re thinking. Seriously? What about Harry Potter, Lord of the Rings, The Wizard of OZ, Brave New World, 2001 A Space Odyssey, Fahrenheit 451, and many more. No matter if it’s fantasy or science fiction, if the writer successfully sets up the world in which the story takes place, whether it be one of magic or of a controlled society, or of a young girl carried away by a tornado to a distant land ruled by a wannabe wizard, the story becomes “believable” to the reader within the context of that world.
Life-altering: As a result of the journey the protagonist must endure, along with all its trials, ups and downs, victories and defeats, she must undergo some change from her pre-problem world. It can be emotional, or physical. It could be that she comes to dislike her job, or maybe it’s coming to terms with betrayal by someone she cared for deeply, or maybe she learns to trust herself and her instincts when she couldn’t before. Or perhaps she becomes less trusting of others, bitter about what she went through. This is sometimes referred to as “the mirror moment.” Ideally it is for the better, which generally speaking is going to be more acceptable and satisfying to the reader. But either way, there should be some form of change.
Entertaining: This one’s easy to explain, although it is reader-specific and based upon the story’s genre. If it’s put forth as a thriller, it better have lots of action, tension, and non-emotional conflict etc. If it’s a romance novel, it better have lots of, well, romantic moments and undertones (not my favorite!) After all, it’s why we read the book in the first place, right? To be entertained? Stay within the guidelines of the genre you’re writing in, and you won’t disappoint the reader.
Meaningful: This typically is tied to the theme of the story and genre. Loosely speaking, this is sort of like the opposite of entertaining. Beyond just “enjoying the book” for the story, it’s always helpful for the reader to have a sense of what it’s all about on a deeper level, consistent with the real world, and the satisfaction that right has triumphed. Generally speaking, most readers prefer an emotional response that all turned out as it should. But that’s difficult for the writer to anticipate given the diversity of readers that likely will be reading the book. Bottom line is that the story would hopefully strike an emotional and/or intellectual chord a little deeper than the actual narrative does.
So there you have it. Some insight into how a story is structured and what makes a story idea and the story itself good. Hope it helps you to enjoy your reading experience even more.
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Tony