Editing Story structure (section)

=== Three-act structure ===
{{main|Three-act structure}}
The three-act structure is a common structure in classical film and other narrative forms in or associated with the [[Western culture|West]].<ref>{{Cite book |last=Khatib |first=Lina |author-link=Lina Khatib |title=Storytelling in World Cinemas: Contexts |publisher=Columbia University Press |year=2013 |isbn=978-0-231-16336-1 |location=New York |pages=167 |language=en}}</ref><ref name=":0">{{Cite book |last=Lowe |first=N. J. |title=The Classical Plot and the Invention of Western Narrative |publisher=Cambridge University Press |year=2000 |isbn=0-521-77176-5 |location=Cambridge |pages=x |language=en}}</ref>

First described in the fourth century A.D. by [[Aelius Donatus]] in his commentary on the works of [[Terence]], the form was popularized by [[Syd Field]] in ''[[Screenplay (book)|Screenplay: The Foundations of Screenwriting]].'' Based on his recommendation that a play have a "beginning, middle, and end," the structure has been falsely attributed to Aristotle, who in fact argued for a two-act structure consisting of a "complication" and "dénouement" split by a peripeteia.<ref>{{cite book|author-last=Tierno|author-first=Michael|title=Aristotle's Poetics for Screenwriters|section=1. Let’s Start at the Very Beginning, Middle, and End|publisher=Hyperion|isbn=0786887400|date=21 August 2002}}</ref>

The sections are:

The '''first act''' begins with setup, where all of the main characters and their basic situations are introduced, as well as the setting. It contains the primary level of characterization for both of these (exploring the characters' backgrounds and personalities, the relationships between them, and the dynamics of the world they live in). This setup is often called the exposition.

Later in the first act, the [[protagonist]] experiences a dynamic event known as the [[inciting incident]] (or [[catalyst]]). Their initial actions are to deal with this event and attempt to reestablish order.<ref>{{Cite book |last=Vanhala |first=Helena |title=The Depiction of Terrorists in Blockbuster Hollywood Films, 1980-2001: An Analytical Study |publisher=McFarland |year=2011 |isbn=978-0-7864-3662-0 |location=Jefferson, NC |pages=102 |language=en}}</ref><ref>{{cite web |last1=Lieberman |first1=Elias |title=The Editor; the Journal of Information for Literary Workers, Volumes 37-38 |url=https://books.google.com/books?id=US8DAAAAYAAJ&dq=%22inciting+incident%22&pg=RA2-PA266 |website=Google |date=1913 |access-date=9 June 2024 |ref=Lieberman}}</ref> These lead to the first [[plot point]], where the first act ends and a dramatic question is raised; for example, "Will X disable the bomb?" or "Will Y end up with their love interest?"

The '''second act''', or confrontation, is considered to be the bulk of the story. Here, the characters' conflict is most developed (particularly between the protagonist and [[antagonist]]) as well as any changes in values and personality one or more characters may undergo (known as character development, or a [[character arc]]). This leads to the second plot point, where the second act ends and the protagonist returns to their ordinary world.

The '''third act''', or resolution, is when the problem in the story boils over, forcing the characters to confront it, allowing all the elements of the story to come together, leading to the [[Climax (narrative)|climax]], which is the answer to the dramatic question, being hand in hand with the end of the conflict.