{"id":1496,"date":"2025-02-16T14:36:10","date_gmt":"2025-02-16T14:36:10","guid":{"rendered":"https:\/\/gerald-hornsby.com\/blog\/?p=1496"},"modified":"2025-02-16T16:06:03","modified_gmt":"2025-02-16T16:06:03","slug":"why-the-three-act-structure-isnt-good-enough-part-ii","status":"publish","type":"post","link":"https:\/\/gerald-hornsby.com\/blog\/2025\/02\/16\/why-the-three-act-structure-isnt-good-enough-part-ii\/","title":{"rendered":"Why the Three Act Structure isn’t good enough-Part II"},"content":{"rendered":"\n

Descending to scene level<\/strong><\/p>\n\n\n\n

Last time we were all here, I talked about the three act structure, and why it\u2019s a great way of creating an over-arching plan for stories, and in particular, my novels.<\/p>\n\n\n\n

But for me, that\u2019s not quite good enough. My crime novels are quite heavily plot-driven, and have elements of clues and red herrings, of guilty offenders and of innocent bystanders, of goodies, baddies, and baddies who aren\u2019t actually the culprit. I have main, secondary and minor characters to care about. I have character arcs to worry about, together with character trait similarities and differences.<\/p>\n\n\n\n

Writing a novel is HARD.<\/strong><\/p>\n\n\n\n

One other thing – I have found that my brain quickly turns to the leakiest of strainers if I try to hold the whole plot, or even a single act, in my head at once. I don\u2019t know why. I know people who can do that, and that\u2019s to be admired. But if I try to write without a detailed plan, what comes out is a meandering mush of nicely crafted but narratively stunted prose. It ain\u2019t good.<\/p>\n\n\n\n

So how far down do I need to go?<\/strong><\/p>\n\n\n\n

As you may have gleaned from the subtitle, it\u2019s down to scene level. In crime novels, shorter chapters are de rigeur<\/em>. Don\u2019t blame me, it\u2019s how it is. And I find that one chapter per scene, one scene per chapter, is fine for the pacing and drive of my novels. Occasionally, a chapter of mine will straddle a couple of scenes. Occasionally (but rarely), a scene will straddle two chapters. But basically, my scenes are one chapter, around 1,500 words. THAT IS NOT A RULE, before anyone complains about strictures on creative flow. I love writing as much as anyone, and I can assure you that word count is the last thing on my mind when I begin writing a scene. Scene \/ chapter length comes into play at the first or second edit stage. <\/p>\n\n\n\n

Okay. So last time, I left off this idea at the point where I split my story into Three Acts – actually, Four, since the long Act 2 is subdivided into two equally-sized chunks. And within these 3\/4 acts, there are Seven significant plot points. Please see my last post:<\/p>\n\n\n\n

[ https:\/\/gerald-hornsby.com\/blog\/2025\/02\/08\/why-the-3-act-structure-isnt-good-enough\/<\/a> ] <\/p>\n\n\n\n

for descriptions. Where do we go from there?<\/p>\n\n\n\n

Those eagle-eyed of you will have noticed the shaded-out part of this diagram.<\/p>\n\n\n\n

\"\"<\/a><\/figure>\n\n\n\n

I can now reveal what\u2019s behind the shading:<\/p>\n\n\n\n

\"\"<\/a><\/figure>\n\n\n\n

and I can introduce to you Save The Cat.<\/p>\n\n\n\n

Pretty weird title, eh? Screenwriter Blake Snyder (RIP) examined the structure of dozens of hugely successful movies, and began creating his own structure, described in the Blake Snyder Beat Sheet. It shows how many film stories hit certain \u201cbeats\u201d in their telling. These beats incorporate, and expand upon, the Seven Plot Points described in the previous post. He also discovered that many times, these beats appeared at distinctive points in each story, measured in terms of the pages of a script.<\/p>\n\n\n\n

I transposed these script pages into novel chapters, with a guideline of 40 or 60 chapters.  Some beats only have one chapter \/ scene. Some have 8 or 9. But don\u2019t forget – nothing is cast in stone here. My novels have between 39 and 56 chapters \/ scenes in them, despite them all having the Blake Snyder structure.<\/p>\n\n\n\n

Oh, and why is it called \u201cSave The Cat<\/em>\u201d? As part of his analysis, Snyder discovered that if your story hero had some tricky things to accomplish later in the story, including some maybe-not-so legal actions, it was always best to have them Save A Cat early on in the story. It promotes at an early stage (in the reader \/ viewer\u2019s brain) that the hero is a Good Guy, and we\u2019ll forgive him his indiscretions later on. Also note: they don\u2019t literally need to save a cat – any good selfless and empathetic deed will do.<\/p>\n\n\n\n

But let\u2019s dig into the Beat Sheet itself.<\/p>\n\n\n\n

Here\u2019s a description of each of the 15 beats (see diagram above), and (typically) how many scenes I give to them:<\/p>\n\n\n\n

1 Opening image- 1 scene<\/strong><\/p>\n\n\n\n

A visual that represents the struggle & tone of the story. A snapshot of the main character\u2019s problem, before the adventure begins.<\/p>\n\n\n\n

2 Setup – 1 scene<\/strong><\/p>\n\n\n\n

Expand on the \u201cbefore\u201d snapshot. Present the main character\u2019s world as it is, and what is missing in their life.<\/p>\n\n\n\n

3 Theme stated – 1 scene<\/strong><\/p>\n\n\n\n

(Sometimes happens during the Set-up) \u2013 What your story is about; the message, the truth. Usually, it is spoken to the main character or in their presence, but they don\u2019t understand the truth…not until they have some personal experience and context to support it.<\/p>\n\n\n\n

4 Catalyst – 1 scene<\/strong><\/p>\n\n\n\n

The moment where life as it is changes. It is the telegram, the act of catching your loved-one cheating, allowing a monster onboard the ship, meeting the true love of your life, etc. The \u201cbefore\u201d world is no more, change is underway.<\/p>\n\n\n\n

5 Debate – 6 scenes<\/strong><\/p>\n\n\n\n

But change is scary and for a moment, or a brief number of moments, the main character doubts the journey they must take. Can I face this challenge? Do I have what it takes? Should I go at all? It is the last chance for the hero to chicken out.<\/p>\n\n\n\n

6 Break into Two – 2 scenes<\/strong><\/p>\n\n\n\n

The main character makes a choice and the journey begins. We leave the \u201cThesis\u201d world and enter the upside-down, opposite world of Act Two.<\/p>\n\n\n\n

7 B story – 1 scene<\/strong><\/p>\n\n\n\n

This is when there\u2019s a discussion about the Theme \u2013 the nugget of truth. Usually, this discussion is between the main character and the love interest. So, the B Story is usually called the \u201clove story\u201d.<\/p>\n\n\n\n

8 Fun & Games – 6 scenes<\/strong><\/p>\n\n\n\n

This is when Indiana Jones tries to beat the Nazis to the Lost Ark, when the detective finds the most clues and dodges the most bullets. This is when the main character explores the new world and the audience is entertained by the premise they have been promised.<\/p>\n\n\n\n

9 Midpoint – 1 scene<\/strong><\/p>\n\n\n\n

Dependent upon the story, this moment is when everything is \u201cgreat\u201d or everything is \u201cawful\u201d. The main character either gets everything they think they want (\u201cgreat\u201d) or doesn\u2019t get what they think they want at all (\u201cawful\u201d). But not everything we think we want is what we actually need in the end.<\/p>\n\n\n\n

10 Bad guys close in – 6 scenes<\/strong><\/p>\n\n\n\n

Doubt, jealousy, fear, foes both physical and emotional regroup to defeat the main character\u2019s goal, and the main character\u2019s \u201cgreat\u201d\/\u201cawful\u201d situation disintegrates.<\/p>\n\n\n\n

11 All is lost – 1 scene<\/strong><\/p>\n\n\n\n

The opposite moment from the Midpoint. The moment that the main character realizes they\u2019ve lost everything they gained, or everything they now have has no meaning. The initial goal now looks even more impossible than before. And here, something or someone dies. It can be physical or emotional, but the death of something old makes way for something new to be born.<\/p>\n\n\n\n

12 Dark night of the soul – 3 scenes<\/strong><\/p>\n\n\n\n

The main character hits bottom, and wallows in hopelessness. The Why hast thou forsaken me, Lord? moment. Mourning the loss of what has \u201cdied\u201d \u2013 the dream, the goal, the mentor character, the love of your life, etc. But, you must fall completely before you can pick yourself back up and try again.<\/p>\n\n\n\n

13 Break into three – 1 scene<\/strong><\/p>\n\n\n\n

Thanks to a fresh idea, new inspiration, or last-minute Thematic advice from the B Story (usually the love interest), the main character chooses to try again.<\/p>\n\n\n\n

14 Finale – 8 scenes<\/strong><\/p>\n\n\n\n

This time around, the main character incorporates the Theme \u2013 the nugget of truth that now makes sense to them \u2013 into their fight for the goal because they have experience from the A Story and context from the B Story. Act Three is about Synthesis!<\/p>\n\n\n\n

15 Final scene – 1 scene<\/strong><\/p>\n\n\n\n

Opposite of Opening Image, proving, visually, that a change has occurred within the character.<\/p>\n\n\n\n

Note: the internet is full of interpretations of the beat sheet for many genres. If you want further reading, there are some great books on the subject, such as:<\/p>\n\n\n\n

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