bybren-llc Story Structure Skill
Invocation Triggers
Apply this skill when:
- Planning screenplay structure
- Analyzing narrative arc
- Placing story beats
- Validating structural integrity
Three-Act Structure
Overview
ACT ONE (Setup) ≈ 25 pages (25%)
ACT TWO (Confrontation) ≈ 60 pages (50%)
ACT THREE (Resolution) ≈ 25 pages (25%)
≈ 110 pages total
Act One: Setup (Pages 1-25)
Goal: Establish world, character, and conflict.
| Beat | Page | Purpose |
|---|---|---|
| Opening Image | 1 | Visual thesis, tone, world |
| Theme Stated | 5 | Theme spoken (often missed by protagonist) |
| Set-Up | 1-10 | Ordinary world, status quo |
| Catalyst | 12 | Inciting incident, life disrupted |
| Debate | 12-25 | Protagonist resists call to action |
| Break Into Two | 25 | Commitment to journey, no turning back |
Act Two: Confrontation (Pages 25-85)
Goal: Escalating conflict, character tested.
| Beat | Page | Purpose |
|---|---|---|
| B Story | 30 | Subplot begins (often carries theme) |
| Fun and Games | 30-55 | Promise of the premise delivered |
| Midpoint | 55 | False victory or false defeat, stakes raise |
| Bad Guys Close In | 55-75 | Obstacles intensify |
| All Is Lost | 75 | Lowest point, seems hopeless |
| Dark Night of the Soul | 75-85 | Reflection before final push |
Act Three: Resolution (Pages 85-110)
Goal: Climax and resolution.
| Beat | Page | Purpose |
|---|---|---|
| Break Into Three | 85 | Solution found, synthesis of lessons |
| Finale | 85-110 | Final confrontation, stakes resolved |
| Final Image | 110 | Transformation visualized |
Save the Cat! Beat Sheet
Blake Snyder's 15-beat structure:
1. Opening Image (1)
2. Theme Stated (5)
3. Set-Up (1-10)
4. Catalyst (12)
5. Debate (12-25)
6. Break Into Two (25)
7. B Story (30)
8. Fun and Games (30-55)
9. Midpoint (55)
10. Bad Guys Close In (55-75)
11. All Is Lost (75)
12. Dark Night of the Soul (75-85)
13. Break Into Three (85)
14. Finale (85-110)
15. Final Image (110)
The Hero's Journey (12 Stages)
Christopher Vogler's adaptation of Joseph Campbell:
Act One: Departure
- Ordinary World - Hero's normal life
- Call to Adventure - Problem or challenge appears
- Refusal of the Call - Hero hesitates
- Meeting the Mentor - Guidance received
- Crossing the Threshold - Hero commits to journey
Act Two: Initiation
- Tests, Allies, Enemies - Hero is tested
- Approach to Inmost Cave - Preparation for ordeal
- Ordeal - Major crisis, death/rebirth
- Reward - Hero gains something
Act Three: Return
- The Road Back - Return journey begins
- Resurrection - Final test, transformation complete
- Return with Elixir - Hero returns changed
Sequence Method (8 Sequences)
Structure
ACT ONE
Sequence 1: Status Quo & Catalyst
Sequence 2: Debate & Break Into Two
ACT TWO (First Half)
Sequence 3: Fun and Games A
Sequence 4: Fun and Games B → Midpoint
ACT TWO (Second Half)
Sequence 5: Consequences
Sequence 6: All Is Lost → Dark Night
ACT THREE
Sequence 7: Break Into Three → Finale A
Sequence 8: Finale B → Resolution
Sequence Length
- Each sequence: ~12-15 pages
- Each sequence has its own mini-arc
- Sequences end on a turn or revelation
Genre Considerations
Action
- Midpoint is often big action set piece
- Faster pacing through Act Two
- Extended finale sequence
Comedy
- Fun and Games section is critical
- Midpoint often a comic disaster
- Third act reconciliation
Drama
- More time in Dark Night of the Soul
- Subtler beat placement
- Character-driven turns
Horror
- Midpoint: Monster fully revealed
- All Is Lost: Final girl alone
- Finale: Confrontation and survival
Thriller
- Midpoint: Major revelation
- Bad Guys Close In is literal
- Ticking clock in Act Three
Structural Analysis Template
## Structure Analysis: [TITLE]
### Act Breakdown
| Act | Pages | Target | Variance |
|-----|-------|--------|----------|
| One | X-X | 1-25 | [+/-] |
| Two | X-X | 25-85 | [+/-] |
| Three | X-X | 85-110 | [+/-] |
### Beat Placement
| Beat | Target Page | Actual Page | Status |
|------|-------------|-------------|--------|
| Catalyst | 12 | X | [OK/Early/Late] |
| Break Into Two | 25 | X | [OK/Early/Late] |
| Midpoint | 55 | X | [OK/Early/Late] |
| All Is Lost | 75 | X | [OK/Early/Late] |
| Break Into Three | 85 | X | [OK/Early/Late] |
### Assessment
[Analysis of structural strengths and issues]
### Recommendations
1. [Specific adjustment]
2. [Specific adjustment]
Common Structural Issues
Act One Too Long
- Cut setup scenes
- Enter scenes later
- Combine expository scenes
Saggy Middle
- Strengthen midpoint
- Add reversals
- Increase obstacles
Rushed Third Act
- Earn the climax
- Don't skip Dark Night
- Resolution needs breath
WTFB Three-Act Template
Per "Words To Film By" methodology, use this simplified template for story planning:
Act One Template
Work out your story using these essential components:
OPENING EVENT: ___________________________________
(What first happens that grabs attention?)
BASIC SITUATION: ___________________________________
(What is the protagonist's normal world?)
DISTURBANCE: ___________________________________
(What disrupts the normal world?)
DECISION: ___________________________________
(What choice must the protagonist make?)
DRAMATIC QUESTION: ___________________________________
(The question that will be answered by the climax)
Act Two Template
CONFLICTS: ___________________________________
(What opposes the protagonist?)
CRISES: ___________________________________
(What moments of critical decision arise?)
OBSTACLES: ___________________________________
(What stands in the way?)
COMPLICATIONS: ___________________________________
(What makes things worse?)
DARK MOMENT: ___________________________________
(The lowest point before the turn)
Act Three Template
ENLIGHTENMENT: ___________________________________
(What does the protagonist finally understand?)
CLIMAX: ___________________________________
(The final confrontation or decision)
CATHARSIS: ___________________________________
(The emotional release and resolution)
WTFB Hero's Journey Template
Alternative structure using the 12-step Hero's Journey:
1. THE ORDINARY WORLD: ___________________________________
(Hero's normal life before the adventure)
2. THE CALL TO ADVENTURE: ___________________________________
(The problem or challenge that appears)
3. THE RELUCTANT HERO: ___________________________________
(Hero hesitates or refuses the call)
4. THE WISE OLD MAN: ___________________________________
(Mentor who provides guidance)
5. INTO THE SPECIAL WORLD: ___________________________________
(Crossing the threshold into adventure)
6. TEST, ALLIES AND ENEMIES: ___________________________________
(Hero is tested, meets friends and foes)
7. THE INMOST CAVE: ___________________________________
(Approach to the most dangerous place)
8. THE SUPREME ORDEAL: ___________________________________
(Major crisis, facing greatest fear)
9. SEIZING THE SWORD: ___________________________________
(Hero gains the reward/knowledge)
10. THE ROAD BACK: ___________________________________
(Return journey begins, often with pursuit)
11. RESURRECTION: ___________________________________
(Final test, transformation complete)
12. RETURN WITH THE ELIXIR: ___________________________________
(Hero returns changed, bearing wisdom)
Narrative Types
Per WTFB, identify your story's narrative approach:
| Type | Description | Example |
|---|---|---|
| Linear | Beginning to end chronologically | Most traditional films |
| Non-Linear | Not chronological | Memento, Pulp Fiction |
| Multi-Narrative | Multiple points of view | Crash, Traffic |
| Dual | Two perspectives or time periods | The Godfather Part II |
| Fragmented | Non-linear sequence | 21 Grams |
| Metafictive | Breaking fourth wall | Deadpool, Ferris Bueller |
| Personal | Autobiography, biopic | The Pursuit of Happyness |
Aristotle's Six Components
The foundational elements of drama (per Aristotle):
- Plot: The arrangement of events or incidents
- Characters: Provide motivation, plot, and conflict
- Language: Dialogue (both dramatic and narrative)
- Themes: Thought and ideas behind the story
- Rhythm: Music/mood (the emotional pacing)
- Spectacle: The set, costumes, and special effects
The Greeks' Essential Truth: A show or scene must have a beginning, middle, and end.
- Beginning: Protagonist lives a good life but has a great character flaw
- End of Beginning: Reversal of fortune brought on by the flaw
- Middle: Protagonist fights change but recognizes error, changes from ignorance to knowledge (too late)
- End: Catastrophe brings suffering, resulting in soul cleansing (catharsis)
Validation Checklist
- Three acts properly proportioned
- Catalyst by page 12
- Clear Break Into Two
- Strong Midpoint
- All Is Lost moment exists
- Theme stated and proven
- Character arc complete
- Opening/Final images mirror or contrast
- Narrative type identified
- WTFB template completed
- Aristotle's six components addressed