This part of the framework is outlining in its purest sense. This is where it gets insteresting and we have to play with our story’s structure.
Why I now swear by story structure
All I used to know about story structure was that there was an introduction, or exposition; then the conflict, and then the resolution.
The end.
It was no surprise then that my first attempts at writing were sloppy, and cringe-worthy, at best. It all began changing once I learned more about what really went on in creating a story. How the characters’ journey and the story’s plot weren’t separate but two halves of a whole.
The main benefit I perceived was that now I could write with intention. Where I used to rely on my instincts and just follow where the story led me, I was beginning to achieve things purposefully and steering the story myself. I’ve never been able to take the story exactly where I wanted to, mind you. But at least now I had some measure of control.
My tools for outlining
- Scrivener
- Notebook
- The Three Act Structure
I’m literally obsessed with the Three Act Structure. I love it! Once I understood it, I couldn’t stop analyzing most books I read, and also the movies to identify each of the plot points and draw parallels between the execution of each.
The Three Act Structure
Everything I learned about this was from my idol, K.M. Weiland, and wait for it… She even agreed to give me a little tidbit of her best outlining tip for one of my next posts!
I’ll talk real quick about each part of the structure and then link some of my favorite posts that were helpful for me.
Act I
The first 25% of a story, and the place where you’re supposed to:
- Introduce main characters
- Show the starting setting
- Show characters’ motivations and fears
- Foreshadow the complications ahead
- Set the stakes by showing the things characters care about
And more!
It’s obviously the harder to write because of one single fact: It’s the beginning. And beginnings are hard because they center and introduce what’s going to happen next. Because we know that if we don’t capture the readers’ attention in this short span of pages, then those readers will be lost.
The Hook 0%
This is the beginning of beginnings. It’s suggested you play your hook by directly introducing your protagonist. Since the reader is supposed to stay with him throughout the journey, it makes sense it’s the first character they meet.
How do you introduce your protagonist? By thinking of a scene that showcases their most important characteristics, and therefore starting with a bang because it plants from the get go the idea that that situation needs to change. For example, if the story will be about a king that treats his subjects badly and at the end learns that it’s the people that make the king; then the introductory scene could maybe show the king at his worst, completely disregarding his people’s worth.
How to find exactly the perfect Story Hook
From here, until about 12% of the story, you should take your time making all the introductions and set-up required to make the story awesome and resonating.
The Inciting Incident 12%
This is what most people call ‘The Call to Adventure’. That’s exactly what it is. Our hero, who until now has been living his merry life in peace, and with no knowlege, or no interest to engage with the conflict, is now poked by it. Probably, she initially rejects it and refuses to have anything to do with it, as it’s the case with most stories in which a character discovers unknown powers within them. The first weird thing that happens freaks them out and they immediately enter a state of denial.
After the Inciting Incident, it’s all the way up hill.
- Continue introducing aspects of your characters
- Raise the stakes -> Show the readers the things that are important to these characters
Until, you get to the…
First Plot Point 25%
I love love this part. This is where the main character(s)’ life is changed enough that there’s no going back now. It can be a small change(?) like moving to a new house, or a big one, say, discovering a whole new world. But the point is that, in the context of the story, it’ll mean the only option for the characters now is to make do with what they know and have, and try to get along as best as they can.
- Beauty and the Beast: Belle’s decision to stay in the castle instead of her father kick starts the rest of the story. Her world is changed, for all that she knows, forever.
- Mulan: Mulan’s decision to take her father’s place in the army also shows how there’s no going back. She has to learn how to act like a man, or else, she’s dead. I like how the stakes are the highest they can be at all times. It’s her family’s honor and her own life on the line.
I like it when the First Plot Point is mostly triggered by a decision. True, it isn’t like Belle or Mulan would’ve rather do that, but they had to make a decision: Do nothing, or step into the unknown. It’s also possible for things to just happen to the character, but there has to be some level of involvement or else the character becomes passive, and therefore, not very interesting.
Act II
What originally got me hooked about this structure was the clear map through the Second Act, or plain and simple, the gaping open void that is the middle of our stories.
I would know how my story began, and how I wanted it to end, but… what could I put in the middle that would not bore readers to death?
But I had it all wrong, of course. It wasn’t about having the beginning, and the end, and then trying to tack on things in the middle to ‘fill it’. The whole story is a journey, and the end develops organically from all the steps that came before.
During the First Half of the Second Act it’s all about the character reacting about what has happened. Let’s stay with Belle. Obviously, staying forever with a Beast was never in her plans of leaving her provincial life. The first thing she does once she realizes the hopelessness of the situation is cry, which is only logical. Reaction reaction reaction.
Then, she kind of squares her shoulders and -even though at first she’s surprised- starts talking with the staff, trying to discover this new path she’s taken.
Now, Mulan is very similar. Okay, so, she’s going to take her father’s place. Um… not that easy. Aside from the fact that she has to pretend to be a man, she also has to train and learn to become a soldier, which is something that should be a tad easier, but still challenging! So, her first attempts aren’t the best…
First Pinch Point 37% ish
There are two ‘Pinch Points’ in the Second Act, and these are the true gems of this structure. This is what truly helps build a roadmap with which to navigate the middle.
At this particular point, this is what happens:
- A show of the antagonist´s power
- New clues
So, if we were to try to pinpoint this Pinch Point in our examples…
- Belle: I would say the First Pinch Point starts when Belle finds the East Wing. The things there are so BIG CLUES. Those are clues of the nature of what’s happening with the castle, which we don’t really need. There’s the following part too, when Adam saves her from the wolves. I think that’s the most important ‘clue’ here. And not so much a clue but a revelation: That there’s kindness in him. And this also prompts a reaction in Belle, help him get back to the castle instead of taking her horse and fleeing.
- Mulan: Remember the huns? This is where they capture those poor two soldiers and then set them free to deliver a message to the Emperor. And… then he orders for one of them to be killed *shrug* This is an example of a First Pinch Point being all about the antagonist laughing his evil laugh because he’s got all the cards.
After the First Pinch Point the character is going to continue reacting -that hasn’t stopped- but with the new clues, their actions are going to be more informed.
So the characters are still trying to adapt, but now at least you’ve thrown them a bone to help them.
The Midpoint 50%
This is what some people also call The Moment of Truth, or Mirror Moment, because it makes the character stop for a moment, look back at the person he’s been until now, and also how he wants to be from then on. It isn’t that suddenly all their problems are solved. He’s just finally clear on what’s going on, and he decides to act on that.
- Belle: The moment where Adam is feeding the birds, and there’s the song playing, and Belle keeps staring at him like ‘what the hell he’s such a cutiepie’, I think that’s the midpoint. A moment of deep realization because yes he’s kind, but omg could she have feelings for him?
- Mulan: That gorgeous, magnificent moment in which Mulan retrieves the arrow from the top of the post. Didn’t that just give you chills? She’s proving to herself and to the others that’s she’s capable of much more than what it seems.
On the other hand, in a non-Disney example, I wanted to also talk about the Captain America example. It was with this one that I finally, finally understood the essence of the Midpoint. It sort of pulls double duty, you see. Because we have a deep internal realization, as it’s the case with Belle and Mulan, but then there´s another kind, which is more plot related.
I want you to take a look at this post, about the Perfect Midpoint, explained through Captain America, Winter Soldier. I just love it so much.
But it pretty much goes like this:
Before Midpoint: Cap goes around with a perpetual frown on his face wondering what the hell is going on, why his own organization is now hunting him down and appears to be corrupted.
Midpoint: It turns out Hydra has been infiltrated in S.H.I.E.L.D. the whole time. It never really died. Bummer.
After Midpoint: Cap doesn’t like the news but at least now he knows who he’s fighting.
So basically, the Midpoint can also be about finding about the true nature of the conflict at play. The character no longer needs to be in reaction mode from now on. He’s been nothing but punched in the gut over and over again by the events that have happened, unable to block but a hit here and there. Now he finally can start getting in a few of his own.
The Second Pinch Point 62%ish
Apparently, this point has to do a couple of things as well:
- Foreshadow Third Plot Point
- Remind people of the stakes
Let’s see it in action:
Belle: I’m pretty sure this is where Maurice bursts into the tavern telling everyone about the Beast, and predictably, nobody believes him. He asks for help to get Belle, and is turned down by everyone.
Mulan: The huns attack! Well, they give away their position, and then they attack. They show us exactly what the Emperor’s army is up against, knowing that if they can’t beat the huns now, China would be lost.
After the event of the Second Pinch Point, our characters keep pushing, determined to not to give up, and then… finally, they get a victory. Only, it’s immediately followed by a defeat so soul and -maybe even body- debilitating that they’ll wonder how they’ll ever get back up again.
Third Plot Point 75%
This is it. The lowest point ever for the character. It’s supposed to hit them with everything, make them wonder why they bothered in the first place. I’m sure you love that XD
Belle: For Belle, that means finding out her father is sick and probably on the verge of dying, and then subsequently bear witness to how the village is rallied to go hunt her beloved Beast.
Mulan: This is one is much easier to identify. Mulan literally has to sit down and wonder what the hell she’s doing when they discover she’s a woman.
Act III
The Third Act starts with the character on the ground. From here, friends and supporters will help them get back on their feet so they can start the final battle.
I personally love how Mushu tries to cheer up Mulan, admitting that he isn’t actually a guardian, and that the cricket isn’t actually lucky. It’s a space of reflection and instropection, where in the surface you know something is brewing and soon, shit’s going to get real.
Climax 90%
Not much explaining to do here, but still super important to mention. The climax, aside from being the most exciting part of them all, is supposed to, show the character using all they have learned in the final showdown in order to defeat whatever it is that has been causing the conflict.
If there is more than one level of antagonists, say the henchmen, the one who directs them, and then at the top of it all the supreme baddie, then you’ll probably want to leave the supreme baddie for the climax. Make it as personal as possible so that it’s not only a physical display of power but also a battle of wills and charged with emotional stakes.
Resolution 90%-100%
This is where readers are shown how the characters’ lives have changed now that the conflict has been solved. We want to see how all the hard work has paid off!
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And that’s it! And that is just a summary.
But I’ve got you covered
Remember that workbook I talked about? Yes? It’s been updated to incorporate this part of the framework, and the final part as well! Planning just got a bit easier and streamlined!
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You’re going to get:
- Worksheets that guide you through the character, setting, plot and theme prep
- A section for your ideas according to the 3 Act structure
- And two prompts that will help you get the bigger picture of your story (spoiler for Pt 3 of the Framework!)
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