3 Act Screenplay Structure - Screenwriting Tips & Myths

A step-by-step guide to act structure, key story beats, sequences and themes. Ideal for screenwriters, novelists or short-story writers.
For a copy of the structure flowchart used in this video as well a worksheet you can use to test your own stories against visit. www.clickimagin...
If you’re new to writing screenplays and have no idea where to start check out our www.clickimagin... There’s loads of content to help writers come up with the next killer screenplay.
For more information about using Sequences to structure your screenplay check out www.clickimagin...
Check out the previous episodes on how to write a screenplay
Episode 1: The Antagonist. • Creative Writing Cours...
Episode 2: Antagonist Development • Creative Writing Cours...
Episode 3: World of the Story • Creative Writing Cours...
Episode 4: The Mentor • Creative Writing Cours...
Episode 5: This Hero • Creative Writing Cours...
Episode 6: The Central Character • Creative Writing Cours...
Screenwriting Act by Act
Part 1. Cracking Act 1 • Screenwriting Tips: PA...
Part 2. Awesome 2nd Act • Screenwriting Tips: PA...
Part 3. A blistering 3rd Act • Screenwriting Tips: PA...
Tips and tricks for screenwriters
How to story outline the easy way • Story Outline: The Eas...
Get your movie script read • Get Your Movie Script ...
Writing Villains: Tips for creating a terrifying antagonist • Writing Villains: Tips...
Tips for writing Animals and Creature • Tips for Writing Anima...
Tips for writing Themes in Stories • Themes of stories
Help with Character Names • Creating Character Nam...
10 Tips for creating characters for Movies or Novels • 10 Tips For Creating C...
Tips and Tricks for Dialog • Tips and Tricks for Wr...
Copyright • Copyright
Tips for screenwriters on how to hook your audience • Empathy in Screenplays...
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[@robschneider8310]

Best visual representation of the 3 act structure I've seen. A lot of the graphs get it wrong by representing a line starting from the very bottom at Act One to the very top at Act Three. As if the Hero was contanstantly progressing without encountaring setbacks. I love that you include the antagonist's progression too!

[@ClickImagination]

Thanks Amaud for your very kind words. I’m really pleased you found it useful. Thanks for posting.

[@pazcabo3106]

The best visual representation I've seen with the whole progression, clear, concise, and informative. Thanks a lot!

[@ClickImagination]

Thanks Paz, lovely to hear.

[@Montefires222]

Almost 5 years after publication and still replies to comments. Respect.

[@ClickImagination]

A pleasure.

[@thehaaps]

This is one of the best explanations I have ever come across on 3 Act structure. You've demystified a sometimes complex process and done so in a very concise manner. Thanks so much!

[@ClickImagination]

Mark, lovely to hear. Thanks for letter me know. If you're outlining check this out kzbin.info/www/bejne/a4aXepp5o5xreKs it uses the same logic with a practical example. All the best with your stories. Cheers

[@salemelgnawi]

don't need to read Joseph Campbell's book people just watch this wonderful video .. very important

[@ClickImagination]

Thanks a lot for the praise... great to hear and much appreciated.

[@victorallencook7107]

Time for a refresher.

[@NIKONGUY1960]

This is the first time this has been made clear. Thanks so much.

[@ClickImagination]

Pleasure, best of luck with the writing

[@jumpko07]

Very good explanation. Clarity, preciseness it has it all. I can see clearly now how the 3 act structure works in movies and novels I'm reading. Thank you.

[@marcelbr815]

Perfect representation. Thank you.

[@oJAYarista]

I've noticed a trend with all these "3-act" tutorial videos... They always use a hero or action movie. what is you're writing a horror story?

[@ClickImagination]

Hi Omar. The act structure works the same in any genre. There are some plot tips and tricks specific to each genre but the overall structure remains unchanged. You’re right that a lot of breakdowns are applied to action movies. Personally, I deliver workshops to all ages and tend to find certain action movies resinate with a broader demographic. There’s nothing worse than using examples of structure for films people have never heard of. Thanks for posting.

[@anunexaminedlife1207]

Good question. Depending on the horror movie the "Hero" (protagonist is more accurate) could be the Villain That's something I haven't heard anyone talk about before but in the story I'm writing that's the case and in the end it's evil that triumphs over good. Which is really the most horrific thing of all

[@bkr_418]

It’s the same, just your structure of your sequels will be different, with a stronger emphasis on emotion and anticipation (‘what’s gonna happen?’).

[@cbidmead]

Unusual spelling of "triumph" in the diagram. Understanding spelling doesn't make a good presenter bad but it certainly helps with getting your ideas across convincingly…

[@anonygent]

I don't drink, but this would make for a good drinking game... take a shot every time he says, "strookchur".

[@purnimadeshpande3847]

Simplified !!! Very useful..

[@ClickImagination]

Pleasure, thanks for commenting.

[@paullarkin2486]

Brilliant. Very well explained.

[@ClickImagination]

Thanks Paul, lovely to hear

[@lewislikeslife]

This was very helpful, thank you! Question though, what changes would I be looking at making if my antagonist only appears in Act 3?

[@ClickImagination]

+lewislikeslife it depends if you are introducing the actual character to the audience for the first time or if they have been omni present from the start. Your antagonist (by representation or agent) should be present at the opening to set the objective for the hero, establish the stakes etc. The hero doesn't have an objective without an antagonist so I would question what the main tension would be that carries the first two acts without an antagonist at all. If what you're talking about is the TADA reveal of the actual 'Machiavellian' antagonist stepping out onto stage to face the hero for the final showdown then I'd advise caution. This effectively becomes 'twist' of the film - as the real antagonist reveals themselves as a character we didn't suspect (The Usual Suspects being a case in point) but you have to be careful to leave clues. Having an antagonist 'reveal' in act 3 that previously hasn't been seen is a tough ask of the audience. Hope this helps. Thanks.

[@allanploth6031]

Many thanks. 🙏

[@ClickImagination]

Pleasure Allan, and thanks for reaching out. Happy writing.

[@1therevoltz]

great video very helpful thank you

[@ClickImagination]

Thanks for commenting. Very much appreciated.

[@215RANDOM]

Very Cool... Thank you..

[@ClickImagination]

Thanks for letting me know, appreciated.

[@thesouthernoutliner3562]

Yes, This is exactly what I need. Thank you for this. Could this work for a 30 min cartoon or graphic novel?

[@ClickImagination]

The three act structure works for most mediums. The shorter the medium the less time for development however so it's a judgement call regarding all the beats. Have a play and see what works for your story.

[@slappyabromowitz]

Love this...Quick questions. What if your hero gains a form of redemption at the end but is murdered like Ned Stark in Game Of Thrones...what if your hero and villain are both protagonist/antagonist- like Jaime Lannister in GOT. I think G.G. Martin has broken these rules somewhat while following the structure... My story has grey characters with dramatic flashes of good and evil...

[@ClickImagination]

Thanks for posting. A lot will depend on the format of your story ie screenplay, stage play, radio, TV etc. With GOT a mechanism is employed through the plot to keep viewers returning. It works on a multiple protagonist / antagonist cast that’s constantly in jeopardy and the cleverness is in keeping a tight balance on introducing new characters and bumping serval off. This keeps the tension high. In movie terms it’s fine - take Gladiator. What you’ve described is effectively what happens to Russell Crowe. Regards

[@ZackGAnderson]

This video is totally triumpthant.

[@ClickImagination]

Thanks for commenting. Means a lot. Glad you liked it.

[@darrenharker9099]

Brilliant video, as always. (But small spelling mistake in Sequences: Triumph.)

[@darioortiz2165]

Hola, estará disponible en español l libro? Gracias

[@ClickImagination]

Drop me an email via the website and I will send you a copy. Hopefully enough will make sense to help you out. It's more diagrams than words.

[@ronmendez22]

Pure gold

[@ClickImagination]

Thanks Ronnie - really pleased to hear.

[@tubejim101]

Thank you.

[@ClickImagination]

tubejim101 Pleasure. Thanks for commenting, much appreciated.

[@ikechute]

Loved it.

[@ClickImagination]

+Patricia Murray-Chute Thanks for watching Patricia

[@MwalimuMarwa]

Click Imagination Thanks for sharing

[@Mister.Psychology]

Great video. Good job.

[@ClickImagination]

Thanks. Great to hear you liked it.

[@c.l.sherman211]

Love it, thanks!

[@ClickImagination]

Thanks for reaching out. Really pleased you loved it.

[@damienp9094]

This is literally so amazing. For months I've been stuck on how to structure watching videos that just confused me. This was so simple i watched it thinking he's practically laid out the skeleton for me to just input my story into in laymen terms. A question though please? can i use this structure for say TV? what if the antagonist doesn't get defeated till end of season instead of like here its the end of a 120min film, so how would i stretch it? or end my episodes?

[@ClickImagination]

Thanks for the support. The kind words are much appreciated. As to your question, it depends whether you are looking as a series (episodes with a different antagonist each time) or a serial (with the hunt for one antagonist played out over several episodes). TV and movie formats are evolving these days with pay-per-view subscriptions removing add breaks and quality constantly being driven up. However, for TV you would have an a story (the main case), b story (seemingly unrelated minor case and c story being personal to the lead or cast. This isn’t a rule but gives you an idea. In serials it’s much the same except you might explore facets of the a story in the b story - such as clues or characters so you’re driving to the climax more with each episode but delaying the arrival with branches that creates twists and turns. This depends on genre of course. Best to watch similar shows and see how they have done it. Keep me posted.

[@damienp9094]

Click Imagination Thanks so much for replying. I downloaded the worksheets on your site and signed up. I’ll definitely keep you posted. Thanks again seriously

[@MarshalTennerWinter]

It's easier to listen to an instructional video if the narrator has a British accent.

[@ClickImagination]

Marshal Tenner Winter. Thanks, very kind of you to say.

[@ethanstinson9946]

If writing a direct sequel (a sequel that starts where the first work left off) to a previous screenplay, how would the 3 act structure work in that situation?

[@ClickImagination]

Hi Ethan. Great question. The structure would still be the same model as it applies equally to acts, sequences and scenes. It’s scalable. Is the sequel a follow up - ie the first film is already released - or are you are planning for a sequel as you are writing the first. For films to be satisfying the hero needs to fix a flaw or weakness and change at the end. This is usually - and best - if it’s fundamental and that’s often had to achieve in a sequel. You could decide to make a trilogyy and draw this to a conclusion across several films. If so, you still need to build a personal journey into the individual films. WARNING: If you are writing a spec script don’t weaken it by stretching it too thin. Planning for a sequel is sensible but make sure the original is compelling in its own right. Thanks for posting.

[@wilwilson8146]

1:35 - shark

[@appledough3843]

I'm making a comic and it'll have 3 main parts. 3 different stories that connect and has an overarching story. Each part has enough content to be as long as 50 episodes or so with each being 30 minutes in length. Can I add elements of the 3 act structure to this?

[@ClickImagination]

Yes absolutely. it’s - beginning , middle and end. Set up, story, pay-off. Best of luck.

[@appledough3843]

Sounds good. Thanks a lot!

[@appledough3843]

I have another question. Can I apply the 3 act structure to each story and also to the overarching story? Any suggestions on how to structure?

[@ClickImagination]

Hi. Yes, you can apply to every story, act, sequence, scene and sentence. It's just a beginning, middle and end. All the best.

[@appledough3843]

Click Imagination Well I meant like the whole ups and downs. You know like how there's a climax in the middle of act 2 and a huge drop at the end of act 2. And how the middle should mirror the end. If the middle is an end point then so should the end. Is that necessary? I've seen that on some other video and was wondering if it was true. Kinda makes it hard to play it to all.

[@eliahmiller9567]

I think this is really helpful but I notice you use only action or adventure films as examples I do know that certain drama changes the game can you explore drama more and romance? I would love to see that!

[@ClickImagination]

Hi. Happy to look at drama. I tend to stick with action and adventure because when i do lectures or workshops the audience tends to know the blockbuster films best. I’ll explore doing a video on drama. Thanks for posting.

[@idamuorie7059]

I feel like you have open my eyes to rewriting my screenplay again. I hired a professional to write my story and it was all wrong. The book was compelling, but the screenplay did not match its emotional roller coaster,.

[@ClickImagination]

Thanks so much for reaching out. So lovely to hear it's helped. All the best for the screenplay.

[@theapexbraves5116]

What if you're writing a tragedy, where the protagonist does *not* overcome his inner demons?

[@ClickImagination]

Hi. Excellent question. In simple terms, you reverse (reflect) the antagonist/protagonist lines so the hero’s high point (beat 3) becomes their low point. Ultimately they fail at the end. It’s much more complex in reality as the antagonist is really a force for change (good) but the hero can’t see - the audience does, of course. This is a less popular structure as audiences really want to leave the cinema feeling good - whereas here they wouldn’t. Thanks for this. I will do a worksheet in a week or so and stick it on the free downloads page of the site. www.clickimagination.com

[@jessicahymow1410]

So for the first 2 acts of my story is in a different time period than the 3rd act is this bad structure

[@ClickImagination]

Hi. Thanks for posting. No, it’s not bad structure. Just ensure the rules established in the first act allow the story to develop seamlessly. For example. You generally don’t want to be establishing new rules for the ‘new times’ as you go along - this impacts on the tension and pace.

[@jessicahymow1410]

Click Imagination yes it's both in the same universe

[@benjamingidley9134]

If you’re working with a large cast of characters this gets a lot more complicated than this video is suggesting

[@thedjangofretts7224]

The magic eye thing is a shark.

[@ClickImagination]

true

[@Nassaldromus]

Darned! I was going tp say that 4 months later! :)

[@MrTonester]

Damn! You get there first.

[@elid377]

Thats nothing but a crappy version of Heros Journey (which is also crap) at the beginning you said its not a formula, well look at your diagram. Truth is, not every story fits this and the more you follow this structure the more you stifle your own creativity. A screenplay has two things: beginning, middle, end, and a good natural dialogue, PERIOD.

[@MrBeastknows]

Also, "beginning, middle, end" kinda like a 1st act, 2nd act, and 3rd act? Just because you're following this structure doesn't mean your dialogue is bad lmao.

[@kadychapman5350]

Well, I mean... I'm writing a tragedy so.... 😅

[@ClickImagination]

Hi Kady. No need to cry. For tragedy just invert the hero and protagonist’s lines so the hero’s line ends at low point. I’ll draw one up and get it onto the website when I get chance - give me a couple of weeks I'm up to my eyes.

[@curtisnewton895]

ok but what if you dont want to make a good old boring modern predictable horseshit hollywood movie ?

[@sinqobilenp_s]

Thank you! ❤️

[@ClickImagination]

Pleasure

[@theplayfuluniversehindi4187]

thank you.😊

[@ClickImagination]

Pleasure.