Writing Excuses 21.18: Deconstructing the Three Act Structure
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May 3, 2026 Margaret Dunlap, a screenwriter and prose author, breaks down the three-act structure as a flexible storytelling tool. She unpacks Act One’s setup, Act Two’s try–fail cycles and midpoint turns, and Act Three’s confluence and climax. The conversation also tackles avoiding the soggy middle and giving the ending room to breathe.
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Act One Must Establish Ordinary World And Stakes
- The first act establishes the ordinary world so the audience knows who to care about and what story to expect.
- Margaret Dunlap warns this doesn't mean a slow, inert opening; you can show change or tension early while grounding characters and stakes.
Signal Your Story Within The First Pages
- Do signal the story and stakes very early; modern readers expect to know the core action within the opening pages.
- Margaret advises showing what the story will be about before page five and giving readers something to worry about or hope for.
Pose A Central Dramatic Question Early
- The opening should pose a central dramatic question (yes/no) that frames the reader's investment, like 'Will they get the girl?' or 'Will they stop the terrorists?'.
- Mary Robinette Kowal notes even thematic micro-problems (a squeak) can seed escalation toward that question.
