These sections are broken down for a 120 page (2-hour) screenplay only as an example.
ACT I
SET UP (page 1-15)
We begin with our Hook – the opening scene, which grabs the audience’s attention and sets the tone of the story. We may begin with some prologue or backstory, or a framing device, but in this section we are mostly introduced to the Main Character (MC) in their normal, everyday life. We see their dreams and desires, their inherent problems or unhappiness – things which will justify their actions through the story. Somewhere in here is the Theme Statement, where a character states the central message/theme of the story.CALL TO ACTION (page 15-30)
Following this is a Catalyst-Debate-Decision sequence. An inciting incident occurs which throws the MC’s life off its planned course, presenting them with the opportunity to get what they’ve always wanted. Initially they may refuse the call, or cautiously debate it. But eventually the MC finally decides to go on their journey, stepping into the unknown for the first time (sometimes called “Crossing the Threshold”).ACT II-I
SUBPLOTS AND ROAD OF TRIALS (page 30-45)
Now that the story’s main plot has begun, we can begin our subplots. They can be romantic subplots, mini-stories with our villains or secondary characters, or additional stories told through flashbacks and flashforwards. Subplots need to add to the plot itself, either by deepening character’s relationships with one another, foreshadowing things to come, or giving the audience context for a character’s actions. Meanwhile, the MC is exploring this new world, training and overcoming small conflicts in the initial phase of their journey.MIDPOINT (page 45-60)
Halfway through your story, we have a major plot point. It can be a victory, a defeat, a breakthrough, or an unforeseen obstacle. Maybe your MC gains allies, or the team gets separated from one another, thrown off course by a shocking revelation, or maybe they achieve a milestone they’ve been working toward so far. Romantic pairs fall in love, kiss, or have sex for the first time. These kinds of big, exciting moments keep the story from dragging in the middle and losing the audience’s interest.ACT II-II
DOWNTURN (page 60-75)
Things suddenly get worse for the MC. Major characters die, the mentor character is gone, the romance is broken up. The antagonist gains power and succeeds in doing what they’ve been threatening to do, upping the stakes and resolving the main tension of the story’s conflict. All hope is lost. They failed, and are tempted to abandon their journey and go back home. (Cue sad montage.)UPSWING (page 75-90)
The MC gets advice or encouragement from someone who cares about them. Despite how beaten down they are, all the remaining characters manage to band together to formulate a plan. Ultimately, they decide they’ve come too far to turn back now, and need to come back swinging.ACT III
FINALE (page 90-105)
This is where the main plot and all the subplots comes together in the action-packed climax of the story. It’s a battle sequence, chasing after the love of their life so they an profess their love, defeating the monster, or catching the murderer. But since the main tension of the story was resolved in the Downturn, a new source of high-stakes conflict needs to be introduced. With the Twist In The Third Act, a ticking time bomb is set up, and we are afraid that a character might die, or something important might be lost or destroyed.RESOLUTION (page 105-120)
After the highest point of action in the climax, we have the final lag of our journey. Your MC should be a changed person, the opposite of what they were at the beginning of the story. They no longer wish to return to their original life, having achieved some inner peace and defeated the fears that initially held them back. There are a lot of ways to end a story, but whether you want go resolved, unresolved, happy, tragic, plot twist, or segue into the next book, it has to be emotionally satisfying for the audience. The story concludes with the final scene (a reflection of the opening scene), reinforcing how the events at the beginning of the story tie into the end, making everything feel whole and complete.