Category Archives: 3 Act Paradigm
Working within the 3-Act Structure of a screenplay, the writer has to be aware of many structural plot points that work cohesively to craft a great story. The Main Character/Hero/Protagonist will start off in most genres with “A Running Start,” as opposed to a “Community Start” (characters dancing at a wedding, etc.), or a “Slow Start” (a narrator whom we are mystified as to his identity).
Therefore, with the “Running Start,” the Hero will usually be introduced in the first few pages of Act 1. But wait!! Exceptions:
An example would be the Crime Genre, in which the crime is enacted in the first few pages of Act 1. Also, in the Crime Genre, the crime could be the Inciting Incident. This is the incident that acts as a catalyst for the Hero to engage in the action of the story. The Inciting Incident in Crime Genre and other genres will usually occur on page 10, 11, or 12, or 10, 11, or 12 minutes into the story. To sum up, the Hero will start off with “A Running Start” oftentimes after the crime, and the crime will occur in the first few pages of the story or on p. 10, 11, or 12 of the story.
In “Lincoln Lawyer,” a Redemption Story, Micky Haller is introduced to the crime after he has come face to face with the Main Opponent of the story. At this point in time, there is no REVEAL to the Hero or to the audience that Micky Haller is looking into the eyes of a psychopath. The face to face moment occurs at the “Inciting Incident,” on page 12. And then the Hero will have a meeting with the Main Opponent and his mother and their family lawyer, and the crime the Main Opponent is accused of is related in Flashback. The Hero is off to a “Running Start” to find the murderer.
In “Witness,” the crime is committed as part of the “Inciting Incident moment,” on p. 13, and this crime is witnessed by a little Amish boy in the bathroom of a train station. The Hero, Detective John Book, is introduced after the crime has been committed, right after the Inciting Incident. John Book is now off to a “Running Start” that will take him into Amish country to hide the boy until Book can confront the murderer, a dirty cop.
However, in “The Fugitive,” the crime is in motion on the opening page of the story. The Hero is taken into custody because he is in his home, covered with blood, with scratches on his neck when the police arrive after his dying wife has called 9-1-1. The Hero, Dr. Richard Kimble, is in the interrogation room of the police department and the crime is slowly revealed with Cross-Cut Flashback technique. The Hero is then off to a “Running Start” from the moment he is sentenced in court to lethal injection for the murder of his wife, which he did not commit.
The “Running Start” is a preferred way to open a story because the Hero is going for his Goal/Desire from the getgo. This ramps up the Narrative Drive of the story and it’s what keeps viewers on the edge of their seats.