Okay. Six-Act Structure is Here, Writers. Get Ready.
The act in a story is something that we all hear about once we’re writers (or if you study writing).
In Western literature right now (and for a long time before now), a good majority is in three-act structure.
Sexy, right? Stay with me. It’ll get better.
STARTING WITH THE THREE-ACT STRUCTURE
So, three-act structure is just:
Still super dull and not terribly helpful, I know! (Side note: if you want me to write more about three-act structures, just let me know though.)
It’s all about structure and as JMJ Williams wrote, “Whether it is a three-act structure, a four-act structure, a six-act structure, a 15-step beat sheet, or a sequence method (such as the Mini-Movie Method), they all are trying to capture the same thing — breaking down the narrative structure of a story into its essential logical elements.”
STILL TALKING ABOUT THE THREE-ACT STRUCTURE
This is the super simplest way I have to explain this three-act-structure thing because I want to move on.
Act 1: Setup – This is where we meet the characters, learn about the setting, know what kind of story it is (hamstercore, mystery, thriller, literary, etc,) and where see what the main character wants and yearns for.
Act 2: Confrontation – Things build up. The main character decides to go after their goals and fails or the goals change and the stakes get bigger and higher and worse.
Act 3: Resolution – Things get figured out. The hero usually takes action to get their goal or to fail.
THE SIX-ACT STRUCTURE AND ACTIONS AND GOALS
Marshall Dotson’s book, The Story Structure Secret: Actions and Goals (2016) takes that structure and tweaks it. Instead of talking about rising action and somewhat abstract terms, he instead analyzes story as “actions and goals” and creates a six-act structure focusing on these instead.
The 6-Act Structure looks pretty much like this:
Setup
Act 1: The hero is dealing with an imperfect situation - initial goal but something is oppressing the hero, keeping them from that goal.
Act 2: The hero learns the rules of an unfamiliar situation. Here the goal is a transition. There is incidental oppression
Confrontation
Act 3: The hero stumbles into the central conflict. The goal is false. the oppression is intentional.
Act 4: The hero implements a doomed plan. We have here the penultimate goal and the opposition? It’s self-inflicted.
Resolution
Act 5: The hero tries a long shot. And, um, now it is the ultimate goal and the biggest oppression.
Act 6: The hero lives in a new situation.
He then breaks each of these down even more, so things look like this:
*Note his definition for “inciting incident” isn’t the only definition for that term. Writing terms can get confusing.
But if you look at that worksheet up there you can see the way it’s very focused on the goals of the main character, right?
And that’s what interests me—that approach to story as an action and a goal and what keeps the character from getting where they are going. For some of our brains, this is an easier way to understand story structure.
PREVIOUS INFO
Back when I did 28-days of Writing Posts (so, February and the We Are Writing Celebration), I talked about six-act structure in a bit more traditional way. That post was for paid subscribers, but I’m going to paste some of that content here, too, since it seems relevant. Plus, it’s cool to see how that six-act structure can be looked at in a way that’s not as action-goal oriented.
Below is my quick explanation of each act, along with examples to illustrate how they each work.
1. Act One – Setup / Introduce the Ordinary World
This act introduces the protagonist, their world, and their initial struggles. It establishes key relationships and foreshadows conflicts to come.
Key Elements:
The protagonist’s status quo
Hints at internal and external conflicts
Inciting incident or catalyst event
Example: Harry Potter and the Sorcerer’s Stone
We meet Harry living with the Dursleys, unaware of his true magical heritage. He’s treated poorly and doesn’t feel like he belongs. The inciting incident occurs when he receives his Hogwarts letter, upending his ordinary world. I am still waiting for my letter.
2. Act Two – Inciting Incident & First Turning Point
The protagonist is thrust into a new situation, often reluctantly, and starts to react to the challenges ahead. This is where they encounter obstacles, mentors, and enemies.
Key Elements:
The protagonist crosses a threshold into a new world
A major turning point forces them to commit to a journey
Secondary characters start to play a more important role
Example: The Hunger Games
Katniss volunteers as tribute in place of her sister, leaving behind her home and stepping into the Capitol’s cruel and unfamiliar world. She meets Peeta, her supposed ally, and realizes how dangerous the Games will be. That naughty Peeta! Or is he?
3. Act Three – First Major Obstacle & Raising Stakes
Challenges mount as the protagonist navigates the new world. They might win small victories, but the conflict grows in complexity. A false sense of security often appears here.
Key Elements:
First major failure or setback
Rising action that increases tension
Development of key relationships
Example: The Lord of the Rings: The Fellowship of the Ring
Frodo and his gang of cuties set out with the Ring, facing obstacles. They seem to be managing until Gandalf falls in a very big way. This makes a fail.
4. Act Four – Midpoint Shift & The Crisis Deepens
A pivotal moment reshapes the protagonist’s journey. Often, they gain crucial insight or make a choice that leads them deeper into conflict.
Key Elements:
A major revelation or turning point
Stakes are raised significantly
The protagonist may become more proactive rather than reactive
Example: Pride and Prejudice
Elizabeth rejects Darcy’s first proposal, which forces her to reevaluate her judgments. She learns more about Wickham’s true nature, shifting her perception of Darcy and changing her internal conflict.
5. Act Five – The Low Point & Final Push
This is the "all is lost" moment, where things seem hopeless for the protagonist. They may suffer a personal or external loss before making a final decision to act.
Key Elements:
A major personal or external failure
The protagonist’s darkest moment
The final, committed decision to act
Example: Star Wars: A New Hope
The Death Star has destroyed Alderaan, Obi-Wan Kenobi is dead, and Leia is captured. Luke faces self-doubt, but he chooses to continue the fight with the Rebellion for one last attempt. Good luck, Luke!
6. Act Six – Climax & Resolution
The protagonist faces their final confrontation. Their choices throughout the story lead to this ultimate test. Afterward, loose ends are tied up, and a new status quo is established.
Key Elements:
Final battle or confrontation
Resolution of key character arcs
A new normal is established
Example: The Hunger Games
Katniss and Peeta make a final stand against the Capitol’s manipulation by threatening to eat the poisonous berries. This forces the Gamemakers to let them both win, establishing Katniss as a symbol of defiance.
Cool, right?
Why Use the Six-Act Structure?
It provides a clear roadmap while allowing flexibility.
It keeps the tension and stakes rising consistently.
It works well for both character-driven and plot-driven stories.
It makes you sound fancy.
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I'm glad more of us are talking about structure like this. Earlier this year I wrote an essay building up an understanding of act structure from what I called "first principles" AKA the inescapable parts of storytelling so as to arrive, backwards, at a structure which only contained the strictly necessary parts of a story.
I found that, really, 3-acts, 5-acts and 6-acts all group the same key moments of plot, just differently to each other. The more useful thing I think is understand what those key moments are, and how accurately identifying each one in your story—for risk of having your first act take half your page count because you mis-identified it as your midpoint... for instance (no, I'm not speaking from experience, what meee, nooo neverrrr)