> 1) The 3-Act Structure: > Act I - Introduction to the world, all main characters, and the major “want” of the protagonist. At the end of this act, something changes so that the protagonist’s goal shifts or the stakes become raised. > Act II - Introduction to the B-plot characters (often comic relief), and the protagonist moves toward their main goal with speed and/or great determination. At the end of this act - right before the intermission - the protagonist reaches a Point of No Return. > Act III - After a lighthearted opening (usually from B-plot characters), the protagonist must find a way out of the bind they have gotten themselves into, to find their way back to a new normal with their goals (hopefully) completed. Plus a big closing number or captivating final moment. > > 2) The 5-Act Structure: > Act I - Same as above. Act II - Introduction to the B-plot characters (often comic relief) and the protagonist begins making advances toward their new goal. There is a little more time and calculation than action, but by the end of this act a major decision has been made. Act III - The protagonist now moves toward their main goal with speed and determination. At the end of this act - right before the intermission - the protagonist reaches a Point of No Return. Act IV - After a lighthearted opening (usually from B-plot characters), the protagonist has the opportunity to revel in their successes. Then things begin to go wrong and spiral quickly, leading to the greatest low-point at the end of this act. Act V - This act generally opens with the biggest moment of comedy or fun in the entire show (ie. the gravediggers in Hamlet, or “Officer Krupke” in West Side Story). After this, the protagonist must find a way out of their troubles to make their way back to a new normal with their goals (hopefully) completed. Plus a big closing number or captivating final moment. > > Tips 1 & 2: Try applying the two standard models. > 3) Constantly raise the stakes. We all love a good story - successful or tragic - but we have a tendency to lose interest if the stakes don’t raise as we go further into the story. Often, this means things simply get messier and more complicated, but sometimes it’s about the personal importance of the goals to the protagonist. Either way, by the time intermission lights come up, the stakes should be - or feel like - life or death. > 4) Don't let the pacing slow. Generally, you have the most “playtime” at the beginning of a show to introduce the world and characters before the action really begins. But once it does, the pacing of the main action should never truly slow. Notice that it’s the main action that doesn’t slow - B-plots and moments of fun/rest are almost always welcome (particularly in musicals). But then immediately...back to the action! > 5) Grab 'em at the top. The opening of a show should bring the audience directly into the world and lives of the characters, and there isn't much time to make this happen. There's a rule that plays have about 20 minutes to pull us in and musicals have 10. By the end of that time, you should have us prepped and ready to follow wherever the show may lead. > 6) Use benchmarks of conflict. The most important thing to note here is that the audience never wants a protagonist’s journey to be too easy. Stories are all about conflict, and we want to watch people overcome the tremendous obstacles that have been thrown in their way. It’s also a great way to give the audience signposts as to where exactly in the main journey we are, and how far there might be left to go. Or try these tips on Journey and Emotional Arc: T O P S T R U C T U R E T I P S Michael Radi's TOP 10 Structure Tips > 7) Add moments of rest. Audiences need these. Non-stop action can work in a movie, but it’s far more taxing in a piece of theatre. These moments of rest should come directly after the largest moments of conflict in the main story, and are generally most satisfying when they involve side characters. Rest moments do not need to be comedic, but audiences do love a good laugh! > 8) Use the Point of No Return to make the audience...return. This moment in the story must be so compelling that the audience has no choice but to return for the end of the show. Preferably, it’s also a moment that is energizing and gets a little bit of buzz from the audience as they stretch, run to the restroom, or hit the concessions line. > 9) Put the biggest rest or laugh moment halfway through Act 2. I’m not exactly sure why this is as satisfying as it is, but it truly works. Directly after the protagonist hits their absolute lowest moment in the story, the next moment of rest should be an absolute delight. It’s not a hard and fast rule, but it does tend to work particularly well. > 10) The final moment is everything. Openings are great. Act 1 closers are great. Comedic songs are great. 11 o’clock numbers are great. Everything when done well is great. But, the final moment of a show can make it or break it. An incorrect final moment can leave an audience confused, upset, or even angry. But a perfect final moment can erase the less perfect moments from the mind, leaving the audience happy and satisfied. Tips on Journey and Emotional Arc continued: T O P S T R U C T U R E T I P S Michael Radi's TOP 10 Structure Tips Go forth. You ' ve got this.