For new writers, an understanding of story structure is essential.
Yet, today, this is almost impossible due to the enormous variety of conflicting theories and views. The scene is filled with controversy and confusion. Three act, five act, nine act, no act… which is it? How does it matter? What will it get you? Writers need to get on with the important work of writing great stories.
This essay is intended to get a handle, once and for all, on story structure. So much has already been written on the subject that the new writer investigating her/his craft is confronted with literally hundreds of volumes of conflicting information and theory, ranging from authorities proclaiming structure as “God” to others arguing that structure is a myth. It is interesting how the subject has begun to take on the trappings of religion. The “guru” fervor has reached an all-time high.
In order to deal with all the confusion, we’ll have to go to some effort to lay a foundation, before advancing an approach to story structure that applies to the length and breadth of storytelling. From there, the rest of the text is devoted to testing the idea against some of the most well-discussed, “structure-less” films in cinema history.
Table of Contents
Preface
Structure: A Dissent – I
Sources of Structure
Structure from Character
Improving Structure
Screenwriting as Religion
Structure: A Dissent – II
On The Levels
Yes, But Does the Arc Float?
Let’s Test It
A HARD DAY’S NIGHT
ANNIE HALL
NASHVILLE
PULP FICTION
Variants
THE SIXTH SENSE
MEMENTO
The Man Behind the Curtain
So What?
Afterword
Additional Levels in the Multi-Level Model
Objectives & Core Themes
This work aims to resolve the widespread confusion surrounding story structure by proposing a unified "Multi-Level Model" that integrates both surface-level plot mechanics and a deeper, character-driven logical structure. The author argues that true story structure is fundamentally a function of the protagonist's transformation, challenging the rigid "guru" models that prioritize mechanical act-counting over emotional resonance.
- Deconstruction of existing screenwriting paradigms and guru-led "rules."
- Introduction of the Multi-Level Model: physical vs. logical structure.
- The role of the "Arc of Transformation" as the essential component of story unity.
- Practical application of the "Sequence Approach" for narrative management.
- Critical analysis of "structure-less" films to prove the consistency of the proposed model.
Excerpt from the Book
Structure: A Dissent – I
In this section and the next, we will examine the nature of structure. Structure has become such a thorny issue in screenwriting circles, however, that we need to demolish all of the misunderstanding and build a definition of structure that actually works for writers. First, we need a serviceable description of what true story structure is. Then we need to employ it in a model that encompasses all of narrative film. The truth is this has never been adequately done until now. I realize that may seem arrogant. So, let’s test it. Let us see if, after I have put this claim up against every so-called “structure-less” movie I could find, it doesn’t hold up. (See my analyses ahead in Structure: A Dissent - II) For the record, my definition of a “movie” is: all mass-audience, narrative fiction, feature-length, theatrical films exhibited to enlighten and/or entertain for profit.
There has been a great deal of confusion as to just what the term, “structure” refers to when it is applied to screenwriting. Many students of the form regard structure as merely the manner in which story plots are put together. This, as I will show, is due to widespread misunderstanding and multiple conflicting definitions of the term in several screenwriting books over the past 20+ years, and in numerous university curricula around the world, not to mention that dictionary definition.
Summary of Chapters
Preface: Addresses the prevailing confusion in screenwriting theories and sets the stage for a grounded, foundational approach to story structure.
Structure: A Dissent – I: Defines the necessity of a new structural model and establishes the author’s baseline definitions for "story" and "movie."
Sources of Structure: Examines the historical origins of act structure, specifically referencing Aristotle’s Poetics, and discusses how these concepts were adapted into modern screenwriting.
Structure from Character: Argues that the plot point is a function of the main character, placing the protagonist at the center of structural integrity.
Improving Structure: Discusses the Campbell-Vogler "Hero's Journey" model, weighing its value as a plot tool against its limitations in capturing internal transformation.
Screenwriting as Religion: Critiques the culture of "gurus" and the arbitrary, restrictive rules that have evolved around screenwriting practice.
Structure: A Dissent – II: Explores the multi-dimensional nature of story structure, drawing parallels to computer network topologies and complex narrative layering.
Yes, But Does the Arc Float?: Provides the central test for story structure: asking "whose story is it?" and charting the resulting arc of transformation.
Let’s Test It: Applies the author’s structural theory to films often cited as "structure-less," such as A HARD DAY’S NIGHT and ANNIE HALL.
So What?: Concludes that while structural models are beneficial for writers during the conceptual phase, the ultimate test of a story is its ability to resonate with the audience.
Afterword: Expands on the Multi-Level Model by introducing "Sub-Logical-Levels" such as the Image-Level and Aural-Level, which further enhance narrative meaning.
Keywords
Story structure, screenwriting, Multi-Level Model, Arc of Transformation, protagonist, plot points, narrative, logical structure, physical structure, character growth, film theory, screenplay, dramaturgy, meaning, sequence approach
Frequently Asked Questions
What is the core argument of this work regarding story structure?
The work argues that most current screenwriting "rules" are merely surface-level distractions. True structure is a "deep" or "logical" level phenomenon tied to the transformation of the protagonist, which provides the necessary unity to make a story meaningful.
How does the author define a "movie" for the purposes of this analysis?
The author defines a movie as any mass-audience, narrative fiction, feature-length, theatrical film exhibited for the purpose of enlightenment or entertainment for profit.
What is the "Multi-Level Model"?
It is a framework that separates story into levels: the physical level (the surface plot), the logical level (the character's arc of transformation), and the sub-logical levels (thematic elements like symbolism, imagery, or music that support the deeper meaning).
What is the primary scientific or analytical method used by the author?
The author employs a comparative analysis of successful films—including both traditional and "non-traditional" narratives—testing them against a consistent structural hypothesis based on the protagonist’s growth (or lack thereof).
What happens to a story if it lacks an "Arc of Transformation"?
According to the author, a story that lacks this internal transformation effectively fails, even if it has a perfectly executed physical plot structure, because it lacks the "connective tissue" required to resonate with an audience.
What are the fundamental components of the "Three-Component Model"?
The model includes the initial burdening of a hero with a dilemma, the hero's escalating struggle to resolve that dilemma, and the final resolution where the hero gains illumination or growth.
How does the author explain the non-linear structure of MEMENTO?
The author argues that even with its reverse-ordered sequence, MEMENTO possesses a classic "Fieldian" structure when analyzed through the lens of the protagonist's quest and the audience's mental re-assembly of the story.
Is the traditional "Three-Act Structure" truly a myth?
No; the author posits that the three-act model is accurate, but it is frequently misunderstood because proponents look only at surface events rather than the underlying character transformation that necessitates those three parts.
- Quote paper
- Lee Matthias (Author), 2019, Story Structure in Film. The Multi-Level Model, Munich, GRIN Verlag, https://www.grin.com/document/458649
