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WRITING THE SIX ACT TWO-GOAL NOVELCreating and Structuring Plot for Genre Novels and Narrative Non-Fiction
Links: Field's Three Act Structure; Siegal's Nine Act Structure
Author Salon has developed the Six Act Two-Goal novel structure for writers of book-length fiction and nonfiction. We expect further refinements to the outline below, but the point here is to understand and utilize a tightly plotted act structure, similar to that used by screenplay writers, to effectively brainstorm and outline a very competitive and suspenseful plot for the genre novel, i.e., fantasy, SF, YA/MG, mystery, and so forth. Upmarket or literary fiction with a strong plot also benefits.
We combine Siegal's "nine act structure - two goal" screenplay (very much like the Syd Field three act except that the "reversal" from Field's structure becomes the "Act 5" in Siegal's version) with the Field classic three act. The Two-Goal Structure, Siegal maintains, creates more dynamic plot tension due to the insertion of PLOT REVERSAL later in the story, and we concur with this.
In the opening of a story, the protagonist(s) are focused on a major goal begun by the first major plot point that starts the second act (in the Field model), but by the middle of the second act or later, they realize they have pursued the wrong goal. The protagonist(s) are forced to alter their course and struggle for a new, more accurate goal.
The fusion of the Siegal and Field models we outline below thus becomes a tighter six act model for the novel or narrative nonfiction.
Note that pages referenced are double-spaced and approximate for each act, overlap and variation always likely, and for an average 400 page manuscript ("+" notes the possibility of a somewhat higher page number).
ACT ZERO
The backstory necessary to set up the first act or story opening, but does not directly appear in the story except by use of flashback and other methods to deliver exposition. Writers set up the disaster that is coming in the story. Forces need to already be in motion before the story begins in order to create conflict for the characters. Usually the emphasis for the backstory will be on the antagonist, but even protagonists carry baggage into the story. Years and years of planning might have gone into planning the collision course in the story.
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ACT ONE (Page 1 - 30+)
The conflict begins. Establishes the physical location and time period of the story and creates an immediate hook. IN MEDIA RES may be employed here ("beginning in the middle"). Regardless, something bad happens (Chief Bromden gets EST in the Cuckoo's Nest or alien life forms emerge and heat-ray Los Angeles) or has just happened (murder victim found in the mayor's plum tree). The protagonist and his or her cadre, and the villain and his or her flying monkey minions, are introduced to a meaningful degree.
The primary antagonist might remain a mystery (Lord Voldemort in Harry Potter), or be introduced first (the Big Nurse in Cuckoo's Nest or the Opus Dei albino in Da Vinci Code) to produce dramatic concern for protagonist later. Character sympathy factors in the first 20 pages critical for connecting with the reader. While the development happens, events propel the characters towards the next act in the story. Foreshadowing elements are employed by writer.
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ACT TWO (Page 10+ - 50+)
The first MAJOR PLOT POINT. The protagonist commits to the first goal (McMurphy decides to shake up The Big Nurse or Brenna begins her odyssey to find dad before the Mafia does). She or he may go willingly into the situation because the alternative is worse, or to help an apparent victim. Under involuntary conditions, someone may push the protagonist into situation, either for malicious reasons or for the character's own good. The RISING ACTION of the story truly begins.
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ACT THREE (Page 50+ - 250+)
The dramatic pursuit of the goal evolves. Minor reversals take place. The protagonist(s) struggle, perhaps score small victories of one sort or another, but these are usually reversed. After crisis point or the MAJOR PLOT REVERSAL (e.g., in Stephen King's MISERY when the author has his knees sledgehammered by Kathy Bates--Ouch!), the protagonist realizes she or he is pursuing the wrong goal. This act is where the complications of the plot pile up.
Backstory issues, mysterious strangers, twists and turns, and events; all point out that the protagonist is on the wrong track, and the antagonist is winning (the Big Nurse is slowly tightening a noose around McMurphy's neck). This act ends when the protagonist realizes he is going after the wrong goal, usually at the villain's peak in the story.
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ACT FOUR (Page 250+ - 375+)
Opens with the SECOND MAJOR PLOT POINT as protagonist pursues the new and truly productive goal (the author of MISERY decides to write the novel Kathy wants in order to enact his new scheme to escape). The characters get that final clue, the missing piece to the puzzle, which allows them to make the necessary changes to successfully complete the plot line. This builds to CLIMAX, and the protagonist will usually win out over the antagonist, but victory or success must come at a price (such as the death of a favorite character--the sheriff in MISERY is killed by Kathy just before climax).
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ACT FIVE (Page 375+ - 400+)
Denouement wherein all loose ends resolved, a final surprise perhaps, hint of the sequel perhaps, but readers on their way with the emotions the writer wants them to feel (Fitzgerald actually saved final exposition regarding Gatsby for the denouement following Gatsby's death).
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