Three-Act vs. Five-Act Structure

When writing a story, having a solid structure for your narrative can be the difference between a well-paced masterpiece and a total drag. The three-act structure is a simple, traditional framework with a clear beginning, middle, and end, ideal for straightforward narratives. The five-act structure, on the other hand, adds more depth with additional rising and falling actions — making it better suited for complex, character-driven stories. These are two of the most classic structures in storytelling.

When deciding which of these structures to use (if any!), consider how fleshed out you want your story to be. Does your protagonist need time to reflect once the main action has dissolved? Do you have lots of characters with complex personalities and their own subplots? 

There’s a lot to think about, and the choice really depends on the kind of story you want to tell. The 3-act structure is simple, flexible, and ideal for most novels, especially genre fiction. It moves through a clear arc, which can be easier to work with. The 5-act structure, on the other hand, offers more nuance and is particularly useful for layered narratives or character-driven stories. If you’re new to plotting, the 3-act structure is less of a challenge, but if your story has multiple turning points or an ensemble cast, the 5-act structure can give it more shape and depth. Let’s take a closer look at the two.

What is the three-act structure?

Favored by Aristotle, this structure breaks a story down into three main parts — essentially, a beginning, middle, and end. Next time you read a book or watch a movie, pay close attention and see if you can notice these distinct acts.

The three-act structure is important because it’s a great way to anchor a story, keep the audience engaged, and present a well-rounded narrative. Without understanding the characters (act I), the audience won’t be bothered by their downfalls. With no confrontation (act II), there are no stakes and the tension wanes. And finally, with no resolution (act III), you run the risk of irritating your reader through the lack of a definitive ending. 

Now let’s get into the individual acts themselves.

Act I: Setup 

The first act introduces the protagonist and the hook, which establishes the story’s theme and tone. Then comes the inciting incident — the key event that kicks off the plot and often presents an opportunity for change. The turning point follows once the protagonist decides to make that change, setting the story up for the second act. 

Here, you can build the world for the reader, showing them whom they should root for and — crucially — why they should keep reading (or watching). 

Let’s look at The Hunger Games, a classic three-act story, to show how each of these components should work.

Setup example: The reaping for the Games

In the fascist-adjacent dictatorship that is Panem, our protagonist Katniss Everdeen is living under the rule of the totalitarian leader President Snow. Throughout the first act, we get a glimpse into her misery and hunger in the poorest district in the region. This is the hook.

We also learn about the Hunger Games: an annual tradition wherein two contestants from each district are thrown together to compete in a fight to the death. When Katniss’ younger sister is chosen to compete in the Hunger Games (the inciting incident), Katniss volunteers to go in her place (the first turning point) — plunging us into act 2.

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Act II: Confrontation

After the setup comes the confrontation: the stage that drives the plot forward. During this act, the protagonist will face challenges and conflicts that restrict or even endanger them. This is called the rising action.

If you introduced an opportunity for change in act 1, now’s a great time to show the protagonist fighting for it. In this act, the story builds through rising action towards a midpoint that stalls the plot. This is then followed by a second turning point that will put our narrative back on the right course (be that a good or bad one), sending the story spiraling into the third act.

Confrontation example: Let the Games begin (literally)

Katniss trains for the games and meets her fellow contestants, introducing the reader to the antagonists. We then follow Katniss through the rising action of the game itself, where she faces seemingly impossible odds. The midpoint arrives when it is announced that two tributes from the same district are allowed to win — meaning that Katniss and Peeta are able to share the victory. However, the second turning point soon interferes, as the rule is cruelly revoked. 

Act III: Resolution

The third and final act is where your story comes to a climax, followed by the falling action and a denouement that wraps up any loose ends and answers the reader's questions (if you feel like being nice!).

Now’s the time to demonstrate the effects of the change that your protagonist may have been fighting for. It’s best practice to have an idea of your story’s resolution before you even start your first act, as this will help you build to a satisfying conclusion. Unless you’re writing a series — in which case, you should still satisfy readers for the most part, but you might also involve a cliffhanger…

Resolution example: Katniss and Peeta win the Games

The final act marks a climactic confrontation between the last three contestants: Katniss, Peeta and Cato. Working together, Katniss and Peeta manage to overpower their opponent. It’s only then that the Gamemakers announce that the original rules have been restored, meaning only one of them can win after all.

However, rather than turning on each other, Katness and Peeta threaten to eat poisonous berries so that no victor can be crowned — marking the climax of the story. Eventually, they are both allowed to win.

The aftermath of the games is wrapped up in a satisfying denouement. However, author Suzanne Collins leaves readers with a lurking sense of dread — the cruel leader, President Snow, still rules Panem, and the barbaric Hunger Games will continue. Ending on somewhat of a cliffhanger, the story ends with enough questions to justify a second book.

More three-act structure examples

As the three-act structure dates all the way back to Ancient Greece, it’s no surprise that there are too many examples of it to name! Even in the modern day, most stories follow this timeless structure. We can essentially boil it down to a beginning, middle and end — I mean, how many stories have you read that don’t follow that pattern?

Regardless, here are some of my favorite examples of the classic technique: 

What is the five-act structure? 

Essentially a more detailed version of the three-act structure, this permutation singles out two more parts — rising action and falling action — to stand on their own, more substantially than they do in the three-act structure. This helps flesh out the story further, allowing more space for subplots and tangents without veering into total chaos.

Ever read a story with too many plots to follow? Looking at you, George R. R. Martin; well, A Song of Ice and Fire isn’t actually the five-act structure — it arguably fits into three acts, but that’s a whole other topic. Essentially, using five acts rather than three lets you get into the nitty-gritty of character development, complex themes, and secondary storylines. 

Here’s a breakdown of each act, using The Girl with the Dragon Tattoo as an example.

Act I: Exposition

Similarly to the three-act structure, the first act here works to introduce the characters, setting, and the initial “dramatic question.” What’s that, I hear you ask? Well, it’s only the big question that ties your entire story together! Establish this in the first act and pitch it subconsciously to your reader. Have them asking, “Will they get together?” or perhaps “Who is the murderer?” 

Alongside the dramatic question, make sure to also include an inciting incident in this act — something that spurs your protagonist to fight for change.

Exposition example: A deal is struck

Journalist Mikael Blomkvist is framed for libel, plunging his career into disgrace. Not long after, he is approached by wealthy industrialist Henrik Vanger — who offers Blomkvist a large sum of money to investigate the cold-case disappearance of Vanger’s niece, Harriet. Grappling with this inciting incident, Blomkvist soon agrees to look into the case.

Act II: Rising Action 

Next, the central conflict escalates, with the protagonist encountering challenges and plot twists. This part is all about building suspense and tension, with the introduction of the first major turning point and progressive complications for the protagonist — keeping the reader thoroughly engaged.

What stands in the protagonist’s way? Why can’t the dramatic question be answered yet? This act is where you establish these elements for your reader.

Rising action example: Dark family secrets

Blomkvist begins investigating the twisted Vanger family, slowly uncovering their strange and isolated lifestyles with progressive complications from certain family members. Hacker Lisbeth Salander joins him after conducting background research, and they uncover evidence of serial murders linked to the family. This marks the first major turning point of the novel.

Act III: Climax 

Following from the tension that arose in the last act, the climax (or midpoint) is the peak of the story’s conflict, where the main confrontation occurs. Perhaps the protagonist finds out a crucial piece of information, or maybe there’s an actual fight scene!

Either way, this is usually where things start to change for the protagonist — perhaps they work out who the killer is (but they don’t capture them just yet) or they realize their crush has feelings for them. Basically, an important revelation occurs… and its consequences begin to unfurl. 

Climax example: The killer is revealed

Blomkvist and Salander discover that Harriet's brother, Martin, is a serial killer — continuing the legacy of his twisted father, who abused both him and Harriet as children. When Blomkvist goes to confront him, Martin captures Blomkvist, but Salander manages to rescue him. Martin dies fleeing, seemingly committing suicide because he’s been found out.

Act IV: Falling Action

As the tension subsides and the consequences of the climax unfold, the story begins to wind down as the protagonist works on their realizations from the previous act. We observe the fallout from the climax, and follow the characters for a little longer as they work towards the story’s resolution. Sometimes, a second major turning point is also included here.

Falling action example: Harriet’s return

Blomkvist and Salander locate Harriet, revealing that she is still alive and marking the second major turning point of the novel. Having escaped decades ago, Harriet is now living in Australia. After some convincing, she returns to Sweden to reclaim her inheritance and confront her dark past.

Act V: Resolution

In the final act, similarly to the three-act structure, any remaining loose ends are tied up, all questions are answered, and a final resolution is reached. Any subplots come together at this stage. The protagonist finally comes to terms with the ideas that they’ve been toying with — and with any luck, this is where the reader will understand the point of the story.

This ending is a modern adaptation of “Freytag’s Pyramid” — a five-act structure that originated as a framework for tragedies, and rounds off with a catastrophe (always bad) instead of a resolution (which might go any number of ways!). 

Resolution example: Justice is served

Blomkvist uses information that he has obtained from Lisbeth to expose the corrupt businessman who framed him — clearing his name and restoring his reputation as a talented and vigorous journalist. 

Those who initially held power at the beginning of the novel have been dethroned, and the story serves as a cautionary tale against those who abuse positions of control.

More five-act structure examples

Gustav Freytag set the stage for the five-act structure just 160 years ago, meaning it is far newer as a defined structure than its shorter counterpart. That said, there are still lots of examples that were written before Freytag technically coined the term. Shakespeare famously used the structure across many of his plays, including Romeo and Juliet, Hamlet, and Macbeth.

Here are a few more examples: 

In any case, as touched on above, the five-act structure is just a more detailed version of the three-act structure. All stories have a beginning, a middle and an end — longer structures are simply used to add more complexity.

Think of your favourite book or film. Which structure does it follow? Consider these three indicators: complexity, pacing, and focus. If there are many subplots, a lengthy resolution, or a more gradual build of tension, it likely fits the five-act structure. Conversely, if the story seems more cut-and-dried — with little room for themes beyond the main plot, and quicker overall pacing — it probably uses the three-act structure. 

While it’s great to have a structure laid out before you write, it’s often the case that your story will mold and change as you write it. The most important thing is to get writing! You can always find your structure as you go along; don’t let a bit of uncertainty hinder you.