Anyone who has followed this blog with any regularity knows that I am an advocate of 3-Act structure, especially for new writers trying to break into the business. The reason for that is because as a former studio reader I know that studio readers are first and foremost on the lookout for any reason to pass on a script. It’s always easier to explain why you passed on a good script than why you recommended a bad one. So the first thing a reader will look for is the strength of the structure. Does Act I end between pages 25 and 30? Act II between pages 85 and 90? If you’re an established writer or filmmaker, you can get away with playing with the structure. If not, and the structure is not up to standards, whether intentionally or not, the reader will presume that the writer is an amateur, doesn’t know what he or she is doing, and pass on the script.

That is why it is so important for new writers to pitch scripts that are structurally sound and up to industry standards.

But is it really the only way to write a script or tell a story? The simple answer is, “of course not.” The history of cinema is replete with successful and popular and great films that did not conform to standard 3-Act structure. Many novels have been adapted into terrific movies that did not conform to that structure. The case could be made that Gone With the Wind, one of the greatest films of all time, does not easily fit into 3 acts, and yet it is a riveting film that has sold more tickets at the box office than any other film in history.

So what is the secret? What is the trick to writing a screenplay that does not necessarily conform to structure? Do I have to be Stanley Kubrick who told Full Metal Jacket in 2 acts and A Clockwork Orange in four acts? Likewise, does it have to be Casablanca, which is also told in four acts? Furthermore, the case could be made with Casablanca that Act 2 and Act 1 have swapped places, followed by acts 3 and 4. I could make the case that Rick’s Ordinary World was being in Paris with Ilsa, and he Crossed the First Threshold into the Special World of Act 2 when Ilsa doesn’t meet him at the train station, and he’s forced to leave Paris without her.

Obviously the trick is having a kick-ass story.

Yep, that’s all there is to it. Just write one of the great stories of all time, and no one will care about the structure. (Do you smell the sarcasm?)  All kidding aside, there is certainly room for films that don’t follow the standard structure. There are as many ways to tell stories as there are stories to be told. In western cultures, it’s important for stories to have a beginning, middle and end, which implies the 3-act structure, but it doesn’t require fanatical obedience to it. Now, if you’re a writer who is still trying to make a name for yourself, you need to show that you can follow the rules before you show that you can effectively break them. That’s why it’s most important as a writer to know 3-Act structure. It’s important to know the Hero’s Journey. It’s important to demonstrate in your early writing that you have a grasp of these concepts. And you know what? That will make you a better writer. Imagine that. Having an understanding of the fundamentals of a discipline will make you more competent at that discipline. It’s a radical concept, I know, but one worth considering. Like Brad Hamilton told Jeff Spicoli in Fast Times at Ridgemont High, “Learn it, live it, love it.”

The trick again is not using 3-act structure as a crutch, but to tell an amazing story that people want to hear or see in a theater. Let the structure be your guide. It can help you get past mental blocks. It can help you develop a compelling plot. And then, once you’ve mastered the art and the technique of writing in 3-Act structure, you’ll have the ability to make the structure fit what you’re doing. You’ll be able to make the structure work for you. You may even be able to write a story that completely ignores it. Just make sure that the story is good enough, the characters are engaging enough, and the writing is solid enough that a studio reader or executive or producer won’t be able to ignore it.