Hollywood Formula Story Structure

Since we have discussed Narrative Arcs, I thought it might be good to go over story structures as well. Story structure merely refers to how you view your story. There is no right or wrong structure as most cover the same concepts. It’s more about finding one that fits your writing style and clicks the best in your mind. Over the next several weeks, I’ll go over six story structures: three methods for pantsers and three for plotters. If none of these six work for you, there are numerous others you can research. I simply selected ones that represent a good sample of various perspectives on story structure.

Let’s start with the most basic story structure and then work up to the most detailed one. This week I will present the Hollywood Formula, originally developed by Dan Decker for screenplays. His goal was to come up with some guidelines for how to squeeze the most emotional value out of a story. Since the goal was to evoke emotions, this story structure is very character-centered. If you like to write character-driven stories, this may be the best method for you.

Hollywood Formula

The Hollywood Formula starts with developing three characters and then follows them through three Acts. Dan describes story in one simple way: A person…does something…it works out. He says each phrase shows the three parts of a story.

• Act I: A person…
• Act II: …does something…
• Act III: …it works out.

Typically, the first part of the story introduces the main character and what that character wants, the second part shows him trying to get his desires, and the last part shows him getting his objective. While all stories can vary, this is how a story works in its most basic form. Let’s look at the Hollywood Formula’s four steps to achieve an impactful story, and then we will see it with an example.

Develop 3 Characters

In this method, every story should have at least three characters. The first is what Dan calls the Main Character, otherwise known as the protagonist. Second is the Opposition, or what writers call the antagonist. The last important person is the Window Character, also known as the sidekick or relationship character. These three are the key characters in every story.

1. Main Character

The Main Character is usually the first person to make a decision in the story. He must want something concrete and achievable. He can’t just want to be loved; he needs to want her love. The readers need to be able to see progress toward the goal throughout the story and see it either achieved or not in the end.

2. Opposition

The Opposition is who makes obstacles for the Main Character. He doesn’t have to be the bad guy. He just needs opposite goals to the Main Character. If the Opposition gets his goal, then the Main Character doesn’t. The opposite is true too. Both characters will chase their objectives, but only one will succeed.

3. Window Character

A Window Character is someone who is present throughout the whole story and supports the Main Character. The Window Character gets his title from being the one who the Main Character often talks to in order to make decisions. He’s a confidant. He should have skills or experience the Main Character lacks. Sometimes the Window Character has a similar goal to the Main Character, but he has a different method to achieve it. At the story’s end, one of them will be “converted” to the other’s method and then achieve the goal.

Act I

Now that we have the three important characters developed, you will start the story in Act I, which makes up about 25% of the story. This first section introduces the three key characters, hints at the genre of the story, and states the story’s theme (usually as a conversation between the Main Character and the Window Character). 

Even though this is a character-centered formula, there are two events that need to happen in Act I. The first one is called a Casual Event. This is when something happens to your Main Character that propels the story forward. It’s an outside force pushing against your protagonist and not something he can control. The second event is the Fateful Decision. This is when something happens because of the Main Character’s choice. It’s a major decision that also moves the story forward, but this is under the character’s control. Often it’s something he cannot get out of once he chooses it though. These events can appear in any order, but both need to happen in the story’s first section.

Lastly, the first section will need to state the Main Character’s Objective. The Objective is simply what the character wants. What’s his goal? The story typically starts with the Main Character having an objective that will change into the Objective for the whole story. A motivation for this Objective will also need to be shown in Act I. Dan states there are two basic motivations for any Objective.

1. Deficit—a need to fill a hole in his life
2. Growth—a want to learn from experience in order to grow into a better person

Once you decide which type of motivation you want to include, then you can narrow it down as to why he needs it. Did something happen in his past that created the hole he needs filled? Is there some future he wants that means he needs to grow in a certain way? Make sure you develop the Objective and motivation well so the story doesn’t feel shallow.

Act II

The second section of the story starts when the Main Character, the Opposition, and the Objective are all clearly laid out. Act II makes up half of the story and is all about the Main Character chasing the Objective and working against the Opposition. This section will have a Beat—Sequence pattern (similar to the action—reaction pattern I discussed previously). A beat is either an event that will happen to the Main Character or a decision he makes. That is followed by a Sequence about how the protagonist deals with the aftermath. Then the cycle starts over with a new beat. This continues and builds tension for the Midpoint, which should occur around the story’s 50% mark. 

The Midpoint is when everything shifts from diverging possibilities to converging possibilities. It’s the halfway point of who the character was and who he will be by the end. It’s also the midpoint for him getting his Objective. Think about what will mark the middle of the character’s journey and use that for the Midpoint. Don’t forget this is a shift in his mindset too. He needs to stop asking questions and start answering them.

After the Midpoint, the Opposition should be at his strongest, and the Main Character’s Objective needs to appear impossible. It should be so hard that the only way to get the Objective is if the Main Character sacrifices something in return. This will lead to what Dan calls the Lost Point, when the Objective is so far out of reach that the Main Character seems to have lost sight of it. Act II will end when the Main Character is the farthest from his Objective he has been the whole story.

Act III

Act III is just one big fight to the end. It’s the climax of the story followed by the resolutions. Dan calls this convergence, and he states there are four important resolutions to make before the end of the story. By doing these four finishing touches, you will leave your readers with a satisfying ending.

1. Main Character and Window Character Relationship

The Window Character has been with the Main Character the whole story, and readers will feel that connection. They will be invested in the characters and want a finishing note on their friendship or relationship. It can be a heartfelt moment where they make up after an argument or just a funny line between the two. As long as you have one meaningful scene between the two after the climax, the readers shouldn’t feel like the Window Character disappeared at the end without a goodbye.

2. Objective

Readers will want to know if the Main Character achieved his goal or not. He doesn’t have to get it, but you can’t leave it ambiguous. You can even hint that he will get it in the future. Just don’t not mention the Objective at all after the climax. The readers spent the whole book following the Main Character toward this Objective, and they will not be happy if they have no idea what happened to it.

3. Opposition

Same thing with the Opposition. Readers want to know what happened to him. Did he die? Is he still a bad guy causing problems? Did he change his ways? Readers spent the story fighting him and deserve to know how things ended.

4. Theme

There needs to be a reference to the theme at the end. Did the Main Character learn a lesson? What happens to someone who undergoes that kind of journey? Did the events of the story affect how the Main Character will live after the story has ended? Readers want meaning, and stories are about change. You need to show both to get a fully satisfying ending. 

One quick tip from Dan on endings: the best endings resolve all four issues at the same time. The closer you can make these resolutions, the stronger the ending. If you can’t do them all in the same scene, you should order them from weakest to strongest. So, resolve the least emotionally impactful issue first and then work your way to the most emotionally impactful resolution. By stacking them close together, you will have a bigger emotional impact on the reader.

The Chronicles of Narnia Example

Let’s apply the Hollywood Formula to The Chronicles of Narnia: The Lion, the Witch, and the Wardrobe. I’m going to use the movie plot line because I assume more people have seen it than read the book. I will be including some spoilers so, if you haven’t seen it yet, read on at your own discretion.

1. Main Character—Four siblings
2. Opposition—White Witch
3. Window Character—Four Siblings
4. Genre—Fantasy (as shown by the wardrobe leading to a magical world)
5. Theme—War and peace, family, redemption
6. Causal Event—Lucy stumbles upon Narnia
7. Fateful Decision—The siblings explore Narnia, lose Edmund, and they decide to rescue their brother.
8. Objective—At first it’s to save Edmund, but it turns into saving Narnia.
9. Start into Act II—Once the beavers explain the prophecy about the siblings saving Narnia, we have entered Act II since we have seen the Main Character, the Opposition, and now have an Objective (even if they haven’t accepted it yet).
10. Midpoint—The middle of the story is when Peter is on the river as it unfreezes. He must make a choice to fight or surrender. You can see his hesitation to do either, and in the end he stabs his sword into the ice to save him family from the river. This shows he is willing to fight for the right cause, to protect his loved ones.
11. Lost Point—The point when the siblings are the furthest from their goal is when Aslan dies. The great leader is gone, and now the siblings feel they need to lead. They enter battle, but the brothers are sorely unprepared to defeat the White Witch. They are losing the battle, and Edmund even gets severely wounded.
12. Character Resolution—The resolution comes between the siblings at the end after Edmund is healed. They embrace, and you can see the family unite.
13. Objective Resolution—The battle is won when Aslan returns with the sisters and reinforcements. They are able to go around and revive the frozen characters and heal the wounded. All of this means they have saved Narnia.
14. Opposition Resolution—The White Witch is killed along with her minions.
15. Theme Resolution—In the end, the kingdom is at peace and the four siblings are united and happy together.

Final Thoughts

The Hollywood Formula is the most basic story structure you can use, and it is centered on character. If plotting out story events seems daunting, create your three key characters and follow this broad guide to a story. If you’re a pantser, this is a great method to create your story’s bones. Because it’s focused on maximizing emotional impact, you should have a strong story to edit after your first draft.

Thanks for reading!

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