The 13-fold division of the Western Narrative Tradition
Here are the 13 structure/pillar points of the COMPLETE Western Narrative Template, 4 acts.
1. 1st act, Opening hook
2. Exposition
3. Catalyst, call to the quest, 1st major conflict
4. Mentor, talisman, and denial of the call
5. Doorway to the otherworld of the quest, 2nd major conflict
6. 2A/2nd act, Rising action
7. Midpoint climax and reversal, 3rd major conflict
8. 2B/3rd act, Falling action
9. Character arc, 4th major conflict
10. Lowest/highest point, 5th major conflict
11. 3rd/4th act, Inner climax of character readiness.
12. Climax, 6th major conflict
13. resolution
The strict template of the western narrative, has an equal length 4-part sectioning. In the 4 act structure, there are the 1st, 2nd, 3rd act endings, with the 4th act ending as the script/film ends.
3 act: 1st act , 2A , 2B , 3rd act
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4 act: 1st act , 2nd act , 3rd act , 4th act
Every single scene must be made to serve the story or it’s not needed.
The overall story on the W.N. template of 13 divisions has its specific diagram, describing this sequence of events in a timeline that the whole script is divided into. This division of the entire 13 pillars, (or just the main 5 points of 1st, 2nd, and 3rd act endings with the catalyst and climax); can be used to structure; just one scene, or one sequence, as well as the overall story.
I act opening,
1,Opening hook… initial exciting scene that wows, but it is also exposition of what’s going on at the present.
2,Exposition… the protag’s story before the call from the ‘Quest’ through the ‘other world’.
3,Catalyst… (the call; something new happens, something changes, in the protag’s life to introduce and make them aware of the ‘otherworld’ of the ‘Quest’.)
4,a)Mentor & b)Talisman & c)Denial of Call… all 3 are movable from before the 1st act break to just after 2nd act begins, and this makes the - c) denial of the call - a ‘freak out’ denial about the otherworld; while in it. The mentor is the person who informs the protag about the ‘otherworld’. The Talisman is the ‘physical object’ from the ‘otherworld’ given to the protag, to validate the truth of the otherworld’s existence and to aid the protag in the ‘otherworld quest. Sometimes the protag does not want to enter the ‘otherworld of the quest’; but then fully commits. There can be more Mentor’s, Talismans and Denials spaced through the movie other than just here. Often the talisman can save the protag’s life, like Luke’s light saber, or from Training Day, when the new cop saves the teen girl from rape and gets her clutch bag, and that saves his life later.
5,1st act end…(1/4 pages of the total script; and it should be TO THE PAGE NUMBER!) the doorway IN-to the other world; the quest begins here. As it’s the new Exposition of the ‘Quests’ new ‘otherworld’, but usually its only ‘won’ after an enormous conflict. The conflict of the catalyst is usually a lesser conflict than the conflict of the 1st act break. And whether the Protag wins or loses this conflict, they enter the otherworld.
II act opening
6,Rising action… Begins the series of tests like ‘steps’; plateau, struggle, plateau, struggle, plateau, struggle. Each ‘rise’ of the step is higher stakes than the one before. The plateaus are the calm in between tense moments. In the ‘Freytag Pyramid’ (which is the forerunner of the Western narrative tradition) the scenes of the rising action before the midpoint / 2nd act break; are often, ‘mirrored’ in scenes from the falling action which happens after the midpoint… but this is an advanced writing style along with ‘establishing’ bigger scenes with intro and exit scenes.)
7,Midpoint crisis; the reversal… 1/2 way through the entire script, exactly. In the 4 act structure, this is the 2nd act ending, BEFORE the 3rd act. It’s these ‘act breaks’ that hold the conflict; while it’s the opening of the new acts that are the plateaus as the calms in between the storms. This Midpoint crisis, should be a bigger conflict then the 1st act break, (where the protag ‘wins’ entry into the otherworld of the quest). The protag wins ‘this’ battle, as they are made to lose the steps of conflict / trials that were before it all through in the 2nd act. After this battle, the protag has new: 1)info about the Quest, 2)new allies, 3)new talismans, 4)new abilities. And there is more, This is the reversal, as well. And that means, that somehow, everything is ‘new’. It’s a total new beginning phase of the quest, with a better focus on goals, wants, needs of the Protag’s quest.
III act opening
8, falling action… (ends w- 3rd act break) These are harder tests with the conflicts more intense, than in the rising action; with the script slowly ‘raising the stakes’ at each step from the lesser stakes at the step before. Many times there are ‘Mirror’ scenes from the ‘rising action’. During this 3rd of the 4 equal lengths of the entire script, there is always the character arc. And sometimes the Inner climax of Character readiness happens here. IF IT SERVES STORY! This is the point where the Protag’s side is snapping at each other in anger as the tension grows.
9,character arc… (the choice; close to 2B/3rd act end. The character has been growing in their character development, growing from one paradigm, by the confict thrust on them, to a new paradigm, that heals/elevates them to complete their archetype. The ‘hero’ accepts his selfless sacrifice as a ‘hero’; a ‘nurse’ accepts her selfless sacrifice as a ‘nurse’.)
10,2B/3rd act end… (3/4 of the entire script. Lowest/highest moment. Here we are at an even stronger conflict than the midpoint crisis. In a normal drama this is the lowest point of the protag as they lose this battle/conflict, while still remaining undefeated. But in a tragedy this is the highest point of the protag before they die.) Here, as an act break, the protag can also gain allies, knowledge, abilities, or talismans, but it’s not enough… they lose the conflict.
IV act opening
11,Inner climax readiness… (movable to after arc, and before the 2B/3rd act break) This is the most hidden pillar of the western narrative structure. Why did the protag lose the 2b/3rd act break conflict. They have already had their character arc, but something else is missing or they would have won the 2B/ 3rdact break conflict. What was missing? If the character development comes full circle already before now, then the protag is missing; a final ally, ability, knowledge, or talisman. And furthermore; this is where the protag proves themselves over and over that they are worthy of the victory, by their self-sacrificing actions.
12,Climax, as proving by action… Technically by now, the protag has already proved, in all ways, that they are ready for the victory. AND NOW COMES THE FINAL CONFLICT. The physical manifestation of the ‘inner readiness’, that accomplishes the quest. And this winning of the climax conflict leads to the protag’s epiphany moment.
13,resolution… (ends act and script.) By now all plotlines have come together and been resolved. And the ordinary world has been re-entered in a new life, as the quest through the otherworld has been a shamanic journey that returns the protag to the normal world, but reborn into a higher/lower state. Depending on the storyline, and remember everything, every scene, serves the story or its not needed, as this extra stuff can confuse the storylines trajectory.
As a writer, the more you love your protagonist, the more you will beat them up. The Protag may or may not win the 1st act break conflict / trial. But other than the 1st act break, the Protag only win’s the midpoint and the climax, and they fail ALL other times in their MAIN GOAL; even if they seem to win the conflict itself. Yes they killed the squad of baddies, but they have still not recovered the hostage.
