As one of the most popular and well known approaches to screenwriting, the 3-act structure can be identified in just about every screenplay — mostly because the 3-act structure reflects a beginning, middle, and end, which storytellers of all mediums generally tend to use to tell a story.

So if the three act structure is all about beginning, middle, and end, then what’s Syd Field’s Three Act Paradigm all about?

I’d like to explore the work of the professor that introduced to screenwriters as a new way to approach the three act structure — Syd Field.

10, 30, 60, 90, 120

These numbers reveal the secrets of LOST — just kidding … or am I?

Every reader can tell you exactly what these numbers mean to the world of screenwriting, but can you? The Syd Field paradigm presents these numbers as structural guidelines designed to keep your story moving, and at a good pace. These numbers are page numbers — here’s what you need to know about them:

The first 10 Pages: This is your time to shine — hook the reader within this time and you have a chance. Fail to do so and your script will be tossed.

Page 30: This is around the time you’re going to want to introduce the first plot point (more on the later). Failure to kick the story in a new direction reveals the screenwriter’s lack of direction or focus.

Page 60: This is where the mid-point occurs — a point in which the story turns yet again … sometimes even flipping 180 degrees to the opposite direction.

Page 90: This is about the time the second plot point occurs — again, launching the story in another direction, thereby keeping the reader interested.

While this is up for debate, one of the most helpful steps toward learning how to write a screenplay was the breakdown Syd created, which included specific page numbers on which certain plot points were common — but he didn’t by any means coin these pages; he was replaying the trends he saw occurring with the thousands of screenplays he had covered as a professional reader.

Page 120: The final page of your script — any longer and there could be dire consequences … unless you’re Peter Jackson, James Cameron, or any other major name with a huge budget.

Syd Field’s 3-Act Paradigm

What stands out most about Syd Field’s paradigm are the points included in addition to the basic act breaks.

As you can see, the paradigm includes three acts along with additional markings designed to keep you on track.

Let’s take a look at everything included from beginning to end and then discuss how we might be able to improve the paradigm even further, making it even more approachable for novice screenwriters.

1st Verticle Line

This is the Inciting Incident — the point where your screenplay begins … more specifically, this is one of the best places to position your inciting incident (the scene or event that catapults your story into motion).

Act 1

Syd breaks this act down into three parts enabling the screenwriter to create depth to the character, set up the world of origin, and prepare for what comes next. However, I forgot to include it in the sketch above so I’ll leave that up to you to discover when you check out the book. As for what comes next …

Plot Point 1

Again, this is usually positioned somewhere close to page 30 (though 25 is preferred by a lot of readers, including myself). The plot point by definition is an incident or event that changes the direction of the story, and plot point 1 is no exception. Use this point to spin your story into a new direction. Think about The Matrix: Neo follows the white rabbit.

This will launch your story and its reader into act 2, where things will get really interesting. Act 2 is where most screenwriters get a bit lost, so be sure to make use of the next step in the paradigm.

The 1st Pinch

This, as Syd says, pinches the story back on track right when things probably feel like they’re sagging or straying off track. the effects of the pinch should equal those of the plot points, however, instead of spinning the story into a new direction, the pinch focus the story toward the point that comes next …

The Mid Point

The mid point has been said to be the place where stories flip 180 degrees and head in the opposite direction, but another way to put that is simple create a huge twist your readers don’t expect.

The 2nd Pinch

Like the first, this Pinch is designed to usher your story to the next point on the paradigm …

Plot Point 2

Make no mistake, this point spins the story into act 3, which means you should spend some time designing this point in order to build the most momentum because once you enter act 3, you’re on your own.

Last Vertical Line

This is the climax of the story — again, like the first, Syd includes more detail regarding the build to the climax and resolution I forgot to include so be sure to check out the book.

What’s in a paradigm?

I personally find Syd Field’s teaching extremely helpful with my own writing — not only is he an exceptional teacher, he also has the experience as a reader to understand what readers expect.

That said, and like all things Hollywood, there is no right or wrong. This is simply one professor’s attempt to make screenwriting more accessible.

There’s a lot of debate about whether or not screenwriters should follow this approach, but when it comes down to it, if it works for you then it works for you, if it doesn’t, then it doesn’t.

I find that combining the approach Syd Field has shown us along with the mythological approach and Blake Snyder’s Beat Sheet, makes for the best result in my own writing.

Do you use Syd Field’s paradigm, and if so, what aspects of it really help in your own writing?