Writing Tip: Three-Act Structure as Thesis, Antithesis, Synthesis

How we can apply this theory of dialectics to the story-crafting process.

I saw a tweet recently where someone mentioned that Hegel’s use of dialectics could be applied to story. Here is a definition I found online:

An interpretive method, originally used to relate specific entities or events to the absolute idea, in which some assertible proposition (thesis) is necessarily opposed by an equally assertible and apparently contradictory proposition (antithesis), the mutual contradiction being reconciled on a higher level of truth by a third proposition (synthesis).

One problem: Apparently, Hegel never used these terms — Thesis, Antithesis, Synthesis. He did use these: Abstract — Negative — Concrete.

As for me, I never let pesky details such as facts get in the way of a possible teaching moment. And here we are!

Thesis — Antithesis — Synthesis as Three-Act Structure

Thesis (Act One): Where the writer establishes the Protagonist in the context of their Ordinary Life. They have cobbled together beliefs and behaviors, coping skills and defense mechanisms into a life which Joseph Campbell describes as “just making do.” Psychologically speaking, we may refer to this as an Inauthentic Existence. This is not the life the Protagonist is supposed to be living. The thesis is this: This character is capable of making this life a meaningful one … as it is.

And then … a “plop point”. Some refer to it as an Inciting Incident. Others the Call to Adventure. I call it The Hook. Whatever its name, it is the Story Universe acting as Fate creating an event which disrupts the Protagonist’s Ordinary Life. The Protagonist may respond affirmatively to the Call or refuse it, but eventually off they go on their Journey.

Antithesis (Act Two): In effect, the Story Universe is saying: You can no longer live this life. You have to change. This is the opposite of the Thesis state. Act Two is a battle between the pull for the Protagonist to go back to their Old Ways of Being and the push toward New Ways of Being. The events in the Plotline not only challenge the Protagonist, they break down the Thesis elements which opens them up to latent dynamics inside their Self which are the substance of their Authentic Nature.

After a journey in which each trial and tribulation knocks down the Old Ways and compels the Protagonist to embrace the New Ways, they eventually have some sort of Final Struggle. If they have fully embraced their True Nature, they experience …

Synthesis (Act Three): Carl Jung uses this exact language. “The goal of the individuation process is the synthesis of the self.” Individuation is the psychological process each of us is called to undertake. The path toward wholeness is engage and understand all aspects of the Self: memories, associations, instincts, habits, taboos, even the Shadow, our darkest impulses and urges. For it is only by processing all of who we are that we can hope to synthesize them into a whole.

Ultimately, the Outer Journey of the Plotline is about the Inner Journey of the Protagonist into their Self.

That works for me. This also does.

Abstract — Negative — Concrete: Three-Act Structure

Abstract (Act One): If the Outer Journey really is about the Inner Journey into the Protagonist’s inner nature, then it stands to reason that what they discover is already there at the beginning of the story. As screenwriters, we often begin character development by asking, “What is this character’s Need?” I believe that question is best served as a kind of diamond-tipped drill we use to burrow down … down … down into the deepest part of the Protagonist’s psyche. There are layers of needs, but at the core of their being lies a seed. As Ovid wrote, “The seeds of change lie within.”

That seed is why the story exists. It’s why the Protagonist goes on their journey. Because that need is their Unconscious Goal.

In Act One, the Protagonist is unaware of all this. Therefore, their Unconscious Goal is nothing more than Abstract. It’s real in that it exists within, but it’s unreal in the conscious life of the Protagonist because for whatever reason, they are ignoring it … unaware of it … repressing it. In fact, subconsciously they may even fear facing it. Which leads to …

Negative (Act Two): What better way to explore the psychological connection between the Protagonist’s conscious and subconscious self than by having a Nemesis who is the physicalization of the Protagonist’s fear. That Negative energy can create great drama. It also contributes to the Deconstruction of the Protagonist’s Old Ways of Being which allows for that seed … the seed is the Need … to emerge into the light of the Protagonist’s consciousness which inspires the Reconstruction of their New Ways of Being. And as the Protagonist embraces their Authentic Nature …

Concrete (Act Three): What was once illusory and ephemera, an Abstract becomes Concrete. The Protagonist feels it … senses it … knows it to their core. It empowers their choices and actions.

It leads them to a positive resolution of the Final Struggle and a move toward Unity.

Either language system works for me as they both speak to the inner journey. After all, Joseph Campbell said the whole point of the Hero’s Journey is transformation. Or in the words of Carl Jung, “The privilege of a lifetime is to become who you are.”

If you like what you read here, check out my book: The Protagonist’s Journey: An Introduction to Character-Driven Screenwriting and Storytelling is an Amazon #1 Best Seller in Film and Television. Endorsed by over thirty professional screenwriters, novelists, and academics, you may purchase it here. If you want an autographed copy, go here.