Monday, March 16, 2009

Story Structure and My Big Fat Greek Wedding

While on a writer’s loops, one of the members mentioned a blog on Story Structure which they found helpful. The blogger, Amy Deardon, used My Big Fat Greek Wedding to illustrate story structure. I found her blog interesting and asked permission to use it on this blog. She granted me permission.

Amy said:
In my studies of story structure, the biggest surprise I found was how little story development varies. My dear friends, we are such very boring creatures! No matter the genre, the same development of story events occurred, over and over and over.

For this blog entry I wanted to give a quick summary of story structure according to me. Much of this is not original work -- I'm not that brilliant -- but I've synthesized the work of smart people with my own humble observations to come up with a model of story structure that works for me, during my work in coaching writers.

During my studies, I tore apart about 20 *good* modern novels (ie novels that I enjoyed), ranging in genre from literary to adventure to mystery to YA to science fiction, plus a bunch of movies. I did word counts or timed scenes with a watch, listed everything into columns, and then analyzed the commonalities of story progression across genre.

The story can be divided into four more-or-less equal parts, each part with a distinct theme. Furthermore, there are definite story POSTS that occur reliably in the progression of the story, and land reliably within a range of a few percentage points of the whole. I'll put them down very briefly, and use the film, My Big Fat Greek Wedding, to illustrate. BTW I could have picked just about anything to illustrate, but this is a cute movie.

ACT ONE: demonstrates the original or starting position of the protagonist, plus the set up to show how he moves into the main story.

Ordinary World -- shows what the protagonist's *normal life* is like. Toula is a 30 year old unmarried Greek woman working in her (extremely intrusive) family's restaurant.

Inciting Incident -- shows a potential change offered to the protagonist, either a choice or an assignment. Toula finds a college brochure that might offer her an opportunity to achieve something different by taking a few classes.

Argument -- the protagonist isn't sure if he will enter the new world or not. Toula must convince her father to allow her to take some courses at the college.

Door -- represents a *journey* into the new world. Toula enters the college campus and starts taking classes.

: the protagonist learns how the *New World* works, and also thinks that once this little journey is over he will be *unchanged* (able to straddle or return to the Ordinary World). This is often shown as a series of three encounters, each increasingly involved.

Toula is shown changing her image to become more glamorous (hair, clothing, ditching the glasses, makeup etc.), answering questions competently in class, and socializing with other students (something she couldn't do as a kid).

Midpoint: an often flashy event that represents either a false high, or a devastating loss, that makes it clear the protagonist can no longer go back to his Ordinary World.

Toula meets Ian, a high school English teacher, and starts dating him even though she knows her family will *never* accept him because he isn't Greek. Shortly afterwards, Nikki tells Toula that the family knows about her romance with Ian, and then Toula must sit before the disapproving family committee that tells her to break it off.

: the protagonist scrambles to regain equilibrium while the antagonistic forces gain power. Toula's family tries to match her with other *suitable* bachelors without success. Finally Ian proposes to Toula, who joyfully accepts, but her family only reluctantly agrees. Ian yields to these powerful forces by becoming *Greek*: becoming baptized and participating in Greek family activities, including a fabulous party in which Ian's conservative parents are contrasted with the noisy Porticullis clan.

Slide: another often flashy event that serves as a funnel. The nature of the climax is now clearly seen. Often there is a sort of *death* present here; think Obi Wan against Darth Vader in the first Star Wars movie. (observation courtesy of Blake Snyder in his Save the Cat! , a book I highly recommend). Toula comes home with her wedding plans, only to learn her family has already ordered the invitations and the bridesmaids' dresses.

ACT THREE: the protagonist gears up for the final encounter, although it looks unlikely that he will ever win. Toula is dismayed that her family is so intrusive, and that her family and Ian's are so different.

Darkest Moment: The very worst position that the protagonist can possibly imagine. While preparing for the wedding that morning, Tulla realizes she will never be free of her family.

Help from Outside: a small action that allows the protagonist to regroup and win. This story post I recognized courtesy of Nancy Rue and Angela Hunt in a NANGIE writing class I took a few years ago. Toula's grandmother shows Toula her own wedding crown, and Toula realizes that her family all love her and that she is connected to her family in a deep and profound way.

Climax: an often flashy sequence in which the protagonist ultimately wins, if not the outer conflict then certainly the inner (think Rocky). Toula and Ian have a beautiful, Greek, wedding and reception. Toula's father makes a joke that shows how Toula's family and Ian's family, although different, are ultimately the same.

Resolution: tells how the protagonist's life will go on. Toula and Ian are shown several years later in a house next door to her family's house, walking their daughter to Greek school.

OK, there is the story structure in miniature, sort of. Try laying these story points over any story you like -- you'll be surprised at how well they'll match!

Visit Amy Deardon’s blog site at:

Amy Deardon is a skeptic who came to faith through study of the historic circumstances surrounding the death of Jesus. Her first novel is A Lever Long Enough, about a small military team that travels back in time to film the theft of Jesus' body from the tomb.
A Lever Long Enough, Taegais Publishing LLC, January 2009, ISBN 978-0-9818997-2-5
Some reviews are on amazon HERE


Cathy Bryant said...

Great post from a great friend! One of the first writing books I read was James Scott Bell's "Plot and Structure." That's where I first heard about the 3 Act Structure, and it is so true. I used it in the novel I just finished, and it made plotting so much easier!

Note to Gail: Thank you always having such wonderful writing advice on your blog. It has been such a personal help to me. In appreciation, I'm giving you the Premio Dardos award today at WordVessel (

Thanks to both of you!

Gail Gaymer Martin said...

Cathy, Thanks so very much. My book Writing the Christian Romance from Writers Digest also explains plotting in the 3 Act method. It is very helpful to me too, and I've been using it for a long time.

Thanks also for the Premio Dardos award. Many of you have been so kind.


Brandie said...

I missed this post in Amy's blog somehow, so I'm glad you put it up! This is a great example of the 3 act structure, and it's always helpful to see it in "action" with a story you know.


Gail Gaymer Martin said...

Glad you found it here, Brandie. When I teach and when I wrote my Writers Digest book, I used a lot of examples from people's writing (with their permission, naturally). I believe examples help people understand so much better.

Thanks for dropping me a note.