The first act of a story performs several tasks, including introducing the story question.
It also introduces readers and audiences to the world of the characters and their role in it. The act contains the inciting incident and the first turning point, and establishes mood and genre.
The central question the story must answer by the end of act three is something that the writer might easily neglect to emphasise in the dash to lay the tracks the story needs to ride on.
In Making a Good Script Great, Linda Seger advises that once the defining question is raised, usually within the first fifteen minutes of a film, and certainly before the first turning point of the story, everything that follows is in response to it.
“The central story question drives the story to its ultimate conclusion.”
A Quiet Place revolves around this central question: How long can the Abbott family survive in a post-apocalyptic world inhabited by blind, monstrous aliens with a powerful sense of hearing? In Edge of Tomorrow, the question is: Can William Cage survive as part of the allied force fighting the Mimics? In E.T. it is: Will E.T. find a way to go back home?
In a story with an up ending the answer to the central question is usually, “yes”, and favours the hero.
In a more ambiguous story, however, the answer is not clear-cut. In Donnie Darko, a non-linear film, Donnie is absent from home at the start of the story when a jet engine crashes into his bedroom, so he survives. But the incident is replayed at the end of the tale. This time Donnie stays at home and is killed.
Linking the answer to some deeper revelation that has been previously withheld is a powerful way to bring the outer and inner strands of a story together at the climax. This technique creates an exclamation mark within the final act.
The first act poses the central story question that is only answered at the climax of the third act.
Watch my new YouTube video on non-linear stories by clicking on this link.