An act is a series of sequences that drives to a major turning point— a climactic moment that springs directly from the story and makes necessary the next series of sequences in the act that follows. Each act plays a role in the overall storytelling, and the tension and momentum within each should be increasing. In traditional three-act (also known as dramatic) structure, the first act covers the bulk of the story's exposition and, to paraphrase the late showman and writer George M. Cohan, gets your hero up a tree. In the second act, you throw rocks at him, forcing him higher up in the tree. In the third act, you force him to the edge of a branch that looks as if it might break at any moment ... and then you turn the corner to your story's resolution, and let your hero climb down.
There are three important things to know about acts. The first is that there is something about dramatic structure that seems built into the way we receive and enjoy stories. The second is that many documentaries do not fit neatly into this structure, but an approximation of it. Third, there are many ways to create a compelling structural throughline—what fiction writer Madison Smartt Bell describes as "narrative design"—in a documentary without going anywhere near dramatic three-act structure. The film still needs to have compelling characters and rising tension, each scene should move the narrative forward, and the film should satisfactorily conclude the story (or mission, essay, journey, etc.) with which it began. But it doesn't have to do it in three acts.
Before we move into some specifics of act structure, here are a few other useful terms.
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