First Act

[Addison]

I've hit a problem in my revisions. I know the following about first acts of a novel:
It must have a compelling hook
It grounds readers in the protagonist's perspective.
Has a complete arc of its own but also urges us toward the next.
Contains or suggests the end of the story.

I believe that a have the first two taken care of. The last one I think I have...kind of hard to subtly give away the end of the book at the beginning. It's the third that I have some trouble with. I have the first part but I'm not sure it would count as an arc in itself. Would it apply to emotional arcs? The protag succeeding in an emotional way? Or would a more active, action-driven arc be better? I know it depends on the story itself. But to a young adult audience, between ages 11 to teens, which would be better? One, the other, a combo of both? Especially for fantasy.

 

[Penpilot]

I don't know if this helps but here's how I think of the first act. There's definitely some overlap but its a different angle which to look at things.

- shows the protagonist's normal life, pre-disruption. This is where I think you can hint at the ending, or foreshadow it a little, so you can compare the beginning and end and see where the journey has taken the protagonist. In Starwars, the first time we see Luke he's on the farm, watching the sun set and wishing to be like his father and become a pilot. At the end, he's flown an X-wing , destroyed the Deathstar, and is a Rebel Alliance hero with a medal around his neck.

- the first act also has to present an initial problem for the protagonist, sometimes it's the big story question, sometimes it's a question that will lead to the big story question.

- There must be an inciting incident that causes the disruption to the protagonist's life and starts them into the story.

- The first act is also the place where you want to introduce the main theme of your story.

- When the protagonist leaves the first act, it must be a conscious choice to do so. Everything that's happened in the first act has driven the protagonist to this decision point where they must choose to go into act 2. If they don't, there's no story, so make sure the reasons in favor of the protagonist going are strong and clear.

The arc that you're speaking about is about the journey the protagonist takes from their normal life to that choice point which will take them into 2nd act and the upside down world of the story.

 

[Addison]

Thanks Penpilot, that does help.

I'm still curious about the first arc though. After reviewing my several drafts of the beginning I have my protagonist on a dual quest...thing. His personal quest is to get away from his family and, after an incident, get his late father's jacket (the only item my hero has of his father) to a safe place so his greedy step brother can't steal it. So the first act would be one part action one part emotional.

So the question is, are readers between ages of 11 and teens more compelled by emotional arcs or action arcs? I know it really depends on the story but, overall? Which?

 

[Penpilot]

All stories should have those two arcs no matter what. There's always the personal inner journey and the outer journey. The inner journey is what drives the outer journey. Your protag wants to get away from his family so what better excuse to do so than to get his father's jacket away to safety.

I generally don't write for younger readers but IMHO for them, the emotional journey is just as important but probably shouldn't be made too complex. Make the choices hard, but more black and white, and not so gray.

To hit up Star Wars again, Luke leaves the farm because of his inner desire to be like his father. The killing of his aunt and uncle just removes any excuse for him no to leave, so he goes with Obi Wan. Realistically, he could have just as easily said, "The Empire is big and scary. I'm staying on Tatooine and living a quiet life. Have fun on your adventures Obi Wan."

That choice to leave is what elevates your protag into the hero of the story. They're choosing to do something hard.