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Writing Act One Of Your Novel, A Step-by-Step Guide

Writing Act One Of Your Novel, A Step-by-Step Guide

The first act of your novel is the reader’s first impression and it needs to do a lot. It must introduce your world, your protagonist, and your story’s central conflict… all while grabbing attention and creating emotional investment.

Done right, the first act will carry your reader willingly into the heart of your story. Done poorly, it risks losing them before the plot even gets going.

What Is the First Act?

In the Three-Act Structure, Act One is the beginning: roughly the first 20–25% of the story.

Its primary functions are to:

  • Introduce the main character(s)
  • Establish the setting and tone
  • Set up the central conflict or problem
  • Hook the reader emotionally and narratively
  • End with a major turning point (the “First Plot Point”) that pushes the story into Act Two

Think of the first act as the launchpad of your novel. The goal is to move from normal life to the beginning of the adventure.

plot structure template cta

Step 1: Open With a Hook

Your very first pages must capture the reader’s attention. This is called the hook.

A good opening:

  • Raises an intriguing question
  • Introduces a compelling voice or situation
  • Hints at conflict or disruption
  • Grounds the reader in the world or stakes

Avoid: lengthy exposition, info-dumping, or backstory right out the gate.

Examples:

  • “The Hunger Games” opens with Katniss waking up in District 12, immediately showing her world and survival skills.
  • “Gone Girl” opens with the narrator describing his wife’s head, hinting at tension and mystery.

Tip: Drop your character into a moment of movement or change, even if it’s small.

Step 2: Establish the “Ordinary World”

Show your protagonist’s life before the central conflict arrives.

This step helps readers:

  • Understand the character’s situation, routines, and values
  • See what’s missing or broken in their life
  • Begin to emotionally invest in the protagonist

In the Hero’s Journey, this is called the Ordinary World. It creates contrast with what comes later.

Include:

  • The protagonist’s everyday life
  • Their relationships, flaws, and desires
  • Worldbuilding (gradually woven in!)
  • Hints of upcoming conflict or tension

Tip: Don’t confuse “ordinary” with “boring.” Keep scenes engaging with emotion, conflict, or stakes.

Step 3: Introduce the Central Characters

This includes:

  • The protagonist (who the story is about)
  • Key supporting characters (friends, rivals, mentors, love interests)
  • Possibly the antagonist (or a hint of their influence)

Make sure your protagonist has:

  • A clear goal or desire (even if it’s small at first)
  • A personality that feels real and distinct
  • Flaws or vulnerabilities that readers can connect with

Bonus: Introduce a character dynamic that will evolve through the story.

Step 4: Plant the Seeds of Conflict

Conflict drives story. Even before the main plot kicks off, you should:

  • Introduce tension in your protagonist’s world (internal or external)
  • Hint at deeper problems on the horizon
  • Show friction in relationships, systems, or self

This sets the stage for the central problem to matter.

In Freytag’s Pyramid:

This is the Inciting Moment, the first tremor that disturbs the status quo.

Step 5: The Inciting Incident (Catalyst)

This is the event that kicks off the main story. It disrupts the ordinary world and forces the protagonist to make a choice.

  • In the Hero’s Journey, this is the Call to Adventure
  • In the Three-Act Structure, this is the Inciting Incident
  • In Save the Cat, it’s the Catalyst Beat

Examples:

  • A letter arrives from a magical school (Harry Potter)
  • A murder is discovered (The Girl with the Dragon Tattoo)
  • A best friend is killed (The Hate U Give)

Tip: The Inciting Incident usually occurs around the 10–15% mark. Make it impactful. It should shift the character’s direction, even if they resist it at first.


Step 6: Build Rising Tension and Resistance

After the inciting incident, the protagonist often resists the call or struggles to decide what to do. This creates rising tension and deepens emotional investment.

Show:

  • The consequences of the inciting incident
  • The character debating or doubting what to do
  • Conflicting desires, fears, or loyalties
  • Escalating stakes

This period also allows you to:

  • Develop character relationships
  • Introduce subplots or secondary goals
  • Add depth to the world and situation

In the Hero’s Journey:

This is the Refusal of the Call and Meeting the Mentor stage.

Step 7: The First Plot Point (End of Act One)

This is the major turning point that launches the protagonist into Act Two.

  • It’s a moment of no return.
  • The protagonist either chooses or is forced to take action.
  • It usually happens around the 20–25% mark.

Examples:

  • Katniss volunteers as tribute (The Hunger Games)
  • Frodo leaves the Shire (The Fellowship of the Ring)
  • Harry boards the train to Hogwarts (Harry Potter)

From this point on, the character is in the story. They’ve stepped into a new world, new rules, new dangers.

Optional: Act One Beats from Popular Structures

Freytag’s Pyramid:

Save the Cat:

  1. Opening Image
  2. Setup
  3. Theme Stated
  4. Catalyst
  5. Debate
  6. Break Into Two

The Hero’s Journey:

  1. Ordinary World
  2. Call to Adventure
  3. Refusal of the Call
  4. Meeting the Mentor
  5. Crossing the Threshold

Use whichever structure fits your story best or blend them to suit your needs.

Final Tips for Writing a Great First Act

Start with momentum. Even before the main plot begins, give your characters goals, obstacles, and stakes.

Don’t front-load exposition. Worldbuilding is best revealed through action, dialogue, and conflict, not infodumps.

Focus on character desire. What does your protagonist want? Even a simple desire (belonging, safety, love) can anchor a reader emotionally.

Plant questions. Curiosity is a reader’s best fuel. Drop hints, mysteries, and promises of conflict to keep them turning pages.

Build to a choice. Your first act should end with your protagonist making (or being forced into) a significant decision.

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