In this structure, the novel has four parts, about 70 to 80 manuscript pages in each arc, based on length of 300 pages. Each of the parts has a distinct purpose in telling the story.
Arc One
Set up the conflict or problem, introduce main character and opponent or mystery
Establish character’s inner need, which she may or may not be aware of
Start the subplot rolling—either main character’s or a secondary character’s or both
No flashbacks allowed—tell reader only what he must know now
Make the contract with the reader through tone and style
Use a catalyst if appropriate to get story started and keep things moving
End arc one at a crises: the first turning point scene changes everything and sends the main character in pursuit of a new goal. A decision leads to a beginning level of commitment.
Arc Two
Here come the flashbacks—but only to illuminate the present
Main character is tested, trained, given tasks, tries and fails to reach goal
One step forward, two steps back
Each gain leads to a greater loss in the end
Subplots deepen, also move toward their crunch points
Discrepancy between character’s wants and needs grows larger
Establish deadline or ticking bomb, beyond which all will be lost
End arc two at a crises” the midpoint scene may involve hitting bottoms, being convinced there is no hope of success. Or the main character may move from reactive to proactive, from committed to fanatical, from objective to emotionally involved, from wrong goal to right goal. A line may well be crossed. Return to the status quo is now impossible. The character can only go forward, come what may.
Art Three
Pace increases considerably, chapters and sentences are shorter
All threads begin coming together, all subplots will be resolved by end
Ticking time bomb or other deadline becomes compelling
Build toward climax with ever-increasing conflicts and consequences
Characters desire to reach goal increases exponentially
Disconnect between character’s need and want becomes clear even to him/her
Character tested and trained for the ultimate confrontation
End with Arc three crises: the second turning point, in which the character is forced to make a crucial decision. This can be a low point—if the character hasn’t already hit bottom—or it can be recognition that nothing short of a life-or-death confrontation will solve the problem.
Arc Four
The showdown at last—good faces evil, and only one can survive
All the stakes are bet on a single hand, nothing is held back
Give the ending its full value—give the reader what you promised in arc one.
Use all the elements your set up in the earlier arcs for maximum payoff now
Make sure character undergoes both external and internal transformation
Show an outer manifestation of internal change—character does something in a way she wouldn’t have done at the beginning of the story
Make sure subplot resolution either supports or contrasts with main plot resolution for maximum thematic impact
If at all possible, take characters full circle in some way, with a setting or situation that repeats and echoes the beginning
