Character in Action: It's Elemental

Copyright 2020 by Gary L. Pullman

All elements of fiction besides those of character and action—conflict setting, point of view, tone and mood, and theme—are interrelated. Two ways, used independently or together, relate these elements: character and action.

Character and action are themselves interrelated as well: a character is what he or she does (action determines and reflects character), and a character does what he or she is (character determines and reflects action): we are what we do, and we do what we are.
 

In fiction, personality (i. e., character) is represented as being composed of traits. In other words, a character is the sum total of his or her personality traits. These traits, in turn, are expressed in the character's action, or behavior.

There is a final element of personality, or character, as it is represented in fiction: will, or choice. It is will that sets human characters apart from the animals that are included in stories. It is the ability to choose, especially to choose to act or not, that makes literary characters human.

 

During the course of a story, the protagonist, whose “personality” is made up of a group of traits, positive and negative, some innate, others learned, is presented with challenges, obstacles, and problems that he or she must meet, overcome, or solve, but he or she is motivated to do so by his or her will, the exercise of which is manifest in the choices that the protagonist makes.

 

Therefore, in creating a character, first determine what he or she wills to happen: What he or she want?

Then, decide upon the character's traits, both positive and negative.
 

Add meaningful personal stakes associated with the character's pursuit of his or her goals.

Huckleberry Finn wants to escape the “sivilizing” effects of a corrupt society.

Huckleberry Finn is a realistic boy who relies mostly on his own experience to fathom the truth, is a loyal and devoted friend, and prefers to live a simple life, but he is ignorant, relies too much on what others believe and expect, and is literal-minded.

Huckleberry Finn risks the loss of his personal freedom and, he believes, eternal damnation.

Next, make sure these additional questions are answered:

• What does the character do to obtain his or her heart's desire?
• When and where does the character live or travel?
• How does the character accomplish is goal or securing that which he or she desires, and how does he or she meet, overcome, or solve challenges, obstacles, or problems that threaten his or her success in accomplishing his or her goal (securing his or her heart's desire)?
• Why does the character want what he or she wants? What motivaes the character to undertake the quest, risking whatever is at stake personally?

* * *

• Huckleberry Finn runs away from home in the company of runaway slave, Jim.
• Huckleberry Finn lives in the American South during the early nineteenth-century and travels down the Mississippi River on a raft.
• To escape the “sivilizing” effects of a corrupt society, Huckleberry Finn runs away from home.
• Huckleberry Finn values personal freedom.
  
  
  

Let's apply this approach to horror fiction using, as our example, the motion picture adaptation of William Peter Blatty's 1971 novel The Exorcist.

What does my protagonist want?

Father Karras wants to hold on to his faith in God.

What traits, positive and negative, make up my protagonist's character, or “personality”?

Aware of evil, Father Karras has begun to doubt his faith in God, but he remains a courageous and compassionate man who is committed to living an authentic life.

What meaningful personal stakes are associated with the protagonist's pursuit of his or her goals?

Father Karras risks losing his faith and his sense of transcendent meaning of existence which makes life worth living.

What does the character do to obtain his or her heart's desire?

Father Karras participates in an exorcism to deliver a young girl from her domination by the devil.

When and where does the character live or travel?

Father Karras restricts his action to a Georgetown townhouse.

How does the character accomplish is goal or securing that which he or she desires, and how does he or she meet, overcome, or solve challenges, obstacles, or problems that threaten his or her success in accomplishing his or her goal (securing his or her heart's desire)?

Through the exorcism rite and his willingness to sacrifice himself for the girl, Father Karras exorcises the devil.

Why does the character want what he or she wants?

Father Karras is a loving and compassionate man who values both human life and free will.

What motivaes the character to undertake the quest, risking whatever is at stake personally?

Father Karras's love for his mentor, Father Merrin, and his compassion for the possessed girl Regan McNeil, allows him to participate in the exorcism, despite his weakened faith.

The Z Plot

Copyright 2020 by Gary L. Pullman

Although it would be ludicrous to suggest that a story could follow a “Z” plot, the concept is, nevertheless, a good reminder that thrillers and chillers should move from one action scene to another at a fairly fast pace.

What is a “Z” plot? It's an imaginary sequence of action that is on the fact that, in English, readers read from left to right and from top to bottom. In other words, their eyes, in reading, trace the figure of a “Z.” Sometimes the stem (the diagonal line connecting the upper and the lower arms of the “S”) is shorter; other times, longer, than typical, depending on the length of the paragraph the combined sentences of which make up the stem of the letter. For example, a short paragraph produces a short stem; a long paragraph, a long stem:

Think of the paragraph as representing a scene. Each point at the beginning or the end of the arm of the “Z” represents a point of possible change. Perhaps the first point would be to establish the setting, while the second point would be to introduce the protagonist. At the third point, maybe you would contrast two supporting characters. The fourth point might be that at which you relocate the main character. These four points, regardless of the length of the scene (represented, in the “Z” plot by a paragraph), would make up the entire scene. However, the next scene, with its four points, would provide opportunities for additional, perhaps different (depending on the scene's purpose), plot changes, such as changing the pace of the story (with a longer or a shorter scene), using dialogue between tow or more characters to inform the reader of necessary background material, having circumstances or an incident impede the protagonist, and arranging for the antagonist to confront the protagonist (or vice versa). The next scenes would, likewise, present opportunities, at each of their four points, to change the plot again, again, again, and again.

Besides the actions indicated above, writers can use these points of the “Z” plot to heighten suspense, bolster the protagonist (or the antagonist) with reinforcements or assistants, capture a character, have a character escape, pursue a character, bring about a character's return home or to an earlier point of departure, characterize a character, have a character learn something important, or change a character's attitude, beliefs, feelings, perspective, or values.

Although the structure of your story's your plot, in reality, is unlikely to resemble a “Z,” helping to think of the progress of the action in such a manner could help you to remember to change the course of action frequently not only throughout the story as a whole, but also during each and every one of its scenes. As a result, it's unlikely your readers will become bored; in fact, they should be as excited as hell!

The Dramatistic Pentad Plotting Method

Copyright 2020 by Gary L. Pullman

 According to Kenneth Burke, human communication consists of answering six questions, to which, I suggest, a seventh should be added.

 

Burke's questions: Who? What? When? Where? How? Why?

The question I would add: How many? or How much?

Specifically, these questions seem to relate to

Who? = agent, agency

What? = act, force, object, incident

When? = duration, time

Where? = location

How? = method, process, technique

Why? = cause, motive, reason, purpose

How many? or How much? = quantity (in number or quantity, respectively)

To fully describe the basic plot of a short story, a novel, or a movie, each of these questions, as appropriate, should be answered:

Who? Norman Bates

What? murders Marion Crane and Detective Abogast

When?

Where? in the motel he manages and in the house in which he lives

How? by stabbing Marion and pushing Abogast down the stairs

Why? because the personality of his deceased mother orders him to do so

How man? two (murders)

By putting these answers together in a single sentence, an effective synopsis of Alfred Hitchcock's film Psycho is obtained:

In response to the command of his deceased mother's internalized personality, Norman Bates, a motel manager, commits two murders, stabbing Marion Crane to death in her room's shower and pushing Detective Abogast down the stairs of the Victorian house in which Norman lives.

This method is not only useful in generating story synopses, but it can also be used to generate plot twists. A writer can introduce an innovation at any point (that is, for any question). For example, let's take an item from USA Today's “News from around the 50 states” column. The original item, concerning Montana, reads:

A federal judge has ruled that the U. S. Fish and Wildlife Service must do more to protect Canada lynx from bobcat traps. The Missoulian reports the lawsuit by WildEarth Guardians and Center for Biological Diversity claimed the federal agency is failing to follow a treaty protecting endangered species and not doing enough to stop trappers from capturing the wrong animal. Lynx are classified as a threatened species under the U. S. Endangered Species Act.

First, let's separate the information into our interrogative scheme:

Who? A federal judge

What? ruled that the U. S. Fish and Wildlife Service must do more to protect Canada lynx from bobcat traps

When? recently (implied by the fact that the item is a news report)

Where? in Montana

How? follow a treaty protecting endangered species and . . . [do more] to stop trappers from capturing the wrong animal

Why? because Lynx are classified as a threatened species

Now, to introduce a plot twist, we can simply replace one phrase in the answer to a question with another phrase that mentions a bizarre or an unexpected substitution:

Who? A secret court

What? ruled that the U. S. Fish and Wildlife Service must do more to protect Canada lynx from bobcat traps

When? recently (implied by the fact that the item is a news report)

Where? in Montana

How? follow a treaty protecting endangered species and . . . [do more] to stop trappers from capturing the wrong animal

Why? because Lynx are classified as a threatened species

or

Who? A federal judge

What? ruled that . . . U. S. Fish and Wildlife Service personnel should shoot people who injure Yetis with bobcat traps.

When? recently (implied by the fact that the item is a news report)

Where? in Montana

How? follow a treaty protecting endangered species and . . . [do more] to stop trappers from capturing the wrong animal

Why? because Lynx are classified as a threatened species

or

Who? A federal judge

What? will rule that the U. S. Fish and Wildlife Service must do more to protect Canada lynx from bobcat traps

When? during a future meeting

Where? in Montana

How? follow a treaty protecting endangered species and . . . [do more] to stop trappers from capturing the wrong animal

Why? because Lynx are classified as a threatened species

or

Who? A federal judge

What? ruled that the U. S. Fish and Wildlife Service must do more to protect Canada lynx from bobcat traps

When? recently (implied by the fact that the item is a news report)

Where? on Space Station Zebra

How? follow a treaty protecting endangered species and . . . [do more] to stop trappers from capturing the wrong animal

Why? because Lynx are classified as a threatened species

or

Who? A federal judge

What? ruled that the U. S. Fish and Wildlife Service must do more to protect Canada lynx from bobcat traps

When? recently (implied by the fact that the item is a news report)

Where? in Montana

How? follow an intergalactic treaty protecting endangered species and . . . [do more] to stop trappers from capturing the wrong animal

Why? because Lynx are classified as a threatened species

or

Who? A federal judge

What? ruled that the U. S. Fish and Wildlife Service must do more to protect Canada lynx from bobcat traps

When? recently (implied by the fact that the item is a news report)

Where? in Montana

How? follow a treaty protecting endangered species and . . . [do more] to stop trappers from capturing the wrong animal

Why? because Lynx are classified as a human predators

Personally, I like the “Yetis” substitution the best, which implies not only that the creatures actually exist, but also that they are protected by the federal government because they represent an “endangered species,” a plot that could be developed humorously, perhaps as a satire.

Of course, another possibility also exists: change not just one, but several, of the answers to our questions. (Probably, this is the most effective approach.) Here's an example:

Who? Cryptozoologists

What? recommend that the U. S. Fish and Wildlife Service protect Yetis from hunters and trappers

When? recently

Where? throughout the United States and its territories

How? by allowing the creatures to roam free, rather than confining them to particular areas, or “reservations,”

Why? because, free to roam, Yetis, a threatened species, will be better able to defend themselves against human intruders

If, initially, the results of this process seem lame, choose a different news item and start fresh. Ultimately, the process can be rewarding!

Using Typical Genre Elements to Generate Horror Story Plots

Copyright 2020 by Gary L. Pullman

By isolating the types of characters, actions, settings, processes, and motives or causes upon which horror movies are typically based, we can devise a plot generator.

Although this is a basic list, a starter, as it were, which can be extended by further considerations of horror, both on the sound stage and on the page, it suggests the method.

Who? What types of characters generally appear again and again in the horror genre?

Protagonist, antagonist, victim, authority figure, expert, parents, siblings, tormentor, extraterrestrial, supernatural being

What? What types of actions do many horror stories represent? In other words, what type of activity occupies the characters? What do they do, on a sustained basis, throughout the film or most of the film?

Filming, capturing, escaping, experimenting, rescuing, conceiving, avenging, exploring, invading

When? Where? What settings (times and places) are typical of horror fiction?

Isolated property, closed public property, private property, laboratory, spaceship, suburbs, school, town, forest

How? What processes are typical of the horror genre? In other words, what type of series of actions forms the basis, or vehicle, of the story's plot, as opposed to the actions of the characters themselves? What propels the story as a whole?

Traveling, visiting, creating, reproducing, disturbing, working, persecuting, vacationing, possessing, exorcising, trespassing

Why? What are the motives of the protagonist and the antagonist? If one or both of these characters is (are) otherworldly (e. g., extraterrestrial or supernatural) or a physical force (e. g., energy or disease), what causes them to “act”?

Revenge, financial profit, escape, conquest, insanity, invasion, survival, destruction

Now, it is possible to generate plots by mixing and matching these typical foundational elements. Here are a few examples.

This example uses the first words from each category:

Protagonist films on isolated property while traveling during a vendetta.

To make the plot more concrete, substitute more specific terms for the generic ones; in doing so, it is all right to eliminate an element that no longer seems to fit; in the following revision, “traveling” has been omitted.

The camera operator is hired as a member of a film crew shooting a documentary concerning life inside a prison so he can avenge his father's death by killing the inmate who murdered him.

Here is another example, based on the third term in each of the categories. In this example, it was necessary to add a noun after “by creating”:

A victim escapes from private property by creating a ruse in order to be free.

Again, to make the plot more concrete, substitute more specific terms for the generic ones; in doing so, it is all right to add or alter an element if doing so is desirable and appropriate.

An enslaved woman escapes from an island resort by disguising herself as a guest so she can leave with other departing visitors.

Plotting Board, Part 8

Copyright 2019 by Gary L. Pullman

Although there are several patterns of plots, one is the three-part structure described by Aristotle in his Poetics: beginning, middle, and end. We can think of this three-part structure as consisting of a cause of an action by which action an effect is produced:

1. Cause
2. Action
3. Effect

Every effect, or outcome, can be either comic (end well for the protagonist) or tragic (end poorly for the protagonist).

With this in mind, many varieties of plots can thus be developed:

The Problem-Solution Plot

1. Problem
2. Solution
3. Effect (Outcome)

As Good As It Gets (1997) uses this plot:

1. Problem: Misanthropic Melvin Udall suffers from an obsessive-compulsive disorder
2. Solution: Melvin falls in love with Carol Connelly, a server.
3. Outcome: Through his relationship with Carol, Melvin reaches the point at which he can overcome his obsessive-compulsive disorder.

The Sex-Violence Plot

1. Sex
2. Violence
3. Outcome

Fatal Attraction (1987) uses this plot:

1. Sex: Dan Gallagher has an affair with Alexandra "Alex" Forrest.
2. Violence: Unstable and possessive, Alex refuses to end the affair, attacking Dan's wife, Beth.
3. Outcome: Dan rescues Beth, who shoots Alex, preventing her from killing her husband.

The Masquerade-Unmasking Plot

1. Masquerade
2. Unmasking
3. Outcome

The Crying Game (1992) uses this plot:

1. Masquerade: Dil, a transvestite, masquerades as a woman.
2. Unmasking: Dil's true sex is revealed as she is about to have sex with Fergus.
3. Outcome: Fergus and Dil remain close friends.

The Victimization-Vengeance Plot

1. Victimization
2. Vengeance
3. Outcome
   
   
   
   
   
   

Sudden Impact (1983) uses this plot:

1. Victimization: Jennifer Spencer and her sister are raped.
2. Vengeance: One by one, Jennifer kills the rapists.
3. Outcome: Detective “Dirty Harry” Callahan learns the serial killer's identity, but lets Jennifer walk.

The Temptation-Sin Plot

1. Temptation
2. Sin
3. Outcome

Joan of Arc (1999) uses this plot:

1. Joan of Arc is tempted to commit the sin of pride.
2. Joan arrogantly insists on attacking Paris.
3. Joan repents and receives God's forgiveness.

The Status Change-Adaptation Plot

1. Status Change
2. Adaptation
3. Outcome

Shakespeare's King Henry IV, Part II uses this plot:

1. Status Change: Prince Hal becomes King Henry IV.
2. Adaptation: Henry IV adapts to his new status, becoming responsible and wise.
3. Outcome: Henry IV defeats his enemies and rules well.

The Threat-Response Plot

1. Threat
2. Response
3. Outcome

Alien (1979) uses this plot:

1. Threat: An alien aboard the Nostromo space tug threatens Warrant Officer Ripley and the rest of the vessel's crew.
2. Response: Ripley fights the alien.
3. Outcome: Using her wits, Ripley defeats the alien, opening an airlock, which causes the creature to be sucked from the vessel, and blasts it with Nostromo's engine exhausts.

The Role-Reversal Plot

1. Role
2. Reversal
3. Outcome

The Final Girl (2015) uses this plot:

1. Role: Veronica poses as a helpless young woman, allowing four teenager serial killers to “lure” her into a forest as their next intended victim.
2. Reversal: Actually a highly trained assassin, Veronica, the boys' intended prey, becomes the predator.
3. Outcome: One by one, veronica kills her would-be killers.

There are plenty of other variations on this basic plot pattern. Perhaps we will consider others in a future post.

The Ingredients of the Thriller

Copyright 2012 by Gary L. Pullman

In Thriller 2, Clive Cussler introduces readers to the thriller, not as a novel but in its short story form. In fact the anthology contains twenty-three thrillers. By authors as diverse as Jeffrey Deaver, R. L. Stine, Lisa Jackson, and Ridley Pearson. One of the editor's intentions, he tells readers, is to introduce those who are “new to the world of thrillers” to the genre or to allow “the rabid fan” the “chance to discover another side” of his or her “favorite author.”

Another of the editor's purposes is to define the genre. However, Cussler doesn't so so in so many words. Instead, he offers clues. The stories in this genre are not easily pigeonholed, Cussler declares. They include “novels of suspense, adventure tales, paranormal investigations, or even police procedurals.” Thrillers “push their readers just a little closer to the edge of their seats,” he says; “they cost their readers sleep, get carried to the grocery store to be read while standing in line [presumably, the readers and not the thriller are “standing in line”] and are held tightly until the last page.” Thrillers stay with readers after the last page has been read. These stories, Cussler contends, may “shock” or “cause” the “heart to skip a beat” or “make” one “laugh and flinch at the same time,”and, many times, they will be “read again in disbelief,” as readers seek “the clues” they “missed the first time around.”

Cussler also provides additional clues in the headnotes that he provides for each of the stories. They have “high stakes”; the time that is allowed the protagonist to sort things out and set things right is apt to be “short.” Situations, invariably, are intense. The storylines may be suggested or influenced by the stories' settings. A thriller might be based upon the “short step from respectable citizen to flat-out criminal,” wherein “the lead characters bear a shocking resemblance to people we might know—even to ourselves—pillars of society crumbling in an avalanche of bad decisions that seemed perfectly rational at the time.” Other thrillers are tales of revenge. Often, the action of such stories is based upon “current events.” A thriller may include “an intricate puzzle.” Some such stories spring from seedy, real-life counterparts of the characters they depict. Natural catastrophes are sometimes the culprits: “Mother Nature is as much of a threat as the killers” some characters encounter; they “must confront not only the harsh realities of their situation, but also the brutal conditions of their environment.” Occasionally, thrillers spring from the actual experiences of the writers who write them. The protagonists of thrillers may be amoral by society's standards, but they, nevertheless, usually live by “their own code of honor.” Other thrillers investigate their characters' “personal histories,” focusing upon what makes their characters tick or what motivates them to perform the dangerous feats they do. Humor is the wellspring of some thrillers. Sometimes, thrillers mix “history and science.” The action is often global in scope, and even in a world wherein science reigns, mysticism can coexist with empirical methods. Philosophical issues are not off limits to thrillers; some discuss such questions as to whether we are the masters of our fates or the fates' playthings. Politics, betrayal, dystopian futures, and patriotism can become the elements of a thriller that involves government intrigues and conspiracies. Thrillers also take their readers into the criminal underworld, showing them how hired killers view the world. Spies come in from the cold in many a thriller, and good guys protect the innocent. Romance—especially unrequited love—can set a thriller's plot in motion, and a woman scorned—well. . . . Villains include hit men, sociopaths, enemy agents, serial killers, rapists, and sadists.

Any story should start with a hook, and thrillers are no exception. These are a few from Thriller 2:

“A new weapon.”

The slim man in a conservative suit eased forward and lowered his voice. “Something terrible. And our sources are certain it will be used this coming Saturday morning. They're certain of that.”

“Four days,” said retired Colonel James J. Peterson, his voice grave. It was now 5:00 p. m. on Monday. (Deaver, Jeffrey. “The Weapon,” 16).

Bijoux Watson's body slipped underneath the muddy waters of the Brazos River without a sound, a mangled pile of flesh that had once been the biggest purveyor of black tar heroin in all east Texas (Hunsicker, Harry. “Iced,” 55).

Every time I think back on that night, I can see myself poised at that exact moment in time. I watch the story unfold—it's like watching a movie, you know?--and I wish to God I could relive that instant when I did the unthinkable (Stewart,. Mariah. “Justice Served,” 73).

What happened to Leon is a dirty shame (Stine, R. L., “Roomful of Witnesses,” 111).

“This is where they died?” (Neggers, Carla, “On the Run,” 169).

When the man he'd killed a year ago walked into the bar, Joe Dogan was surprised, So surprised that he fell off his stool (Light, Lawrence. “The Lamented,” 217).

“Give us the manuscript or we'll kill your wife” (Maleeny, Tim. “Suspension of Disbelief,” 271).

It's time to kill my husband. Izaan Bekkar. The forty-eighth president of the United States (Antrim, Kathleen. “Through a Veil Darkly,” 351).

Cussler identifies the key ingredients of the thriller. He provides twenty-three examples. There is no single formula for this type of story, but there are suggestions. Place a protagonist in an intense situation, perhaps in an isolated setting, with what little time remains before a catastrophic event fast running out, and see whether he or she can escape, avert the catastrophe, or otherwise save him- or herself and the day (and maybe the whole planet!) In the process, suggest something about human nature or, at least, a specific specimen of humanity and why life is important, especially when it is lived on the edge.

Plausible Motivations

copyright 2007 by Gary L. Pullman

In life, people sometimes do things for no reason, just for the hell of it. In fiction, however, characters, like litigants in a courtroom, always have a reason--although not always a good reason--for doing what they do. When they undertake large-scale endeavors that require cooperative participation among many individuals, there's generally a correspondingly colossal motive to inspire such massive, purposeful interaction.

We've divided motives for characters' conduct into two broad categories and listed some motives that are plausible for actions among many people (or characters) operating in support of a common cause.

I. International, National, and Regional Scale

• Colonization
• Commission of genocide
• Conducting commerce and trade
• Conducting crime fighting and law enforcement activities
• Conducting diplomatic missions
• Conducting homesteading activities
• Conducting missionary activities
• Conducting scientific research
• Conducting search and rescue missions
• Exploration of new worlds or uncharted territory
• Freeing of an enslaved people
• Maintenance of prisons
• Mining
• Piracy
• Pursuit of the freedom to worship
• Showcasing of art and culture
• Waging of war

II. Community and Personal Scale

• Attending weddings and funerals
• Camping outdoors
• Conducting crime fighting and law enforcement activities
• Conducting home-improvement projects
• Conducting landscaping or community beautification projects
• Conducting political campaigns
• Courting; dating (Species)
• Educating oneself or one’s family; educating the local citizenry
• Engaging in sports
• Engaging in social protests
• Enjoying family vacations; traveling
• Entertaining or being entertained
• Fishing, hunting, or shopping
• Participating in children’s and family activities
• Partying
• Production of art and cultural artifacts
• Protecting one’s family
• Working to provide for one’s family
• Worshiping at a local church

In addition to such general motivations, some spurs to action are more apt to be found in stories that involve the fantastic and the bizarre, including horror fiction:

• Biological or viral contamination (Earthly or otherworldly); disease or plague
• Cryptozoology
• Demonic possession or other supernatural or paranormal intervention (including magic)
• Extraterrestrial intervention
• Genetic mutations
• Inter-dimensional travel
• Nuclear holocaust
• Paranormal influences
• Parasitism
• Psychosis
• Radiation poisoning
• Scientific experiments gone awry; unintended use of technology

Many more conventional (historical) reasons and causes are adapted to fantasy, horror, and science fiction as well, as when an extraterrestrial army attacks Earth, Earth’s scientists colonize another planet, mining operations are conducted on alien planets, other planets are converted into prisons, and so forth.

Horror Film Structure: Some Thoughts, None Definitive

Copyright 2018 by Gary L. Pullman

“Analyses of film structure are never theory-neutral . . . . Once the analyst determines which of the many events in a film are the most salient in the light of his theory, he builds a structure that supports his theory” (George Ochoa, Deformed and Destructive Beings: The Purpose of Horror Films, 38)

Plot Structure of Jaws, seen as a three-act story (Syd Field):

Act 1: Ends with arrival of shark scientist Hooper on Amity Island.
Act 2: Ends with shark hunter Quint’s story about surviving a shark’s attack in World War II.
Act 3: Ends with the destruction of the shark.

Plot Structure of Jaws, seen as a four-act story (Noel Carroll):

Act 1: Onset: The shark makes its initial attack.
Act 2: Discovery: Police Chief Brody discovers evidence of a shark attack.
Act 3: Confirmation: Brody convinces the mayor to hire Quint to fight the shark.
Act 4: The shark is hunted and destroyed.

Plot Structure of Jaws, seen as a two-act story (Ochoa and Carl Gottlieb, co-screenwriter of Jaws):*

Act 1: The shark attacks.
Act 2: The shark is destroyed.

*”Appropriately generalized, these two acts can be considered the basic structure of all horror movies:

“1. Attack of the DDB: The DDB attacks one or more normals, often repeatedly.“2. Final battle: A climactic confrontation occurs that involves both DDB and one or more normals. It is usually a head-on DDB-normal clash, though it may involve a clash of two or more DDBs“ (38).

“Since knowing the DDB is the primary purpose of the horror film, these two acts are the basic components of horror film structure” (39); the “details” that “are. . . overlooked” by this generalized description of horror film structure, when identified, indicate “common alternatives for how to present the DDB through its conflict with normals--the central narrative idea of the horror film” (40).

“One common elaboration is to add another act at the outset, the entrance of the DDB” so that it becomes ‘;apparent at least to the audience, and sometimes to the normals. He begins to display his deformity, which may be further revealed in later acts. An example of this three-act structure is The Abominable Dr. Phibes:

“1. Entrance of the DDB: A hooded Dr. Phibes plays his organ and dances with his assistant Vulnavia, then puts his face together in preparation for going out to a murder.
“2. Attack of the DDB: Phibes kills his first offscreen victims, then kills more.
“3. Final battle: Dr. Vesalius saves his son from Phibes’s wrath, although Phibes eludes capture” (40).

Note: This is how I see the plot of the typical horror film: Act 1: A bizarre incidents occur. Act 2: Additional, seemingly unconnected, bizarre incidents occur. Act 3. The protagonist, aided or unaided, discovers the cause of the bizarre incidents, all of which are, in fact, related to one another. Act 4: Using his or her newfound knowledge as to the cause of the bizarre incidents (often the presence of a monster), the protagonist, aided or unaided, puts an end to the incidents, thereby restoring order.