Similarly to other genres, horror films can be structured in various ways. There are many excellent examples of non-linear storytelling, which we’ll explore in the future. This time we’ll take the simplest, most ‘traditional’ structure – the 3-act structure, based on the idea that stories should have a beginning, a middle, and an end. We’ll look at genre-specific elements you can consider that help build tension, dread, and eventual terror. Here’s how you can follow the basic 3-act structure, while tailoring it to your vision. Remember that one page of properly formatted screenplay equals about a minute of screen time.
We will show approximately how may minutes into your film the main elements of the 3-act structure would fall in a 90-minute horror film, but please don’t get trapped by the timings — they are just a rough guideline!
Act 1: Sinister Beginnings — Setup (0-22 minutes)
Introduce the world (0-12 minutes):
OPTIONAL Horror teaser or introduction — some horror films start with a short, sharp shock such as a murder or another violent incident, which will remain unexplained until later on. Others with a brief introduction or fragment of backstory. Such opening scenes can add a bit of up-front bite, or pique audience interest, provided they don’t give away too much.
Show the world of your story as it normally is — introduce the protagonist, key characters and the setting. Signal any emotional vulnerability or psychological flaw in the main character so that it can be used against them later by your film’s horror elements.
Foreshadow the horror — small hints or clues that suggest all is not well, e.g., weird sounds, disquieting imagery.
Example:
In “Haunt” (2013), there is a brief horror teaser and an introduction: Franklin Morello tries to communicate with his dead children in the afterlife using a spirit box and is attacked, possessed, and killed by an as-yet unexplained malevolent supernatural entity. Franklin’s widow then informs the audience in voiceover that her entire family died in mysterious circumstances and there is a curse on her house. These two elements could have been woven into later parts of the film in the form of flashbacks or expository dialogue, but they work well at the beginning, providing clarity without giving away too much.
Then the film ‘really’ starts: we are introduced to the protagonist, Evan, and meet his family as they move into the so-called Morello house.
A flickering lightbulb, a loose floorboard, and the creepy portrait of a dead boy soon confirm that not all is well in Evan’s new home, foreshadowing the horror to come.
Inciting incident (12-16 minutes):
Something happens to shake up the normal world and trigger the horror. Often the main characters make a choice that puts them on a collision course with the ‘monster’. Sometimes they receive a warning to turn back, which they don’t heed. This is frequently the point at which they have their first encounter with the threat, but it is not full-on It’s just enough to give a clear indication that some sort of unnatural or violent activity is afoot.
Doubt and denial — the protagonists don’t realise the true danger of the choice they have made or the thing they have encountered. They will often try to make sense of what they saw or heard, or they’ll want to believe it was a figment of their imagination. If they relate their experience to others, the people around them may deny that the events ever took place.
Example:
In “The Shining” (1980), Jack accepts the job as caretaker of the Overlook Hotel. Back home, Jack’s son Danny can sense that Jack’s decision is a bad one, but not just how bad.
First Act Turning Point (16-22 minutes):
The point of no return — this is when the protagonist(s) realise(s) they’re in big trouble. It is often the first full-on encounter with the evil, or at least a moment when they realise that they are in danger and there is no going back with regards to the situation they find themselves in. Now there is no denying that bad shit is going down. It can’t be ignored, it has to be faced!
Example:
In “Alien” (1979), the facehugger attaches to Kane, forcing the crew to take action. They are now dealing with an alien threat. This event ends their exploratory mission and begins their survival horror journey, leading straight into the beginning of Act Two, where the crew returns to the Nostromo with Kane, and actively tries to understand and combat the alien threat.
Act 2: Horror Unleashed — Confrontation (22-68 minutes)
Rising Action (22-40 mins):
In “The Texas Chain Saw Massacre” (1974), Pam waits outside while Kirk goes into a house to try to buy some petrol for their van. Unbeknownst to Pam, Leatherface murders Kirk inside the house. When Pam goes inside, looking for Kirk, she stumbles across a room full of human and animal bones. Her fear and desperation grow, before she too is caught by Leatherface.
Midpoint (40-50 minutes):
A major event or revelation changes the story’s direction as the protagonist faces a key challenge or learns crucial information, increasing the stakes.
Example:
At the midpoint of “From Dusk Till Dawn” (1996), the main characters discover that the bar in which they’ve arranged a rendezvous is actually a hotbed of thirsty bloodsuckers. Now their main goal shifts from freedom to survival, and the film itself changes from violent crime thriller to full-on vampire gorefest.
Escalation (50-63 minutes):
The horror intensifies, and the protagonist actively tries to come up with a plan to defeat it (perform a ritual, fight back, escape). Sometimes this includes an ally (a mentor, friend, or expert) who has knowledge about the entity/monster/killer.
The protagonist tries to survive or escape, but things keep getting worse. Allies may start dying or turning against each other.
Example:
In “The Descent” (2005), the group’s attempts to get out of the cave system escalate, as do the jump scares.
As the tension, struggle, and horror escalate, the protagonists win some ‘battles’ and lose others, with the following plot points usually occurring — in close succession — near the end of Act Two:
False victory — The protagonist seems to gain the upper hand or a temporary respite. Maybe, just maybe, the evil can be defeated.
Major loss or reversal — Catastrophic failure follows and the horror resurfaces with a vengeance, leaving the protagonist in deep peril, with the horror seemingly unbeatable.
Dark Night of the Soul — The protagonist goes through an internal crisis, despairing that there is no way out.
Example:
In “The Omen” (1976), Robert Thorn has a false sense of hope after he gains a growing understanding of Damien’s true nature, escapes with his life (and Keith’s) from the Rottweilers in the cemetery, and warns his wife Kathy to leave London. However, Mrs Baylock murders Kathy, leading Robert to break down in despair.
Second Act Turning Point (63-68 minutes):
The protagonist either receives crucial information about the threat, or simply decides to make a last-ditch, all-out attempt not to die. This usually involves deciding on a more proactive approach to fighting the monster, when everything else has failed. The protagonist prepares for the final confrontation with the threat.
Example:
In “The Exorcist” (1973), Father Karras prepares for Regan’s exorcism. Father Merrin arrives at the MacNeil house and now the fight with the devil is on.
[N.B. the YouTuber who posted this clip added the music; it’s not the original soundtrack for this part of the film.]
Alternative Scenario:
In some cases, the Second Act Turning Point is specifically about vengeance. The protagonist is still deciding to fight back against (sometimes perceived, but usually real) evil. But this is less a matter of survival and more a case of taking brutal, cathartic vengeance on perpetrators or victimisers. This is particularly true in the case of rape revenge films, such as “I Spit on Your Grave” (1978), in which Jennifer tortures and kills the men who raped her. Also, in “The Last House on the Left” (1972), in which parents kill the rapist-murderers of their daughter. Finally, in”The Virgin Spring” (1960), in which a father kills the men who raped and murdered his daughter.
In “Carrie” (1976), Carrie is drenched in pig’s blood at the prom. This devastating betrayal triggers her telekinetic powers and leads to the film’s climactic horror. Up until this point, Carrie has experienced a sense of triumph. She accepted the invitation to prom, enjoyed a rare moment of happiness, and felt like she was finally fitting in. The pig’s blood prank, orchestrated by Chris and her friends, shatters Carrie’s newfound confidence and happiness. This humiliation pushes her over the edge, and propels the film into Act Three, where Carrie unleashes her powers on the students and faculty at the prom, in a final act of destruction and revenge.
Act 3: Fearsome Finale — Resolution (68-90 minutes)
Climax (68-85 minutes)
Final confrontation: The protagonist confronts the horror in a do-or-die scenario. This should be the most intense and terrifying moment of the film. The outcome is uncertain, and the protagonist must face their deepest fear or weakness (symbolically or literally) to make it out alive.
Example:
In “Jaws” (1975), Brody, Quint, and Hooper risk it all to end the man-eating shark’s reign of terror, with Quint being eaten alive in the process.
Denouement (85-90 minutes)
The protagonist either survives, but is deeply changed by the experience, or succumbs to the horror.
Many horror films end with a twist that implies the horror isn’t fully over (e.g., Carrie’s hand reaching from the grave) or leaves the door open to a potential sequel.
In “From Dusk Till Dawn” (1996), criminal Seth and his hostage Kate survive, but they have lost their loved ones. As Seth drives away, leaving Kate on her own, we see the back of the Titty Twister bar (the vampires’ lair) for the first time. The camera pulls away, revealing that the bar is built on top of an ancient Aztec temple and hinting at the deeper, ongoing horror that remains. This leaves the door open for potential sequels and a lingering sense of dread.
3-Act Structure in Horror — Final Thoughts:
We’ve looked at how you can build the three acts of your basic horror screenplay. This is the foundation, but here is a reminder of how you can add psychological depth and boost your horror film from good to great:
Escalating dread: Build a rhythm where the tension increases throughout the film. Alternate moments of quiet, eerie tension with bursts of action or terror.
Relatable characters: Audiences fear for characters they care about, so invest time in building empathy for your protagonist, and highlight their emotional or psychological vulnerabilities.
Antagonist as a Reflection: See if you can connect the villain or monster to the protagonist’s inner fears or weaknesses.
Uncertainty and unpredictability: The best horror leaves the audience unsure as to what comes next. Surprise them with misdirection and pacing.
Theme & Subtext: Aim to make the horror reflect deeper fears or societal anxieties. For example, the supernatural force could represent guilt, trauma, fear of the unknown, racism, classism, rampant consumerism, or destruction of the natural environment.
Your film, your rules: Most important of all, remember that your vision for your film is what truly matters. Once you have a basic understanding of ‘the rules’, it’s up to you whether you stick to them or break them!
Got Your Own Spooky Short?
Raindance is hosting a horror short film competition. Find out how to submit below!
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Anna Taborska supports the Head of Programming of the Raindance Film Festival and is responsible for rebooting the Raindance Horror strand. She is a Raindance Film School alumna, a filmmaker, screenwriter and horror author. Anna is a recipient of the Horror Writers Association’s Bram Stoker Award in the Anthology Category for “Discontinue If Death Ensues: Tales From the Tipping Point”, which was also nominated for a World Fantasy Award. Her body of work includes three short story collections: Bloody Britain, Shadowcats, and For Those who Dream Monsters, which won the Dracula Society’s Children of the Night Award. Anna has been nominated for a British Fantasy Award thrice, and a Bram Stoker Award six times, including for her illustrated storybook A Song for Barnaby Jones. She has directed and produced five films: Ela, The Sin, My Uprising, A Fragment of Being, and festival award-winning drama The Rain Has Stopped, and worked on twenty other film and TV productions, such as the BBC / PBS series Auschwitz: The Nazis and ‘The Final Solution’.
