To All the Boys I've Loved Before
Lara Jean Covey writes letters to all of her past loves, the letters are meant for her eyes only. Until one day when all the love letters are sent out to her previous loves. Her life is soon thrown into chaos when her foregoing loves confront her one by one.
5 wins & 11 nominations
Plot Structure
Story beats plotted across runtime
Narrative Arc
Emotional journey through the story's key moments
Story Circle
Blueprint 15-beat structure
Arcplot Score Breakdown
Weighted: Precision (70%) + Arc (15%) + Theme (15%)
To All the Boys I've Loved Before (2018) exhibits meticulously timed dramatic framework, characteristic of Susan Johnson's storytelling approach. This structural analysis examines how the film's 15-point plot structure maps to proven narrative frameworks across 1 hour and 40 minutes. With an Arcplot score of 7.5, the film showcases strong structural fundamentals.
Structural Analysis
The Status Quo at 1 minutes (1% through the runtime) establishes Lara Jean Covey introduces herself through voiceover, explaining she writes secret love letters to boys she's had crushes on but never sends them. We see her comfortable, hidden life where she can love from a distance without risk.. Of particular interest, this early placement immediately immerses viewers in the story world.
The inciting incident occurs at 11 minutes when Margot breaks up with Josh before leaving for Scotland and tells Lara Jean to take care of him. This creates an impossible situation: Lara Jean's secret crush is now available, but pursuing him would betray her sister.. At 11% through the film, this Disruption aligns precisely with traditional story structure. This beat shifts the emotional landscape, launching the protagonist into the central conflict.
The First Threshold at 25 minutes marks the transition into Act II, occurring at 25% of the runtime. This shows the protagonist's commitment to Lara Jean actively chooses to enter a fake relationship contract with Peter Kavinsky. They agree to pretend to date: she'll help him make Gen jealous, and he'll help her create distance from Josh. This is her choice to step out of fantasy into the messy reality of relationships, even if it starts as pretend., moving from reaction to action.
At 49 minutes, the Midpoint arrives at 49% of the runtime—precisely centered, creating perfect narrative symmetry. Structural examination shows that this crucial beat At the ski trip, Lara Jean and Peter share an intimate hot tub moment and kiss—not for show, but for real. It's a false victory: Lara Jean feels like the relationship might be becoming real, raising the stakes. Everything changes from performance to genuine emotion, but she doesn't know if Peter feels the same., fundamentally raising what's at risk. The emotional intensity shifts, dividing the narrative into clear before-and-after phases.
The Collapse moment at 72 minutes (72% through) represents the emotional nadir. Here, Peter sees Lara Jean and Josh in what appears to be an intimate moment (Josh trying to kiss her). Peter feels betrayed and walks away. Lara Jean, unable to be vulnerable and tell Peter the truth about her real feelings, lets him go. The fake relationship ends, and with it, any chance at the real thing. Her fear of vulnerability has killed the relationship—a metaphorical death of possibility., indicates the protagonist at their lowest point. This beat's placement in the final quarter sets up the climactic reversal.
The Second Threshold at 79 minutes initiates the final act resolution at 79% of the runtime. Lara Jean realizes she needs to be brave and tell Peter the truth: that her feelings are real. She synthesizes what she's learned (vulnerability is necessary for love) with her natural romanticism. She decides to actively pursue Peter instead of hiding, writing him one final letter—but this time, she'll deliver it in person., demonstrating the transformation achieved throughout the journey.
Emotional Journey
To All the Boys I've Loved Before's emotional architecture traces a deliberate progression across 15 carefully calibrated beats.
Narrative Framework
This structural analysis employs structural analysis methodology used to understand storytelling architecture. By mapping To All the Boys I've Loved Before against these established plot points, we can identify how Susan Johnson utilizes or subverts traditional narrative conventions. The plot point approach reveals not only adherence to structural principles but also creative choices that distinguish To All the Boys I've Loved Before within the comedy genre.
Comparative Analysis
Additional comedy films include The Ministry of Ungentlemanly Warfare, The Bad Guys and Lake Placid.
Plot Points by Act
Act I
SetupStatus Quo
Lara Jean Covey introduces herself through voiceover, explaining she writes secret love letters to boys she's had crushes on but never sends them. We see her comfortable, hidden life where she can love from a distance without risk.
Theme
Lara Jean's sister Margot tells her, "You need to stop being so afraid and put yourself out there." This speaks to the film's central theme: moving from fantasy/safety into real, vulnerable relationships.
Worldbuilding
We meet the Covey family: Lara Jean (the romantic dreamer), Margot (responsible older sister leaving for college), Kitty (mischievous younger sister), and their widowed father. Lara Jean harbors secret feelings for Josh, the boy next door who is dating Margot. The five love letters are revealed as Lara Jean's way of processing and "ending" her crushes safely.
Disruption
Margot breaks up with Josh before leaving for Scotland and tells Lara Jean to take care of him. This creates an impossible situation: Lara Jean's secret crush is now available, but pursuing him would betray her sister.
Resistance
Lara Jean struggles with her feelings for Josh while Margot is away. At school, Kitty has secretly mailed all five love letters. The recipients begin confronting Lara Jean: Peter Kavinsky (popular lacrosse player) and others. Lara Jean is mortified as her private feelings become public. To avoid Josh knowing her feelings and to make Peter's ex-girlfriend Gen jealous, Lara Jean debates whether to go along with Peter's fake dating scheme.
Act II
ConfrontationFirst Threshold
Lara Jean actively chooses to enter a fake relationship contract with Peter Kavinsky. They agree to pretend to date: she'll help him make Gen jealous, and he'll help her create distance from Josh. This is her choice to step out of fantasy into the messy reality of relationships, even if it starts as pretend.
Mirror World
Peter Kavinsky becomes Lara Jean's "B Story" character. Their fake relationship will teach her what she needs to learn: that real connection requires vulnerability and risk. Peter represents the opposite of her fantasy letters—he's real, present, and demanding authenticity.
Premise
The "fake dating" fun and games. Lara Jean and Peter navigate their contract: he drives her to school, they hold hands in hallways, stage cute moments. Lara Jean experiences the high school romance she's always fantasized about. They go on dates, attend parties, and slowly the line between fake and real begins to blur. Peter is attentive and charming. Lara Jean starts developing real feelings but keeps them hidden.
Midpoint
At the ski trip, Lara Jean and Peter share an intimate hot tub moment and kiss—not for show, but for real. It's a false victory: Lara Jean feels like the relationship might be becoming real, raising the stakes. Everything changes from performance to genuine emotion, but she doesn't know if Peter feels the same.
Opposition
Complications intensify. Gen spreads a sex tape rumor about Lara Jean and Peter. Lara Jean's insecurities surface—she believes Peter might still have feelings for Gen. Josh confronts Lara Jean about her letter, admitting he has feelings for her too, which confuses her. Margot returns early from Scotland and discovers what's been happening. The pressure of maintaining the fake relationship while catching real feelings becomes unbearable.
Collapse
Peter sees Lara Jean and Josh in what appears to be an intimate moment (Josh trying to kiss her). Peter feels betrayed and walks away. Lara Jean, unable to be vulnerable and tell Peter the truth about her real feelings, lets him go. The fake relationship ends, and with it, any chance at the real thing. Her fear of vulnerability has killed the relationship—a metaphorical death of possibility.
Crisis
Lara Jean retreats into sadness and isolation. She processes the loss, realizing she pushed Peter away because she was afraid. Her sisters and father provide support. She confronts her pattern of hiding behind letters instead of being honest about her feelings. This is her dark night: recognizing that safety cost her something real.
Act III
ResolutionSecond Threshold
Lara Jean realizes she needs to be brave and tell Peter the truth: that her feelings are real. She synthesizes what she's learned (vulnerability is necessary for love) with her natural romanticism. She decides to actively pursue Peter instead of hiding, writing him one final letter—but this time, she'll deliver it in person.
Synthesis
Lara Jean confronts Gen, standing up for herself with newfound confidence. She goes to Peter's lacrosse game with a handwritten letter confessing her real feelings. She gives him the letter and walks away, having finally been vulnerable and honest. Peter reads it, processes his own feelings, and realizes he loves her too. He chases after her, and they kiss for real—not fake, not for show, but genuine.
Transformation
The closing image mirrors the opening: Lara Jean with a letter. But instead of hiding it in a hatbox, she's shared it. She's in a real relationship with Peter, walking together openly. She's transformed from a girl who loved in secret to someone who can be vulnerable and present in real love. The voiceover confirms: she's no longer afraid.