Blake Snyder’s Beat Sheet
The Blake Snyder Beat Sheet is the best plot structure template I’ve come across.
It breaks down the three-act structure into bite-size, manageable sections, each with a specific goal for your overall story.
See my review of the Save the Cat books by Blake Snyder (where the Blake Snyder Beat Sheet originated), and buy the book. It’s a great resource!
Below is an explanation of each beat. Please see how it works with graphic novels by visiting Graphic Novel Story Structure. Thanks!
THE BLAKE SNYDER BEAT SHEET (aka BS2)
Opening Image – A visual that represents the struggle & tone of the story. A snapshot of the main character’s problem, before the adventure begins.
Set-up – Expand on the “before” snapshot. Present the main character’s world as it is, and what is missing in their life.
Theme Stated (happens during the Set-up) – What your story is about; the message, the truth. Usually, it is spoken to the main character or in their presence, but they don’t understand the truth…not until they have some personal experience and context to support it.
Catalyst – The moment where life as it is changes. It is the telegram, the act of catching your loved-one cheating, allowing a monster onboard the ship, meeting the true love of your life, etc. The “before” world is no more, change is underway.
Debate – But change is scary and for a moment, or a brief number of moments, the main character doubts the journey they must take. Can I face this challenge? Do I have what it takes? Should I go at all? It is the last chance for the hero to chicken out.
Break Into Two (Choosing Act Two) – The main character makes a choice and the journey begins. We leave the “Thesis” world and enter the upside-down, opposite world of Act Two.
B Story – This is when there’s a discussion about the Theme – the nugget of truth. Usually, this discussion is between the main character and the love interest. So, the B Story is usually called the “love story”.
The Promise of the Premise – This is when Craig Thompson’s relationship with Raina blooms, when Indiana Jones tries to beat the Nazis to the Lost Ark, when the detective finds the most clues and dodges the most bullets. This is when the main character explores the new world and the audience is entertained by the premise they have been promised.
Midpoint – Dependent upon the story, this moment is when everything is “great” or everything is “awful”. The main character either gets everything they think they want (“great”) or doesn’t get what they think they want at all (“awful”). But not everything we think we want is what we actually need in the end.
Bad Guys Close In – Doubt, jealousy, fear, foes both physical and emotional regroup to defeat the main character’s goal, and the main character’s “great”/“awful” situation disintegrates.
All is Lost – The opposite moment from the Midpoint: “awful”/“great”. The moment that the main character realizes they’ve lost everything they gained, or everything they now have has no meaning. The initial goal now looks even more impossible than before. And here, something or someone dies. It can be physical or emotional, but the death of something old makes way for something new to be born.
Dark Night of the Soul – The main character hits bottom, and wallows in hopelessness. The Why hast thou forsaken me, Lord? moment. Mourning the loss of what has “died” – the dream, the goal, the mentor character, the love of your life, etc. But, you must fall completely before you can pick yourself back up and try again.
Break Into Three (Choosing Act Three) – Thanks to a fresh idea, new inspiration, or last-minute Thematic advice from the B Story (usually the love interest), the main character chooses to try again.
Finale – This time around, the main character incorporates the Theme – the nugget of truth that now makes sense to them – into their fight for the goal because they have experience from the A Story and context from the B Story. Act Three is about Synthesis!
Final Image – opposite of Opening Image, proving, visually, that a change has occurred within the character.
THE END
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Three-Act Story Structure in Graphic Novels
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Tim Stout 
Thanks so much for explaining this! My sister has the book and references it frequently and won’t let me borrow it. Never have read it but knowing about this beat sheet I was confused when I wrote down the bones but didn’t exactly know what each “beat” was. Now I do. 😀
Thanks for the comment, Kimberly. Glad I could be of help to you and ease the conflict between siblings!
But just so you know, this is a pared down description of the beats. The books go into greater detail and offer more guidance than I have here. I, too, reference both books all the time, so I fully endorse purchasing copies of your own.
Blake Snyder’s Books on Amazon
Thanks, I have had more than one copy of this book pass through my hands from those who just wanted to (ahem) “Borrow it, please?” I had forgotten where to find this.
I’m a novelist and I love Blake Snyder’s books. Before I ever read Save The Cat, though, I’d developed a similar tool of my own, for grappling with revisions of my novels. It’s expanded especially for use in novels (whose structure is more fluid than a screenplay) and it can be found in my book – Nail Your Novel: Why Writers Abandon Books and How You Can Draft, Fix and Finish with Confidence.
This is great! Thanks for providing it, as the book doesn’t seem to be available in my country. It really helps me as an amateur writer, as well as at school. Because I’ve managed to find this earlier on, when I move on to high school, I think the stories I write for my English lessons will be much more well structured and I’ll get higher marks, if God wills.
Excellent! Glad I could help. If you’ve had trouble getting the book in a bookstore, perhaps a retailer of used books through Amazon would be able to ship it to you.
Solid summary…Works like a charm.
Thanks, Mike!
As a student studying scriptwriting, thank you!
My pleasure. Thanks for reading, Ethel!
Thanks! I have two of Blake’s books, but having all of the terms defined in one place is really helpful. Thanks again.
Where I usually have problems is in the in between stuff. For example, what should be happening between THEME STATED and CATALYST, or between CATALYST and DEBATE.
And –what you call catalyst here is a) the inciting incident or b) the point of no return?
Thanks.
That is the tricky part. Plot can only fill so much of the script. In between is where you can focus on what your characters are thinking and feeling, and why they are doing what they are doing.
And, in answer to your question: a)
Hey Tim, is the catalyst also plot point one?
Hey David,
That depends on who you are reading. Some story theorists call the catalyst “plot point one”, while others call break into two “plot point one”. Frankly, a catalyst by definition is “a person or thing that precipitates an event or change” (dictionary.com), so every plot point can be considered a catalyst. However, Blake Snyder uses Catalyst to mean the first BIG event that spurs the character down a path toward transformation.
My friend suggested this book, but until I get it, I’m gonna see if I can work with these “bare bones.” Thanks for posting!
Thanks for the comment. I agree with your friend. I didn’t buy the book at first, either. But after visiting a Barnes and Noble three, four, five times to familiarize myself with the Beat Sheet and the other content, I realized I should just get it. If you find yourself returning over and over to this site, the book has a lot more information to share. As you said, mine is “bare bones”.
Well, I think they look promising. 🙂
Hey Tim, for quite some time I’ve valued your analysis on the BS2. Hope you don’t mind but I posted a link to this on Done Deal Pro to help another new writer well on his way to a 300 page, first draft. Of course I credited you for your thoughts. It can be found at http://messageboard.donedealpro.com/boards/showthread.php?t=72333&page=2. I say this with profound appreciation: Wish I’d have seen your analysis before I started writing… take care.
Thanks, MJ
You’re welcome! And thanks so much for the link, MJ.
Thanks for the tightly constructed summary of the main points of the Blake beat sheet. Very useful to keep next to your typewriter!
Thanks Tim for whetting my appetite – I went ahead and bought the book.
My pleasure. Thanks for reading.
I hope you enjoy the book!
Love your explination. I mentioned this post in one of mine. Thanks. http://sfountain.com/notes/writers-creative-flow
Thanks, Samantha!
what comes first the theme stated or the set up? in the book the theme stated comes first but above you switched those two sections. thanks.
Hey Yusef,
Thanks for the question. The Theme Stated typically occurs during the first 10 minutes as part of the Set Up, so above or below, it doesn’t really matter. It could actually be anywhere in the first act. For example, in Blake’s second book, Save the Cat Goes to the Movies, he shows that the theme of Cocoon is after the Debate. As long as it is in the first act, you should be good to go.
Ahaa!! Check out article at Slate on today’s date that points out Beat Sheat analysis and how it’s impacting movie productions these days. It confirms many of my most similar thoughts since I read this/your post and started evaluating films in terms of it. And, I figure, as the soothsayer you are Tim, you’ll especially enjoy this read…
http://www.slate.com/articles/arts/culturebox/2013/07/hollywood_and_blake_snyder_s_screenwriting_book_save_the_cat.single.html
MJ, thanks for heads up! Due to the article, this page was posted on reddit and got a 2000% bump in traffic. Awesome!
Unfortunately, I think the article is pretty silly. “…a formula that threatens the world of original screenwriting as we know it.” … “Is over-reliance on Snyder’s story formula killing movies?” What nonsense.
I agree with the final statement: “…sometimes you can let the formula guide you. But that shouldn’t be the only thing you know how to do.” But the journalist doesn’t even ask any screenwriters or producers or directors if they use the beat sheet. How does he know they are becoming over-reliant? He doesn’t.
As Sherlock Holmes would say he’s “twisting facts to suit theories, instead of theories to suit facts,” and using the beat sheet as an excuse to throw mud at Hollywood over some of the summer blockbusters (coincidentally, the movies he didn’t like). Movies are not dying. Screenwriting is not in peril. The Beat Sheet is not to blame.
Nevertheless, the article is getting attention so I hope it’s helping STC’s sales. 🙂
I LOVE Blake Snyder’s Save The Cat! series. And though I was still having a bit of trouble because some of the beats are vague, I actually found another book that helped clarify any remaining questions I had about plot beats. A Stranger Comes To Town by Adron J. Smitley is another great book on plot, and if you enjoy Blake Snyder’s Save The Cat! series then you’ll also want to take a read of that book as well. Beats like Fun And Games or Bad Guys Close In are sometimes hard to fill out in your story, as they are pretty story specific so Blake Snyder gives a small amount of ‘instructions’ then let’s you have at it, but in A Stranger Comes To Town, if you’re a very plot-driven writer like myself, you’ll find a more detailed explanation of the necessary plot beats. I recommend everyone check those books out, if even only for a quick flip-through. They helped me and my writing a lot. Great article, by the way. Thanks =-)
Your beat sheet is wrong.
It’s THEME STATED which comes BEFORE SET-UP. Not what you have done.
Thanks for the comment, but above you’ll see on 7/16/13, I wrote the following to Yusef:
The Beat Sheet is a guideline, so there is room to play around with it.
Since my weak point is plotting, I am finding the beat sheet VERY helpful. I think I’m going to have to buy more books. Glad I found this. I don’t really like cats, but I’ll buy Save the Cat anyway. And maybe A Stranger Comes to Town. Just hope he’s tall, dark, and handsome and comes on a dark and stormy night to save me from the dungeon and the bat like creature sliming (climbing) the walls behind me, unseen. To creepy music.
Thanks so much for this brief break down. It is really helping me with my plotting!
Dear Tim,
I just read the Beat Sheet for Toy Story 3 and I learnt s-o much! Do you have any others that you can send?
God Bless,
TJ
tj@rocknsouls.com
Hey TJ,
If you want more movies, I’d recommend Blake Snyder’s second STC book, Save the Cat Goes to the Movies, because Blake Snyder analyzes the beats of a bunch of popular films. You could also check out the Save the Cat forum, where other fans of the Beat Sheet have shared their breakdowns: http://savethecat.informe.com/
Of course, if you want some breakdowns for graphic novels, you can go to this link, or you can check out my ebook, Short Notes on Long Comics.
I hope that helps!
Thank you
Hello Tim,
I read save the cat, and it did help with the plot on a script I’ve been writing for 3 years, but, I have some questions about the book, and I’m grateful this site is here for me to ask them. I will buy the other book: A stranger comes to town, for more clarity. Okay, I also read the article accusing save the cat of ruining Hollywood. I agree with you, It seemed a bit jaded. My first question is the All is lost beat being the opposite of the midpoint- “awful/great”. All is Lost denotes awful, and losing all you’ve gained, or, finding out all you have means nothing are both negative. My Midpoint is: hero brings hope back , so it seems, and my All is lost beat is the good guys lose the other half of their army. After a lot of cross referencing, I get it, but Blake’s throwing out All is lost is opposite of the Midpoint either awful, or great… Needs a little more explanation, maybe even it’s own chapter. It made me stop reading and I spent a week getting my head around the concept. The other question is the part that says there should be 9 or 10 beats per act segment on your beat it out sheet. I’m writing an action story, and I’m having a hard time changing it to fit this rule, so I’m not going to. I found the following article exploring this question. It isn’t referencing, or downing save the cat book, but I think it addresses the question. http://messageboard.donedealpro.com/boards/showthread.php?t=18034
What are your thoughts? And thank you for your time and this site :)\
Hi Orrin,
Thanks for the questions.
1) The Midpoint is the opposite of All is Lost:
Yes, the All is Lost (or Whiff of Death) is a negative thing. Often, the All is Lost comes about because the Bad Guys have Closed In and gotten in between the Protagonist and their goal. It is painful. And out of that pain, the character is given the opportunity to grow. It forces the character to dig deep inside themselves and choose to apply the message of the B-Story—and thereby transform into a more mature person—in pursuit of the original goal, or in pursuit of a new, more mature/enlightened goal. This is an example of how things are “great” at the Midpoint and then “awful” at the All is Lost.
However, sometimes the All is Lost comes about because things were looking really “awful” at the Midpoint but then the Bad Guys Closed In and HELPED the Protagonist achieve the goal they THINK they want. So, they have everything they’ve always wanted. They have achieved the goal they set out to achieve—typically something shallow, thematically (money, the wrong girl, what’s expected of them but they don’t really want, etc.). They should feel good because things are now “great” and yet they feel dead inside. This is the All is Lost (or Whiff of Death) and is once again a painful, negative thing despite being “great.” Out of this pain, the character is given the opportunity to grow. It forces the character to dig deep inside themselves and choose to apply the message of the B-Story—and thereby transform into a more mature person—in pursuit of a new, more mature/enlightened goal.
I hope that makes sense.
2) 9 or 10 beats per act:
If it doesn’t work for you, don’t force it. Do what feels right.
Hi timstout
I hear what you’re saying, but do you have any examples of films where the Midpoint is awful and the All is Lost is where the protagonist achieved their goal with the help of the antagonist, but it’s not what they wanted. I’m just not seeing a lot of evidence.
Liar Liar the Jim Carrey film, is the closest example I could find. At the All is Lost moment he wins the case but realises the person he’s won it for is a terrible human being and that he’s made a huge mistake. But the midpoint isn’t necessarily awful. His wife gives him once last chance, and it’s fairly happy.
You’re right that false defeats at the Midpoint and false victories at the All Is Lost are much more unusual. I couldn’t think of any examples off the top of my head. However, Save the Cat Goes to the Movies mentions Saving Private Ryan, All the President’s Men, The Matrix, and Spider-Man 2 as examples.
Hi Tim, on the link I sent with my reply, check out the Q&A for how many scenes per act. And I’ve got to say this, and please quote me: “Save the Cat” in Hollywood, is kind of like the Pirate Code in “Pirates of the Caribbean”. If you question it, One pirate/person might shoot you dead on the spot, but another would say: “Argh, it’s just a guideline”
There, I said it… I think I’ll go lock my doors. :)\ Thanks again!
H Tim,
Thanks, that makes it more clear, it’s either all is lost, got to dig, or get want, not need. I think my story is on target with an all is lost, got to dig beat. I was a bit confused about the part in Save the Cat that said each Act segment needs 9 or 10 beats, but I guess my final # of beats will come out in wash. …I’ll do what feels right.
Thanks again! :)\
Dear Tim,
I use Blake’s Beat Sheet and I love it; but your explanations on these boards add more dimensions to it! Do you have a page or document I can view with your comments and explanations of Blake’s Beat Sheet?
God Bless and Love,
TJ
Thanks for the comment, TJ.
I don’t have an expansion of what’s written above, if that’s what you mean, but I do discuss the beats through the examples of story structure in Graphic Novels (https://timstout.wordpress.com/story-structure/) and in my ebook Short Notes on Long Comics (http://amzn.to/1aER8l0).
Dear Tim,
Thank you for the reply. The Batman Year One Beat Sheet is already helping! Do you consider the Premise the same as a Log Line?
God Bless & Love,
TJ
Dear Tim,
The Beat Sheet of “Batman Year One” has invoked a few questions I would like to ask; if I may?
Act I
“Premise”: – same as a “Log Line”?
The focus of the “Premise” is on Jim Gordon and not as much on Batman it seems. Would it be wrong to have the Premise focus more on Batman?
“Opening Image”:
Seems to have a contrast; one person -Gordon- wanting “out” and Bruce Wayne wanting “in”. Is this a common picture and tension? Can the “Opening Image” focus on the Antagonist or should that character be held back until the Catalyst Beat?
“Set Up”:
Seems to display the involved persons preparing for the battle which is to come; correct? Can this be both Protagonist and Antagonist?
Act II
“B Story”:
If this is usually the Love Interest part, is this where Gordon gets involved with the girl?
“Fun & Games”:
Can this be a time when the Antagonist is also having fun and building towards his goals?
“Midpoint”:
I’m not clear on this Beat. Could you explain?
“Bad Guys Close In”:
In this beat, do the bad guys close in became Batman and Gordon have let their guards down? For Bruce leaves to recover and Gordon is focused more on the girl?
“All is Lost”:
Seems like a Contemplative Beat; yes?
“Dark Night Of The Soul”:
This seems like Gordon tries his best again on just his natural powers but in order to emerge from the Dark Night Beat, Gordon has to reach for a higher moral and power to accomplish it; correct?
Act III
“Choosing Act Three”:
I see how Gordon makes some new decisions but has Bruce / Batman made any new descions?
“Final Image” can this also be called “New Equilibrium”?
Sorry Tim, if this is lengthy but I trust you with insightful answers…
God Bless & Love,
TJ
“Premise”: – same as a “Log Line”?
The focus of the “Premise” is on Jim Gordon and not as much on Batman it seems. Would it be wrong to have the Premise focus more on Batman?
I wrote the Batman Year One “Premise” based upon a template for writing log lines, which I wrote about here: https://timstout.wordpress.com/graphic-novel-writing/loglines/
I used the word “premise” so readers can make the connection during the Fun N’ Games section (the Promise of the Premise). So, I am using the words “premise” and “log line” interchangeably. Maybe that’s wrong. I’m not sure.
However, Gordon is the protagonist, so he is featured in the premise/log line. If I were to feature Batman more than Gordon in the premise/log line, then I’d be telling a different story. I would be promising a different premise to my readers, which I would need to fulfill in the Fun N’ Games section (the Promise of the Premise). Batman would be the protagonist in this different story, instead of Gordon.
“Log line” can often be confused for the “pitch.” If you were tell someone what Batman Year One is about in as few words as possible (pitching it to them), you might say it’s Batman’s origin story, even though Gordon is the protagonist.
“Opening Image”:
Seems to have a contrast; one person -Gordon- wanting “out” and Bruce Wayne wanting “in”. Is this a common picture and tension? Can the “Opening Image” focus on the Antagonist or should that character be held back until the Catalyst Beat?
Antagonists can be shown anytime you want. It’s your story. Darth Vader is shown waaay before Luke. The point is to show the tension. The Opening Image of Star Wars shows a war between the tiny rebellion and the big evil empire. We understand the drama immediately.
“Set Up”:
Seems to display the involved persons preparing for the battle which is to come; correct? Can this be both Protagonist and Antagonist?
As the writer, you use the Set Up to prepare the reader for everything that is to come later in the story. Sometimes the characters are aware of that preparation, sometimes they aren’t.
In Batman Year One, they are. In Romancing the Stone, for example, only the Antagonist is actively preparing the conflict, while the Protagonist is blissfully unaware until the Catalyst. (And yes, the Set Up can feature both the protagonist and antagonist.)
Note: Instead of using the word “battle” which denotes war, use the word “conflict” because Romancing the Stone is not about war or battles, but the Set Up does prepare the viewer for the conflict a shut-in romance novelist would have during a wild adventure.
Act II
“B Story”:
If this is usually the Love Interest part, is this where Gordon gets involved with the girl?
The B Story is the THEMATIC relationship—the relationship that will reveal to the protagonist what value they need in order to transform and mature as a person. In many stories, that’s shown through the love interest. But in this case, the thematic relationship is Gordon’s relationship (partnership, friendship) with Batman.
“Fun & Games”:
Can this be a time when the Antagonist is also having fun and building towards his goals?
Sure. I don’t see why not. The Fun n’ Games is not necessarily a walk in the park for the Protagonist. The Antagonist is always pushing back.
“Midpoint”:
I’m not clear on this Beat. Could you explain?
Well, I don’t understand the confusion. So, I’ll phrase the explanation a different way and say that after the Fun n’ Games, when the protagonist is attempting to achieve their goal, they either are succeeding halfway through the story and things are going great, or they aren’t and things are awful. In most stories, things are going great at this point. For Batman Year One, Gordon is attempting to clean up his city, and halfway through the story, Batman has helped. Their relationship is growing and showing positive results. So, things are going great… until the Bad Guys Close In.
“Bad Guys Close In”:
In this beat, do the bad guys close in became Batman and Gordon have let their guards down? For Bruce leaves to recover and Gordon is focused more on the girl?
The Bad Guys Close In because they see the protagonist as a threat to their goals. They elevate their game and try to keep the protagonist from winning. Bruce’s recovery and Gordon’s affair simply aid the bad guys in that pursuit.
“All is Lost”:
Seems like a Contemplative Beat; yes?
In the case of Batman Year One, yes.
“Dark Night Of The Soul”:
This seems like Gordon tries his best again on just his natural powers but in order to emerge from the Dark Night Beat, Gordon has to reach for a higher moral and power to accomplish it; correct?
He has to be willing to change. Mature. Do the right (difficult, scary, against your better judgement) thing. In this case, Gordon must partner with Batman.
Act III
“Choosing Act Three”:
I see how Gordon makes some new decisions but has Bruce / Batman made any new descions?
It’s Gordon’s story, so his change is the most important. I’d have to read the book again to know your answer for sure.
“Final Image” can this also be called “New Equilibrium”?
Sure. Whatever works for you.
I attended the Blake Snyder seminar in Santa Monica. The BS2 is a great tool. If fact, it is responsible for me being able to complete my first novel and get it published. I’ve followed discussions about structure and find it interesting that some writers come down hard against the BS2, saying it is nonsense and ruins the creative process. Until I used the beat process, I wrote tons of garbage that either went nowhere or slid off on a never ending, tedious tangent.I wasted years hanging around with novelists who harped about their muse and the metaphysical aspects of the creative process. It was all nonsense. The beat process is a tool, not a set process. It is a kick start for the creative process. Once you get your beats, then you’re off and running. I would never take a journey without a map.
I couldn’t agree more, John. Thanks for the comment.
Dear Tim,
Thank you s-o much for taking the time to answer all my questions; it is a big help to me!
And thank you John also for your insight!
God Bless & Love,
TJ
I haven’t implement it yet but it gonna be very helpful. I have written a story which is very unique it took me a year to write it and i am going to produce a film and publish a book. thnx
Very interesting post, thank you!
I wrote a paranormal thriller and just started a screenwriting class. This concise beat sheet is EXACTLY what I need to finish edits on my book and plot out the screenplay. A week ago, I wondered if a formula for writing existed which would make my life easier and here it is!
Thank you!!
Fantastic news, Susie! Keep up the good work.
Thank you! I am going to send your link to my class.
Great! Thanks, Susie!
🙂
What really helped me is on page 70 of the book, this list includes the pages and length of each of the portions as well. The clarification is a life saver for me.
Still, I shared this page with my screenwriting group, The Film Scene, on Facebook.
Thanks, MJ!
Often I feel that a story instinctually develops in this manner, but it’s still nice to have this as a clear reference, like mile markers to make sure your story develops in an understandable way. The premise and setup is nice, as I feel a lot of people fail to establish the theme of their story at the outset. Thanks again for the handy resource.
Dear Tim,
Love your site and so I turn to you for clarification once again on the “Choosing Act II” beat.
Is the term, “1st Plan” the same as the term “1st Turning Point” and where does this fit in with Blake’s Beat Sheet; under the Choosing Act II beat or elsewhere?
Also in the beat Choosing Act II, this is were the Protagonist receives his “Mission” or “Task”, meaning they know where life is suddenly sending them?
Is the “Development” of Choosing Act II placed under this beat or is it placed in later beats such as B Story, Fun ‘N’ Games, etc?
Is the term, “1st Plan” the same as the term “1st Turning Point” and where does this fit in with Blake’s Beat Sheet; under the Choosing Act II beat or elsewhere?
I don’t know the term “1st Plan,” I’m afraid, so I can’t help you there. But most storytelling theorists I’ve read often use “1st Turning Point” to mean the same thing as “Choosing Act II.” Sometimes, they are referring to the “Catalyst,” but usually it’s “Choosing Act II.”
Also in the beat Choosing Act II, this is were the Protagonist receives his “Mission” or “Task”, meaning they know where life is suddenly sending them?
The Catalyst occurs, which shakes things up. In reaction, there’s the Debate section where character(s) figure out what do to, involving the development of a goal. The overall goal is more important than the plan to get there. Sometimes, they develop a plan in the Debate section, and sometimes the protagonist just jumps in and they’ll figure out a plan as they go. The point is to develop a goal that the protagonist wants. Still in the Debate section, the protagonist hesitates in a moment of doubt (they want it, but it’s not necessarily going to be easy). Then they choose to do it in Choosing Act II.
Is the “Development” of Choosing Act II placed under this beat or is it placed in later beats such as B Story, Fun ‘N’ Games, etc?
Again, I don’t know what exactly the term “Development” is referring to (storytelling theorists have often used the same words to mean different things depending on their individual theories), but during the Debate section, character(s) develop a goal (mission or task) in reaction to the Catalyst. That might be what you mean. Sorry I can’t be more help.
Dear Tim,
I have been finding your explanations are of great assistance, possibly, it is your choice of words that helps me to understand things more deeply.
My main questions right now are in regards to the different names for the “beats” and sometimes all that happens in every beat; for example:
In the “Opening Image”, this is also called the “Story World”; correct? If so, does one have to start by showing the characters in their natural environment or “Story World” or can one start the “Opening” beat with an event that has already started or shooken up the characters world? Like the “bomb” has already been dropped?
The “Teaser” is another name for “Opening Image”?
The “Subplot” is also called the “B Story”?”
The “2nd Turning Point” would then be the “Choosing Act Three” beat?
In which beat does the Protagonist try his first attempt to fix the situation; “Fun ‘N’ Games” beat? And where does the plan fail; in the “All Is Lost” beat?
Would you say there are usually two attempts to try to fix the situation; the second happening in the “Choosing Act Three” beat?
In the “Opening Image”, this is also called the “Story World”; correct? If so, does one have to start by showing the characters in their natural environment or “Story World” or can one start the “Opening” beat with an event that has already started or shooken up the characters world? Like the “bomb” has already been dropped?
Movies don’t always start chronologically. So, no, the Opening Image doesn’t HAVE to feature the “story world” (a term I am unfamiliar of, but I’ll use it as you’ve described it). It’s your story. Do what you want. Don’t follow the beat sheet if you don’t want to.
The “Teaser” is another name for “Opening Image”?
I know “Teaser” has a TV term for the event that hooks the viewer in before the first commercial break and sometimes before the show’s title sequence, depending on the show. So, yes, “Teaser” could be another name for “Opening Image.”
The “Subplot” is also called the “B Story”?”
The B Story is a subplot, yes.
The “2nd Turning Point” would then be the “Choosing Act Three” beat?
Sometimes. Some story theorists advise 10+ “turning points.” I can’t say for sure without knowing who you’re reading.
In which beat does the Protagonist try his first attempt to fix the situation; “Fun ‘N’ Games” beat?
I don’t know what you mean by “first attempt” but the Fun ‘N’ Games beat is when the characters fulfill on the promise of the premise, which typically is attempting to execute the plan for achieving the desired goal.
And where does the plan fail; in the “All Is Lost” beat?
Possibly, but not necessarily. The plan can sometimes succeed. Sometimes the characters get what they want and realize they don’t actually want it because it’s now meaningless. In the All is Lost, the character is just worse off than when they started.
Would you say there are usually two attempts to try to fix the situation; the second happening in the “Choosing Act Three” beat?
After “Choosing Act Two,” the characters are constantly attempting to reach their goal. But in “Choosing Act Two,” they DECIDE to go for the goal. And in “Choosing Act Three” they DECIDE to go for it again (or for a better goal, if the first goal proves to be undesirable, e.g., The Bad News Bears), but this time incorporating the lesson learned from the B Story.
Thank You Tim,
God Bless & Love,
TJ
hi tim, this is great well done…
This article is one of the most helpful I have read.
Thinking of you Blake, hoping you are resting in peace.
Love the post 🙂 I use it a lot.
Excellent! Glad I could help.
🙂
Dear Tim,
What are Blake’s Save the Cat terms for the following Beats?
Act I
Meeting With The Mentor
Act II
Rising Action
The Ordeal
The Reward
Act III
Approach Inmost Cave
Falling Action
The Road Back
The Resurrection
Return With The Elixir
Tim, thank you very much for this. my book is gone , but now found your page.
may the words flow like lava through the volcano of your heart… unstoppable and unquenchable!
And may the NaNoWriMojo be with you always!
I spent two years of self teaching and you do it in one page in practical terms! (Yes without the self teaching I wouldn’t have recognized the trail you blazed-grin.)
🙂 Glad I could help, David.
This helped me am begining to write a fiction very soon but need more guides please
Are the beats typically in the same order, or can they vary depending on the story?
Usually they are in the same order, but they can be moved around. Especially the “Theme Stated” and “B Story” beats. It’s helpful for the audience if the Theme Stated is somewhere in the first act — to set up the emotional context of the protagonist’s actions — and placing the B Story before “Bad Guys Close In” is helpful in order to remind the audience of the emotional struggle the protagonist is going through before things get even tougher.
Thanks for this! My sister is borrowing my Save the Cat book and I needed this plotting layout.
Would BS2 be a good beat sheet for a mystery novel? Or is there another another beat sheet version that would work better for a mystery? Thanks!
Is there one that works better? I’m not sure. But yes, BS2 should work with a mystery novel. To test it out, you could analyze a few mystery novels you enjoy and see if you can find the beats. Just an idea.
Thank you. I’ll do that.
This is a wonder “Reader’s Digest” version. Thank you!
Thank you for this, it’s been an invaluable resource when I’ve wanted to explain the BS2 to people and haven’t had the book to hand. Cheers!
Hi Tim, found this bitesize read so useful, I decided to make it a reference piece for myself, which escalated a little bit, with this presentation. Friends have found it useful too, so I thought to make it a shared document if you don’t mind. I’ve credited you for the content within.
https://docs.google.com/presentation/d/1w5Zo7sZhsUSj42eh_766lFBADoj6DbdhkFWhL-BM5ko/edit?usp=sharing
Great writeup but didn’t you leave out “Fun and Games”?
I used “The Promise of the Premise” (a term Blake uses in the book) instead of “Fun and Games” because the latter can be misleading. Sometimes, the premise isn’t actually “fun” (e.g., Schindler’s List, Sophie’s Choice, and other heavy dramas), but it is what people came to see.
what confuses me is he breaks all this down into acts.. Act1, 2, 2, and 3. but i can’t find any sort of reference to when the breakdown mentionded above helps distinguish what goes in what act…. can anyone help?
Ironman, the list above does explain what goes in each Act. See “Choosing Act 2” and “Break into Three”, which are part of the beats above.
Is there a similar beat sheet for stories where, in the end, the character’s victory is because they were steadfast instead of changed? I would think some parts of the story line would be different. Thanks 🙂
YEARS later and this article is still just as useful many thanks
Excellent advice!
Blake once told me that the Beat Sheet is merely a stepping point and that sometimes the beats need a little wiggle room. But for the most part things should happen as they beat sheet has them laid out. Your main characters should all be introduced by page ten and your debate should be over no later than page twenty-eight.
Haha He would always say your first draft is your vomit draft and just let it flow. Everything that happens after well that is where the structure comes in, so for now just write and get it on the paper. You cannot edit a story that is not written.
I am grateful for his books and his help. HE was and will always be amazing and missed.
Thank you, Mike. Very helpful with my picture book.
I’ve been applying this to a story I’m writing, and one thing I’ve found helpful for myself is to think in MRU terms — to see some of the beats as EVENTS, and those that follow as REACTIONS to those events (e.g, 4 Catalyst -> 5 Debate/6 Break into 2, and 11 All is Lost ->12 Dark Night/13 Break into 3).
Great article the one thing holding me back from making a comic is that I am stuck writing the story. people tell me just download one of the free comic scripts on script archives, or team up with a writer. I have tried collaborating with a writer but that never works out, and I have no interest on marvel,DC, or any other companies characters. So here I am some tell me it’s my way of procrastinating but I know it is not … Or I think it is not. I am going to try this save the cat technique to see if it works if not my last resort is hiring a writer. Thanks again for this great article I know it’s old but still a Gem,
Glad to hear you’re keeping at it. Best of luck. 🙂
Is it necessary to have the b–story right after break into two?
Great read! “Pen the Sword: the universal plot skeleton of every story ever told” by Adron J. Smitley is also a fantastic book on how to plot your novel. Got it free with kindle unlimited. Blew my mind how easy it makes writing my novels. I highly recommend 🙂
Somebody (A publicist) said: ‘Everything has been written.” This is true, every plot can be related to something from… Shakespeare for example.
Nobody is born a writer. It is something we have to learn, like reading or riding a bike (etc). Imagination is something else, we all have it and this along with grammatical/literary knowledge a person could write a story based on a nursery rhyme, or a song or something from the bible.
How to write…
There are many books professing to teach you how to write.
Ray Bradbury said to writers of all stages to ‘Go live in a library and read, read, read and read and read some more; see how others do it.’ So, I did, and I’m still learning.
Every story has a start a middle and an end, just like this one.
Yes I know, my punctuation sucks.
Thanks so much for this peice it has shaped a lot up here in my mind
Too much structure for me!
Hey Tim, Hope things are great! How do I edit a comment I have made? Thanks
There should be a Edit link in the top-right corner of the comment box. If it’s not there, I don’t know.
On a one hour cable drama series, what’s the plot structure? If there is a difference.
I’ve been looking for a simpler explanation of the beat sheet for my stories that was close to what I learned in my film class back in college — since I lost my old notes about it. But I’m glad I came across this post! Thanks for posting this, Tim!
Hey, just wanted to say that I’m a comic creator and even though I’ve read Save the Cat and Save The Cat Writes A Novel, I keep finding myself coming back to this blog post for the quickest and best refresher on the STC method. Thanks for writing it!
I was just wondering if you noticed that your “Theme Stated” and ‘Set-up” is in reverse order as Blake Snyder’s. Also where Blake Snyder lists “Fun and Games”, you call it “Promise of a Premise.” Is there a reason for that change; sincerely asking (like “did he come out with a new book”)? All the best!!
Good question. No new book. I took a few liberties with the original.
IMHO, “Promise of the Premise” makes more sense than “Fun and Games.” With the latter, you have to explain to students that a story doesn’t have to be fun. You don’t have to explain anything with “Promise of the Premise.”
And the Theme is somewhere within the Set-up, so it doesn’t really matter if it’s listed before or after Set-up. That said, I reordered it so that the use of the word “before” in my Set-up write-up would juxtapose with the use of the word “before” in the Opening Image write-up.