Scare the Cat! 

Today’s blog on Genre is contributed by Austin Cat! and screenwriter Alvaro Rodriguez.

One of the most helpful weapons in the Save the Cat! arsenal is the ability to classify your screenplay-to-be under a specialized genre category. I say “specialized,” because the Save the Cat! genre classifications go beyond simple “drama,” “comedy,” “thriller,” “horror,” “romance” labels to a deeper story type. Here are the genres as Save the Cat! sees them:

Out of the Bottle, Whydunit, Dude with a Problem, Institutionalized, Buddy Love, Fool Triumphant, Superhero, Golden Fleece, Rites of Passage…

And last but not least, MONSTER IN THE HOUSE.

Blake wrote that every MITH needs at least two elements. Are you ready for this? One of them is a MONSTER. No points for guessing the second element: the HOUSE. But the third component is required to complete the arc; in fact, the third ingredient is often the glue that seals the fate of the hero in this genre. What is this all-important element?

SIN. Transgression gives rise to the monster, and practically gives permission for the monster to attack our hero. Let’s look at some of the most familiar examples:

Jaws. Monster: A man-eating, great white shark. House: Alternates between the beachfront and a boat. Sin: Greed. When the city officials refuse to close down the beaches during the busy tourist season, they invite the monster into the house.
Alien. Monster: A metamorphic creature with acid for blood and an uncanny ability to hide. House: The Nostromo spacecraft. Sin: Greed again. The company sends the crew out to collect these specimens, and whether they survive or not is almost inconsequential to the bottom line.
The Exorcist. Monster: A powerful demon. House: A teenaged girl’s body. Sin: Disbelief. Doubt and a faltering of faith between Fathers Karras and Merrin invite the dark spirit into the child, forcing them to face their monsters head-on.
Fatal Attraction. Monster: A woman scorned. House: The family unit. Sin: Infidelity. Perhaps more pointedly, when Dan Gallagher (Michael Douglas) attempts to break off his affair with Alex (Glenn Close), he invites the monster into his house, as she will not go quietly until she takes what’s hers.

This triptych of elements (monster, house, sin) is endlessly repeatable, and easy to classify. When it works, the audience feels like they’ve been on a cathartic ride that is believable at a fundamental, damned-near biological level. In fact, the roots of the MITH genre go back to mythology itself, and our earliest stories. “Don’t!” we are warned, go into the basement, walk through the woods at night, feed them after midnight, open the door, fall asleep, etc., etc., etc. The campfire tales of boogeymen with hooks for hands have become the cinematic nightmares of today.

If you’re mulling over potential story ideas and trying to sort out what might be a good project to develop, a strong MITH still has the power to draw readers and producers. Genre, genre, genre is the advice of the day, and it’s good advice. These deep-rooted fears translate well and carry over into many cultures.

If you’re interested in reading more about MITH and horror, check out this link:

Blake’s 10 ways to unleash your inner Stephen King with horror-writing tips (pdf)

Finally, be sure to check out Save the Cat!® Goes to the Movies, Blake’s essential compendium of 50 movies discussed by genre and broken down into their 15 major beats.

Keep scratching for good stories. The ability to identify a strong structure liberates you as a writer to unleash your creativity in the way you tell your story and how you fill in the foundation.

Be sure to check back later this week, for details on the upcoming STC! Beat Sheet Challenge!!!