WHAT IS SAVE THE CAT!?
Save the Cat! provides writers the resources they need to develop their screenplays and novels based on a series of best-selling books, primarily written by Blake Snyder (1957- 2009). Blake’s method is based on 10 distinctive genres and his 15 story beats (the Blake Snyder Beat Sheet).
Our books, workshops, story structure software, apps, and story coaching teach you everything you need to unlock the fundamentals and mechanics of plot and character transformation. Our website offers beat sheets, tips and tactics, informative blogs, and guidance for writers — along with sharing the successes of both our teachers and students.
Welcome to the introduction to Save the Cat!
THE TRANSFORMATION MACHINE
As storytellers, we need to meet only one demand: Tell us a story about transformation.
Every story is “The Caterpillar and the Butterfly.” We start with a caterpillar living among the tall branches, eating green leaves, waving “hi!” to his caterpillar pals, little knowing that his is a life of profound deficiency. And then one day, an odd feeling comes over him that’s so scary, it’s like a freefall. Something strange is happening. And that something… is death. That’s what the cocoon stage is. As caterpillar becomes chrysalis, he dies. He, and everything he knows, is no more. Can you imagine?
But when it seems like this purgatory will never end, when things look the most bleak, there’s another stirring. Our hero sees light, and now he breaks through a weak spot in his prison, to sunlight… and freedom. And what emerges is something he never dreamed of when this all began, something… amazing!
Our principles were developed to help you write stories about change — from short films on YouTube to studio blockbusters to best-selling novels. You don’t need anything more than a good idea to get going on your script.
Where do you start? With the Logline.
It’s simple: the logline is one or two sentences that say everything about your story, and can be used as a double-check throughout the screenwriting process. From these few lines, you should be able to break out every element in a successful screenplay!
A good logline has 4 key elements:
- a type of protagonist (your hero)
- a type of antagonist (the bad guy or obstacle)
- a conflict (what’s stopping the hero?)
- an “open-ended question” (what will happen?)
THE 10 GENRES
Genre and structure. These are the two organizing principles around all successful movies — and the STC! method.
A writer’s job is to master the basics of each story type, and learn to give them your own twist that make them ring true for your generation! If you have a story you’re struggling with, and can’t figure out what it’s about, or what kind of story it is, you can check it against these genres to find clues to make your story better, and more meaningful.
The 10 movie genres help writers tell what story they’re writing.
Each genre has 3 components:
MONSTER IN THE HOUSE
- A “monster” that is supernatural in its powers — even if its strength derives from insanity and “evil” at core.
- A “house,” meaning an enclosed space that can include a family unit, an entire town, or even “the world.”
- A “sin.” Someone is guilty of bringing the monster in the house… a transgression that can include ignorance.
- A “road” spanning oceans, time — or across the street — so long as it demarcates growth. (It often includes a “road apple” that stops the trip cold.)
- A “team” or a buddy the hero needs to guide him along the way. Usually, it’s those who represent the things the hero doesn’t have: skill, experience, or attitude.
- A “prize” that’s sought and is something primal: going home, securing a treasure, or regaining a birthright.
OUT OF THE BOTTLE
- A “wish” asked for by the hero or granted by another, and the clearly seen need to be delivered from the ordinary.
- A “magic spell” which, in setting up this illogical thang, we must make logical by creating and upholding “The Rules,” clearly set boundaries.
- A “lesson”: Be careful what you wish for! It’s the running theme in all OOTB’s. Life is good as it is.
DUDE WITH A PROBLEM
- An “innocent hero” is dragged into this mess without asking for it — or even aware of how he got involved.
- A “sudden event” that thrusts our innocent(s) into the world of hurt is definite — and comes without warning.
- A “life or death” battle is at stake — and the continued existence of an individual, family, group, or society is in question.
RITES OF PASSAGE
- A “life problem”: from puberty to midlife to death — these are the universal passages we all
- A “wrong way” to attack the mysterious problem, usually a diversion from confronting the pain.
- A solution that involves “acceptance” of a hard truth the hero has been fighting, and the knowledge it’s the hero that must change, not the world around
- It’s about an “incomplete hero” who is missing something physical, ethical, or spiritual; he needs another to be
- A “counterpart” who makes that completion come about or, in the case of a three-hander (story about a triangle) or a four-hander (story about two couples), has qualities the hero(es) need(s).
- A “complication,” be it a misunderstanding, personal or ethical view- point, epic historical event, or the prudish disapproval of
- The “detective” does not change, we do; yet he can be any kind of gumshoe — from pro to amateur to
- The “secret” of the case is so strong it overwhelms the worldly lures of money, sex, power, or We must know! And so does the Whydunit hero.
- Finally, the “dark turn” shows that in pursuit of the secret, the detective will break the rules, even his own — often ones he has relied on for years to keep him The pull of the secret is too great.
THE FOOL TRIUMPHANT
- A “fool” whose innocence is his strength and whose gentle manner makes him likely to be ignored — by all but a jealous “Insider” who knows too
- An “establishment,” the people or group a fool comes up against, either within his midst, or after being sent to a new place in which he does not fit — at
- Either way, the mismatch promises fireworks!A “transmutation” in which the fool becomes someone or something new, often including a “name change” that’s taken on either by accident or as a
- Every story in this category is about a “group” — a family, an organization, or a business that is
- The story is a “choice,” the ongoing conflict pitting a “Brando” or “Naif” the system’s “Company Man.”
- Finally, a “sacrifice” must be made leading to one of three endings: join, burn it down… or commit “suicide.”
- The hero of your tale must have a special “power” — even if it’s just a mission to be great or do
- The hero must be opposed by a “Nemesis” of equal or greater force, who is the “self-made” version of the
- There must be a “curse” for the hero that he either surmounts or succumbs to as the price for who he
THE BLAKE SNYDER BEAT SHEET
Blake’s Genres tell us how movies can be different. But how can they be the same?
Blake codified a common structure, a universal key to unlock every successful story: the 15 story beats of the Blake Snyder Beat Sheet (the page of a typical 110-page screenplay is indicated in the parentheses that follows each beat):
- Opening Image (1)
- Theme Stated (5)
- Set-Up (1-10)
- Catalyst (12)
- Debate (12-25)
- Break into Two (25)
- B Story (30)
- Fun and Games (30-55)
- Midpoint (55)
- Bad Guys Close In (55-75)
- All Is Lost (75)
- Dark Night of the Soul (75-85)
- Break into Three (85)
- Finale (85-110)
- Final Image (110)
Movies that are shorter or longer than 110 pages, along with beat sheets for novels, follow the same proportions as above.
Once you’ve filled in your Blake Snyder Beat Sheet, you’re ready to tackle The Board.
The Board is the fabled device, seen in executive offices all over Hollywood, which allows you to “see” your movie before you begin writing by using 3 x 5 index cards, scotch taping them to a wall. It’s a way to easily test different scenes, story arcs, ideas, bits of dialogue, and story rhythms — and decide whether they work.
And though it is not really writing, and though your perfect plan may be abandoned in the white heat of actually executing your screenplay, it is on The Board where you can work out the kinks of the story. It is your way to visualize a well-plotted movie, the one tool I know of that can help you build the perfect beast.
The Board is broken down into four rows, 10 cards per row for a total of 40 — a good average count for the number of beats in the average movie.
Row #1 is Act One; the last card in that row, the Break into Two, is your first major turn.
Row #2 is the first half of Act Two up to the Midpoint. This is where your B Story and Fun and Games cards will appear.
Row #3 includes your Bad Guys Close In and All Is Lost cards leading to the final major turn, the Break into Three.
Row #4 concludes your screenplay with the Finale and Final Image cards.
And now, a shameless plug: Our software provides a “virtual” Board with cards already labelled with Scene Headings and more. In fact, because each scene is like a mini-movie with a beginning, a middle, and an end, we give you two more things to fill out on each card: the >< which indicates Conflict (who is in opposition to whom) and the +/- which indicates Emotional Change. Just like every good movie, every good scene has to have clear conflict and some emotional shift from start to finish. Filling in these symbols on every card prepares you to write quickly and confidently knowing EXACTLY what must happen in EVERY scene.
It couldn’t be easier. Fill in The 40 completely and honestly, and you’ve got an iron-clad structure before you begin writing your novel or screenplay.