Break into Two 25 : 7. B Story 30 : 8. Fun and Games : 9.
Midpoint 55 : Bad Guys Close In : Allis Lost 75 : Dark Night of the Soul : Break into Three 85 : Finale : Final Image : AsItalk about the BS2 in class, and how each beat corresponds to a suggested page where it appears in an average, page script, each writer is already filling in theirs, and their newly vetted concept begins to bloom. And so can yours. In class — and in this chapter — I get to point out new facets of the BS2 that are only mentioned in my books.
Tim snaps at fans in the next scene, and his fellow cast members worry for their "leader. Iwarn the class about this first thing. But, I also say, if you go home, have a nice meal, and get a good sleep, by the time you wake up, the birds will be singing, the sun will be shining, and the Beat Sheet Fairy will have come in the middle of the night. Suddenly, all those notes and suggestions that seemed so horrible the day before, so not what you wanted to do with your story, make sense, or at least start to sink in.
And by the second day of class, most of the participants have a handle on their beats. What I especially love about this class is that no matter how confusing it gets for a writer working out a story, another writer listening to your plight has a solution. Indeed, if you really take the time and push yourself, surround yourself with a writers group who will tell you the truth, then your head might explode for a day or two but in the long run your story will work.
And the exercise of writers doing just that in our workshop proves how well this works. When your little colt of an idea struggles to its feet and stands up strong. And all of it is the trial and error of communication. But if you want to win, if you want to hit a real home run, you have to listen, and respond. There are a thousand dark nights, for a thousand different details.
You might as well get used to it. He clings to the small dream, and even wonders if he can have that. He has his idea, but he fears expanding it. Yet he refuses to believe he has a winner. Fear leads to common problems when we extrapolate from an acorn of a logline to the young sapling of a story. Hesitancy, lack of confidence — and faith — appear in three unique ways: Spidering, Half-Stepping, and Blurry Beats. What are these bad habits — which you might have too? Suddenly, all kinds of secondary tales take hold of his imagination.
And didItell you about his Aunt Fern and her stuffed cabbage business? In a recent class, one wonderful writer had a blimp in his story — that had nothing to do with the plot! From then on in class "Blimp! And trust me, we all do it! If any of this sounds familiar, what you are doing is Spidering. One story at a time, please.
My favorite example is what happened to a writer in my Seatde class. This writer had a sweeping historic saga, the true story of an Irish indentured servant who is brought to pre-Revolutionary America and eventually helps rally others like himself against their masters. There was a scene of him plowing, a scene with the chickens, a scene where he looks around in town.
So of course I stopped the writer mid-pitch to say: Dude! The listener wants to grab you by the lapels and shout: What happens?! The writer had a stallion, and was giving us a poodle. By the time he came back with his pitch, it was the epic it should have been. And great! Like Spidering, Half- Stepping shows another kind of fear and another hesitation: lack of confidence. I find this often at the turning points of a script: the Breaks into Act Two and Three and at Midpoint.
Yes, the writer kinda touches on those. And kinda hits the beats. ButIwant more. You cannot slip into Act Two. The Detective cannot kinda take the case, or suddenly find himself on the trail of the killer; he has to decide and step into action. If only you thought so, too. Now what? In Save the Cat! The answer is: Yes! For those who want an overview of what a movie is, The Board on pages 32 and 33 is gorgeous.
And look how perfectly the 15 beats fit here. Take a look. We only need four more. Set-Up is where we introduce the hero and his world. But what is the best way to organize those scenes? Think: at Home, at Work, and at Play. Think H, W, and P and suddenly that one card breaks out into three actual scenes.
Act Two p. How can we get 10 cards from these? Row 3, which represents the second half of Act Two , may seem similarly daunting but is just as easy to fill in.
What’s not so great
Having a problem with Bad Guys Close In? Think External and Internal. And as for what happens in Row 4 and Finale, Iwill have more to say on that subject, but here again, 10 cards is easy! We start with an idea, break it out to a logline, break that out to 15 beats, and then Ilove it! But even if you use an actual corkboard, push pins, and index cards, that still gets me excited.
I have this download of e-zuse tools I want to transfer from my brain to yours. Oh well! Trial and error. Characters walk into a scene feeling one way and walk out feeling another. And while it may be too precise to show exactly what emotions those are in the planning stage, we can easily tag every scene as either positive or negative. AndI encourage you to do just that. In the cataclysmic sci-fi epic Deep Impact, for instance, the Theme Stated question is: Will we survive the humongous comet streaking toward Earth? My own Blank Check is like this, too.
The Theme Stated of our family comedy about a boy who gets a million dollars is: "He who has the gold makes the rules! All the way to the end.
In which Stuart reads the Save the Cat! books and tells you what he thought
Then a lightbulb. Isaw Sandra in her gown, crown, and sash, a gun in her garter. To me, a guy very concerned with delivering on his premise, I thought that was enough to worry about. This is an important a-ha! Looking at the map on page 47, and seeing all the pieces of this flow chart, helps us see other points of interest, too, ones which, whileIstood at the whiteboard, led to similar a-ha!
Having received an invitation or, later, when the stakes are more serious, and having experienced a death, jail, or exile Again, the difference is that early on the consequences are few; later, more serious. But the function is the same: Given a life-altering jolt, what will the hero do next?
Save the Cat! Strikes Back - Blake Snyder - Häftad () | Bokus
Both are proactive moves on the part of the hero that take him to the next level. Having been hit with something, and thought about it, the hero now acts. Here again, the stakes are more serious later on because we are just about to face "the final test. So are we done yet? Not quite. Ihave been amused by how oftenI get called out on point 14 in my point Blake Snyder Beat Sheet — the one that is simply labeled "Finale. Synthesis gives us one clue.
But when it comes to figuring out what to do,Ihope you will soon be rocketing upside down through the Holland Tunnel smiling — and thinking fondly of me. Having started off naively, and been schooled in the world of hard knocks, he has died and been given the chance to be born anew. But has he learned his lesson?
And can he apply it? There is no better way to show this test than in what I call Storming the Castle, the essence of every ending and the key to the Five-Point Finale. And what are these five points?