Editorial Reviews. Review. “One of the most comprehensive and insightful how- to's out there. Blake Snyder has written an insider's book that's informative ― and funny, too.” – David Hoberman, Producer, Muppets Most Wanted (), The . This teaching material is owned by Blake Snyder Enterprises and may only be used in connection with authorized Save the Cat!® workshops or seminars. OPENING IMAGE page 1. THEME STATED page 5. “Save the Cat moment! STASIS-DEATH. CATALYST DEBATE page page 5 page SETUP page.
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View and download soundofheaven.info on DocDroid. The Blake Snyder Beat Sheet breaks down three-act screenplay structure into 15 bite-size, manageable sections called beats, each with a specific goal for your. By Blake Snyder. Summary by Kim Hartman. This is a summary of what I think is the most important and insightful parts of the book. I can't speak for anyone else.
Overall rating 4. Joe Hill. Dark night of the soul Bad guys close in Story Engineering. The solution is found. In his book, Snyder gave greatest emphasis on the importance of structure through his Blake Snyder Beat Sheet or the "BS2" which includes the 15 essential "beats" or plot points that all stories should contain.
Set pieces. A break from the stakes of the story. Midpoint For the hero it seems like all is won or all is lost. Fun and games are over, back to the story. Bad guys close in Hardest to write. If all seemed won at the midpoint, now things start to go wrong. Dissent, doubt etc. There is nowhere for the hero to go. All is lost A false defeat. It might seem like a total defeat. It can help to have something about death here. Dark night of the soul Hero is hopeless, at their lowest point, no one to help them, no ideas.
Break into three The solution is found. Thanks to characters in the B story, the conversations about the theme in the B story, the hero trying to find ways to beat the bad guys in the A story. The two stories meet and intertwine. Finale Act three. Lessons learned are applied, character tics are mastered, A and B stories end in triumph for the hero, the bad guys are dispatched in ascending order , the old world is turned over, a new world is created.
Final image The opposite of the opening image. Proof that change has occurred. Now figure out the hinge points. Break Into 2 is usually easy, at the end of row 1. Do the Midpoint, at end of row 2. Then All Is Lost, the flip of the Midpoint. Then Break Into 3, at the end of row 3. Some scenes e. Colour-code each story, different colour for things like: Now add these symbols to each card: The first is the emotional change that happens in the scene.
Each scene should have a beginning, middle and end, and an emotional change must happen. The second denotes conflict. The character s in the scene must have an obstacle in the way of what they want. Everyone has an agenda in the scene. What is it? How do these conflict? Who wins? Only one conflict per scene. Save the Cat. And make the bad guy worse.
The Pope in the Pool. Double Mumbo Jumbo. You can only have one piece of magic per movie. Breaking the rules of the world.
Laying Pipe. Minority Report takes 40 minutes to get to the hook: Black Vet a. Too Much Marzipan. A little goes a long way. Watch Out for that Glacier! The Covenant of the Arc. Every single character except the bad guys must change over the course of the movie.
Keep the Press Out! This keeps the story contained among the family and the block, between them and us. Unless your story is about the press, or a worldwide problem following characters around the world. Some typical trouble spots:. The hero leads. Is your hero being dragged through the story?
He should be proactive. Talking the plot. Make the bad guy badder.
The hero and bad guy are a matched set, of equal skill and strength, with the bad guy willing to go to any lengths to win.
The bad guy should look impossible to beat. A strong bad guy will make the hero more heroic. Turn, turn, turn. Faster, with more complexity. More must be revealed at every step, show how it affects the characters. If you cover up the character names on the script you should be able to tell characters apart from their dialogue. Take a step back. You need to show characters changing, so you may need to take them back further at the start.
Then he must be different at the start, have as much room to change as possible. A limp and an eyepatch. A visual reminder. Is it primal? The are four components a good logline should have: A weekend?
Combines well with the logline. Give me the same thing… only different! The ten genres Snyder uses: So the logline should also include: The trick is to create heroes who: Offer the most conflict in that situation Have the longest way to go emotionally Are the most demographically pleasing The stakes for the hero must be high, primal, basic. A few examples: Young man on the rise, dumb, plucky.
Good girl tempted, pure, crazy. Clever and resourceful child. Ideas for Blogs, Scripts, Stories and More. Bryan Cohen. Structuring Your Novel.
Conquering Writer's Block and Summoning Inspiration: Learn to Nurture a Lifestyle of Creativity. Writing Down the Bones. Natalie Goldberg. Turning Pro. Steven Pressfield. The Negative Trait Thesaurus: A Writer's Guide to Character Flaws.
The Anatomy of Story.
John Truby. Outlining Your Novel Workbook: Gotham Writers' Workshop: Writing Fiction. Bloomsbury Publishing. Story Engineering. Randy Ingermanson. Writing Movies for Fun and Profit. Thomas Lennon. Adventures in the Screen Trade. William Goldman. All Our Wrong Todays. Elan Mastai. Die Empty. Todd Henry. The War of Art. Anders Ericsson. Rachel Aaron. The Plot Whisperer. Martha Alderson. Rock Your Plot. Cathy Yardley. Creating Character Arcs Workbook: Tools of Titans. Timothy Ferriss.
Deep Work. Cal Newport. Writing Mysteries. Sue Grafton.
The Fireman. Joe Hill. The Suffragette Scandal. Courtney Milan. Writing the Breakout Novel. The Screenwriter's Workbook. Big Magic. Elizabeth Gilbert. Thunder and Lightning. On Writing Well, 30th Anniversary Edition. William Zinsser. The Urban Setting Thesaurus: A Writer's Guide to City Spaces.
Norse Mythology. Neil Gaiman.
The Power of Myth. Joseph Campbell. Creativity, Inc. Ed Catmull. Jordan B. The Charisma Myth. Olivia Fox Cabane.
Between the World and Me. Ta-Nehisi Coates. On Writing. Stephen King. Mini Habits. Stephen Guise. Us Conductors: A Novel. Sean Michaels. Structuring Your Novel Box Set. Undermajordomo Minor. Patrick deWitt. The Interestings.
Meg Wolitzer. The Fifth Season.
The Emotional Wound Thesaurus: A Writer's Guide to Psychological Trauma. All Systems Red. Martha Wells. The Art of Dramatic Writing. Lajos Egri. Babylon's Ashes. James S. David and Goliath. Malcolm Gladwell. Bird by Bird. Anne Lamott. Coffee Break Screenwriter: Pilar Alessandra. The Hate U Give. Angie Thomas. The Collapsing Empire. John Scalzi. The Universe Within. Neil Turok. Tracey Lindberg. Not That Kind of Girl. Lena Dunham. Outlining Your Novel Box Set: