Save The Cat | Blake Snyder | Cliff Note Books
“Save the Cat! The Last Book on Screenwriting You’ll Ever Need” is a screenwriting guide by Blake Snyder, published in 2005. It’s a staple in the field and is recognized for providing a practical structure for writing a screenplay.
The book is divided into four sections:
What is it? This section introduces the concept of a logline, a single sentence that summarizes the concept of your screenplay. Snyder insists that if you can’t succinctly express your story, there’s a good chance you don’t fully understand it yourself.
Give me the same thing… but different: This section breaks down the ten genres that Snyder believes every movie fits into. He expands on each of these genres with their requirements, conventions, and examples of successful movies in each one.
It’s about a guy who…: In this section, Snyder introduces his version of the three-act structure and introduces the “Beat Sheet” or “Blake Snyder Beat Sheet (BS2)”. It’s a 15 beat (event/plot point) structure that all successful stories follow. He also discusses character development and why the audience needs to care about your protagonist.
Let’s beat it out: Here, Snyder applies his beat sheet to several films to show the practical application of his method.
The term “Save the Cat” refers to a moment when the protagonist does something nice, usually early in the movie, that helps the audience like and identify with them. For example, the protagonist might save a cat from a tree, which shows the audience that the character is compassionate and brave.
Snyder’s approach is quite formulaic and has been both praised for its practicality and criticized for its lack of flexibility. Nonetheless, “Save the Cat!” has been influential in screenwriting and storytelling circles.
The importance of the ‘Save the Cat’ moment: This is a scene where we see the main character do something that makes us like them and root for them, hence the title of the book. The book emphasizes that making your audience care about your characters is crucial to the success of your story.
The logline: Snyder stresses the importance of being able to summarize your entire movie in one sentence. This single sentence, called a logline, should encapsulate the conflict and unique hook of your story.
The Blake Snyder Beat Sheet (BS2): This is a breakdown of a traditional three-act structure into 15 distinct “beats” or plot points that occur in all successful stories.
The concept of genres: The book also classifies every movie into one of ten unique story types or genres, each with its own structure and theme. This approach challenges the conventional notion of genre in film and provides writers with a new way to approach their stories.
Biography of Blake Snyder
Blake Snyder (October 3, 1957 – August 4, 2009) was an American screenwriter, consultant, author, and educator. He was best known for his screenwriting guide, “Save the Cat! The Last Book on Screenwriting You’ll Ever Need,” which became a staple in the industry for its practical advice and innovative approach to story structure.
Born in Illinois, Snyder moved to Los Angeles where he attended UCLA. After graduating, he pursued a career in the film industry, working in various capacities, including as a producer and studio executive. He eventually found his calling as a screenwriter.
Snyder sold several spec scripts during his career. His most notable works include the screenplay for the 1994 children’s film “Stop! Or My Mom Will Shoot,” starring Sylvester Stallone and Estelle Getty. Despite the film’s critical failure, it was financially successful, demonstrating Snyder’s knack for creating commercially viable content.
However, it was his work as a writing teacher and author where Snyder made a significant impact. His 2005 book “Save the Cat!” is widely respected and followed in Hollywood and beyond. He followed this success with “Save the Cat! Goes to the Movies” in 2007, and “Save the Cat! Strikes Back” in 2009.
In his books, Snyder proposed a detailed and somewhat formulaic approach to screenwriting, which included his “Beat Sheet” and 10 unique story types or genres. This method has been both praised for its practicality and criticized for its rigidity. Nonetheless, many writers have found Snyder’s rules to be a useful starting point for crafting compelling stories.
Snyder continued to work as a script consultant, writer, and lecturer until his sudden death in 2009. His legacy continues in the form of his books and the “Save the Cat!” methodology, which has influenced countless screenwriters in the film industry.
Criticisms of Save The Cat
“Save the Cat!” by Blake Snyder has been both praised and criticized since its publication. The main criticisms can be categorized into the following points:
Formulaic Approach: While some writers appreciate the structure and rules that “Save the Cat!” provides, others criticize it for being too formulaic. Critics argue that the strict adherence to the book’s beat sheet and genre definitions could potentially limit creativity and lead to predictable or clichéd narratives.
Simplicity: Snyder simplifies screenplay writing into a process that follows specific beats and stages. Critics argue that this oversimplification doesn’t allow for the complexity and nuances that can come from less structured approaches to storytelling.
Commercial Focus: Some critics argue that Snyder’s focus on what sells can inhibit originality and artistry. They say that while the book may be a guide to creating commercial successes, it may not be the best resource for writers who aim to produce more artistically driven, unconventional, or indie films.
Genre Definitions: Snyder’s specific breakdown of film into ten unique “genres” (which are more about story structure than typical film genres like horror, romance, etc.) have also been criticized. Some feel these categories are too restrictive or don’t necessarily capture the full range of potential storytelling methods.
Despite these criticisms, “Save the Cat!” remains a popular resource in the film industry and has undeniably influenced many successful screenplays. As with any writing advice, it may be beneficial for individual writers to consider Snyder’s advice as a set of tools to use as needed, rather than strict rules that must be adhered to.
Summary of Save The Cat
The “Save the Cat” Moment: This is where the book gets its name. Snyder argues that your protagonist should have a moment where they do something — like saving a cat — that makes the audience like them and want to root for them.
The “Save the Cat” moment is a term coined by Blake Snyder in his book. The phrase refers to a scene early on in a story where the protagonist does something that defines their moral code and makes the audience like them, hence “saving a cat”. This moment is crucial in that it makes the protagonist sympathetic and relatable to the audience, which in turn makes the audience care about what happens to the character.
In essence, it’s an act of kindness or heroism that demonstrates the likability, humanity, or moral compass of the character, serving to quickly establish an emotional connection between the viewer or reader and the protagonist. The action doesn’t literally have to be saving a cat—it could be any act that portrays the character in a favorable or endearing light.
For instance, in the movie “Aladdin,” Aladdin, the protagonist, is introduced as a thief. However, in a subsequent scene, he gives his stolen bread to starving children. This is a “Save the Cat” moment. Even though he’s a thief, the audience sees him do something selfless and kind, which makes us like him and root for him.
Remember, the goal is to get the audience on the side of the protagonist, making them invested in the character’s journey, which in turn makes the story more engaging and effective. This concept is applicable not just in screenwriting, but in any form of storytelling.
The Logline: This is a one-sentence summary of your movie that captures its essence. It should convey the conflict and unique hook of the story, and be intriguing enough to sell your concept.
A logline is a one or two sentence summary of a film or television program, capturing the essence of the story. It introduces the main character, their goal, and the primary conflict they face. Loglines are used in the film industry to quickly pitch a script or movie idea, but they can also be a useful tool for writers to clarify the core elements of their story.
The purpose of a logline is to make someone want to read your script, watch your film, or in some cases, finance your project. Therefore, a good logline should be concise, clear, and intriguing. It should capture the unique aspects of your story and give a sense of the narrative arc, but without giving away the ending.
Here are some elements that are often included in a logline:
The protagonist: Who is the main character, and what makes them interesting or unique?
The goal: What does the protagonist want to achieve?
The antagonist or conflict: What or who is standing in the way of the protagonist achieving their goal?
The stakes: What will happen if the protagonist fails to achieve their goal?
Here’s an example of a logline, from the movie “The Godfather”:
“The aging patriarch of an organized crime dynasty transfers control of his clandestine empire to his reluctant son.”
In Blake Snyder’s “Save the Cat!” methodology, being able to articulate your story effectively in a logline is seen as a crucial step in the development of a screenplay.
The Blake Snyder Beat Sheet (BS2): This is perhaps the most well-known concept from the book. It’s a 15 “beat” structure that all successful stories are believed to follow. The beats are specific plot points that should occur at certain pages or percentages of your screenplay.
The BS2 is a story structure template that divides a narrative into 15 key story “beats” (i.e., plot points), each occurring at specific points over the course of the screenplay. These beats form a blueprint for structuring a script. Here are the 15 beats along with a brief description:
Opening Image (1% of the screenplay): The first image of the film, setting the mood and style of the story.
Theme Stated (5%): The theme of the film is stated, often subtly or indirectly.
Set-Up (1-10%): We meet the main character(s) in their ordinary world and get a sense of what they want or need.
Catalyst (10%): An event that disrupts the status quo and sets the story in motion.
Debate (10-20%): The main character refuses or contemplates the new journey until they are forced or decide to embark on it.
Break into Two (20%): The main character makes an active decision and the journey begins.
B Story (22%): A secondary story begins, often involving a love interest or sidekick, which will aid in illustrating the theme.
Fun and Games (20-50%): The ‘promise of the premise,’ where most of the movie’s most memorable scenes happen.
Midpoint (50%): A moment of either false victory or false defeat that changes the direction of the story.
Bad Guys Close In (50-75%): Pressure mounts on the main character, either from external forces, internal doubt, or both.
All is Lost (75%): The lowest point for the character, where everything seems lost.
Dark Night of the Soul (75-85%): The aftermath of the “all is lost” moment, the character hits rock bottom.
Break into Three (85%): Inspired by the B story (usually), the main character chooses to fight and not give up.
Finale (85-99%): The main character confronts the antagonist or main conflict, leading to a resolution.
Final Image (100%): The final moment or scene of the film that shows how the character or world has changed since the start of the film.
These percentages represent where each beat should occur within the total page count of a standard screenplay (usually 110 pages). The structure ensures a dynamic and engaging plotline, with a clear beginning, middle, and end.
The Genres: Snyder defines ten different “genres” (more akin to story types than traditional genres) that every film can fit into. Each genre has specific traits and conventions. The genres include: Monster in the House, Golden Fleece, Out of the Bottle, Dude with a Problem, Rites of Passage, Buddy Love, Whydunit, The Fool Triumphant, Institutionalized, and Superhero.
Unlike the traditional definition of genre (such as comedy, drama, horror), Snyder’s genres are based on the type of story being told and the structure it follows. Here are the ten genres according to Snyder’s “Save the Cat!”:
Monster in the House: This involves an evil entity or “monster” (literal or figurative) that the protagonist(s) must face and defeat within a confined space or “house”. Example: “Jaws”.
Golden Fleece: In this type of story, the protagonist and company set off on a journey or mission and the story is about the adventure and what they learn or gain from it. Example: “Star Wars”.
Out of the Bottle: These are stories about wishes and magic that offer the protagonist something extraordinary but with a catch. Example: “Liar Liar”.
Dude with a Problem: This is an ordinary person facing an extraordinary problem or circumstance, often a matter of life and death. Example: “Die Hard”.
Rites of Passage: These are stories about life’s turning points, such as adolescence, midlife crisis, etc. They often involve psychological, not physical, change. Example: “The 40-Year-Old Virgin”.
Buddy Love: This genre includes all types of love stories, not just romance. It also encompasses stories of friendship or partnerships where two people (or entities) are better together than apart. Example: “Toy Story”.
Whydunit: Unlike a classic “whodunit”, a “whydunit” focuses on why the crime was committed and often delves into the psychology of the villain. Example: “Silence of the Lambs”.
The Fool Triumphant: This genre often involves a fool or underdog triumphing over a powerful establishment or opponent. Example: “Forrest Gump”.
Institutionalized: These stories focus on a group or institution and the individual’s struggle to conform or break free. Example: “The Godfather”.
Superhero: This genre involves a protagonist with special abilities or status and their struggle to deal with their powers and responsibilities. Example: “Spider-Man”.
Snyder explains that each genre has its own conventions and obligatory scenes, and understanding the genre can help a writer structure their story and meet audience expectations.
The Board: A visual aid to help you plot out your screenplay and ensure each beat falls where it should. The board is divided into four sections (Act 1, Act 2 part 1, Act 2 part 2, Act 3) with index cards representing each scene or sequence.
The Board is a physical or digital space where the writer maps out the story beat by beat using index cards, sticky notes, or equivalent digital tools.
The Board is divided into four sections, representing the three-act structure of a film: Act One, Act Two (which is broken into two halves), and Act Three. Each section of The Board corresponds to the percentage of the total length of the screenplay that each act should occupy.
Act One: This is the beginning of the story (about 25% of the screenplay), where the protagonist, their world, and their desires are introduced. The catalyst and debate also occur here, ending with the “Break into Two” beat where the protagonist embarks on their journey.
Act Two, First Half: This represents the first half of Act Two (about 25% of the screenplay), where the protagonist explores the new world or situation they have entered. Key beats in this section include the B-Story and “Fun and Games.”
Act Two, Second Half: This is the second half of Act Two (another 25% of the screenplay), which leads the protagonist from the midpoint to the “All is Lost” moment and the end of Act Two.
Act Three: This is the final part of the screenplay (about 25%), where the story’s conflicts come to a head and resolve. Key beats here include “Break into Three,” the “Finale,” and the “Final Image.”
On The Board, each scene or sequence in the story is represented by an index card placed in its corresponding act. Each card should ideally contain the following information:
A short description of the scene.
The emotion or story purpose of the scene.
The conflict in the scene.
The Board allows writers to easily visualize the structure of their screenplay and how each scene contributes to the overall story. By using The Board, writers can also easily identify any structural issues or missing elements in their story and adjust accordingly.
Pitch It: If you can’t tell your story in a compelling way in just a few minutes, Snyder argues you probably don’t have a viable screenplay. This helps to refine the idea and make sure it’s compelling and coherent.
Blake Snyder stresses the importance of being able to succinctly and compellingly pitch your story. Essentially, this means being able to summarize your entire screenplay in a few engaging and articulate sentences. A good pitch should be intriguing, clear, and encapsulate the core conflict and unique elements of your story. It should make someone want to read your script or watch your film.
According to Snyder, if you can’t pitch your story effectively, then it may be a sign that your story isn’t strong enough, or that the structure needs more work. A good pitch not only helps in selling your screenplay, but it can also be a valuable tool for understanding and refining your story.
A pitch typically contains the following elements:
The Setup: Who is the protagonist, and what is their world like before the main events of the story?
The Catalyst: What event disrupts the protagonist’s world and sets the story in motion?
The Conflict: What major challenges does the protagonist face, and who or what is opposing them?
The Stakes: What will happen if the protagonist fails? What do they stand to gain if they succeed?
Practicing and refining your pitch can also help in identifying the strengths and weaknesses of your story. It can help highlight compelling elements that you should focus on, and expose areas that might need more development.