Blake Snyder's Beat Sheet - Tim Stout

Menu 
Tim Stout
Writer & Editor
Blake Snyder’s Beat Sheet
The Blake Snyder Beat Sheet is the best plot structure template I’ve come across.
It breaks down the three-act structure into bite-size, manageable sections, each with
a specific goal for your overall story.
See my review of the Save the Cat books by Blake Snyder (where the Blake Snyder
Beat Sheet originated), and buy the book. It’s a great resource!
Below is an explanation of each beat. Please see how it works with graphic novels
by visiting Graphic Novel Story Structure. Thanks!
T
THHE
EBBLLA
AKKE
ESSN
NYYD
DEER
RBBE
EAAT
TSSH
HEEE
ETT ((aakkaa B
BSS22))
O
Oppeenniinngg IIm
maaggee – A visual that represents the struggle & tone of the story. A
snapshot of the main character’s problem, before the adventure begins.
S
Seett--uupp – Expand on the “before” snapshot. Present the main character’s world as it
is, and what is missing in their life.
T
Thheem
mee S
Sttaatteedd (happens during the Set-up) – What your story is about; the
message, the truth. Usually, it is spoken to the main character or in their presence,
but they don’t understand the truth…not until they have some personal experience
and context to support it.
C
Caattaallyysstt – The moment where life as it is changes. It is the telegram, the act of
catching your loved-one cheating, allowing a monster onboard the ship, meeting the
true love of your life, etc. The “before” world is no more, change is underway.
D
Deebbaattee – But change is scary and for a moment, or a brief number of moments, the
main character doubts the journey they must take. Can I face this challenge? Do I
have what it takes? Should I go at all? It is the last chance for the hero to chicken
out.
B
Brreeaakk IInnttoo T
Twwoo ((C
Chhoooossiinngg A
Acctt T
Twwoo)) – The main character makes a choice and the
journey begins. We leave the “Thesis” world and enter the upside-down, opposite
world of Act Two.
B
BSSttoorryy – This is when there’s a discussion about the Theme – the nugget of truth.
Usually, this discussion is between the main character and the love interest. So, the
B Story is usually called the “love story”.
T
Thhee P
Prroom
miissee ooff tthhee P
Prreem
miissee – This is the fun part of the story. This is when Craig
Thompson’s relationship with Raina blooms, when Indiana Jones tries to beat the
Nazis to the Lost Ark, when the detective finds the most clues and dodges the most
bullets. This is when the main character explores the new world and the audience is
entertained by the premise they have been promised.
M
Miiddppooiinntt – Dependent upon the story, this moment is when everything is “great” or
everything is “awful”. The main character either gets everything they think they want
(“great”) or doesn’t get what they think they want at all (“awful”). But not everything
we think we want is what we actually need in the end.
B
Baadd G
Guuyyss C
Clloossee IInn – Doubt, jealousy, fear, foes both physical and emotional
regroup to defeat the main character’s goal, and the main character’s “great”/“awful”
situation disintegrates.
A
Allll iiss LLoosstt – The opposite moment from the Midpoint: “awful”/“great”. The moment
that the main character realizes they’ve lost everything they gained, or everything
they now have has no meaning. The initial goal now looks even more impossible
than before. And here, something or someone dies. It can be physical or emotional,
but the death of something old makes way for something new to be born.
D
Daarrkk N
Niigghhtt ooff tthhee S
Soouull – The main character hits bottom, and wallows in
hopelessness. The Why hast thou forsaken me, Lord? moment. Mourning the loss of
what has “died” – the dream, the goal, the mentor character, the love of your life, etc.
But, you must fall completely before you can pick yourself back up and try again.
B
Brreeaakk IInnttoo T
Thhrreeee ((C
Chhoooossiinngg A
Acctt T
Thhrreeee)) – Thanks to a fresh idea, new inspiration,
or last-minute Thematic advice from the B Story (usually the love interest), the main
character chooses to try again.
F
Fiinnaallee – This time around, the main character incorporates the Theme – the nugget
of truth that now makes sense to them – into their fight for the goal because they
have experience from the A Story and context from the B Story. Act Three is about
Synthesis!
F
Fiinnaall IIm
maaggee – opposite of Opening Image, proving, visually, that a change has
occurred within the character.
T
THHE
EEEN
NDD
S
Shhaarree tthhiiss::
 Email  Facebook 284  Twitter  Reddit
 Like
114 bloggers like this.
Leave a Reply
Your email address will not be published. Required fields are marked *
Comment
Name
*
Email
*
Website
Post Comment
Notify me of new comments via email.
Notify me of new posts via email.

Pingback: Lester Dent’s Master Plot « Tim Stout
Kimberly on 03/16/2010 at 9:16 PM
Thanks so much for explaining this! My sister has the book and references it
frequently and won’t let me borrow it. Never have read it but knowing about
this beat sheet I was confused when I wrote down the bones but didn’t
exactly know what each “beat” was. Now I do.
 Reply
timstout on 03/17/2010 at 11:32 AM
Thanks for the comment, Kimberly. Glad I could be of help to you and
ease the conflict between siblings!
But just so you know, this is a pared down description of the beats. The
books go into greater detail and offer more guidance than I have here.
I, too, reference both books all the time, so I fully endorse purchasing
copies of your own.
Blake Snyder’s Books on Amazon
 Reply
Cat on 02/01/2011 at 1:41 AM
Thanks, I have had more than one copy of this book pass through my hands
from those who just wanted to (ahem) “Borrow it, please?” I had forgotten
where to find this.
 Reply
rozmorris on 04/21/2011 at 4:16 AM
I’m a novelist and I love Blake Snyder’s books. Before I ever read Save The
Cat, though, I’d developed a similar tool of my own, for grappling with
revisions of my novels. It’s expanded especially for use in novels (whose
structure is more fluid than a screenplay) and it can be found in my book –
Nail Your Novel: Why Writers Abandon Books and How You Can Draft, Fix
and Finish with Confidence.
 Reply
Pingback: Tools For The Writing Process « Gem State Writers

Pingback: Tools For The Writing Process | Johanna's big thoughts
Pingback: Saving the Cat This NaNoWriMo
Emmy on 07/10/2012 at 4:51 PM
This is great! Thanks for providing it, as the book doesn’t seem to be
available in my country. It really helps me as an amateur writer, as well as at
school. Because I’ve managed to find this earlier on, when I move on to high
school, I think the stories I write for my English lessons will be much more
well structured and I’ll get higher marks, if God wills.
 Reply
Excellent! Glad I could help. If you’ve had trouble getting the book in a
bookstore, perhaps a retailer of used books through Amazon would be
able to ship it to you.
 Reply
Mike Stasyna on 07/25/2012 at 10:47 AM
Solid summary…Works like a charm.
 Reply
Thanks, Mike!
 Reply
Pingback: Blake Snyder’s Beat Sheet – Planet of the Apes (1968) |

noonebutabloghead
Ethel on 10/27/2012 at 8:03 AM
As a student studying scriptwriting, thank you!
 Reply
timstout on 10/27/2012 at 3:25 PM

My pleasure. Thanks for reading, Ethel!
 Reply
Pingback: Pre Writing Step #3: Structure—Creating the Foundation — Robin

LaFevers
Angela on 10/31/2012 at 10:17 PM
Thanks! I have two of Blake’s books, but having all of the terms defined in
one place is really helpful. Thanks again.
 Reply
claudiacv on 11/26/2012 at 7:25 PM
Where I usually have problems is in the in between stuff. For example, what
should be happening between THEME STATED and CATALYST, or between
CATALYST and DEBATE.
And –what you call catalyst here is a) the inciting incident or b) the point of
no return?
Thanks.
 Reply
That is the tricky part. Plot can only fill so much of the script. In
between is where you can focus on what your characters are thinking
and feeling, and why they are doing what they are doing.
And, in answer to your question: a)
 Reply
David Fraser on 05/06/2013 at 11:01 PM
Hey Tim, is the catalyst also plot point one?
Hey David,
That depends on who you are reading. Some story theorists call
the catalyst “plot point one”, while others call break into two “plot
point one”. Frankly, a catalyst by definition is “a person or thing
that precipitates an event or change” (dictionary.com), so every
plot point can be considered a catalyst. However, Blake Snyder
uses Catalyst to mean the first BIG event that spurs the
character down a path toward transformation.
alienredqueen on 01/11/2013 at 4:25 PM
My friend suggested this book, but until I get it, I’m gonna see if I can work
with these “bare bones.” Thanks for posting!
 Reply
Thanks for the comment. I agree with your friend. I didn’t buy the book
at first, either. But after visiting a Barnes and Noble three, four, five
times to familiarize myself with the Beat Sheet and the other content, I
realized I should just get it. If you find yourself returning over and over
to this site, the book has a lot more information to share. As you said,
mine is “bare bones”.
 Reply
alienredqueen on 01/19/2013 at 3:27 PM
Well, I think they look promising.
Pingback: Structure and the Art of Untangling the Beast | Rogue Writers' Chapter
MJ on 05/22/2013 at 11:14 AM
Hey Tim, for quite some time I’ve valued your analysis on the BS2. Hope you
don’t mind but I posted a link to this on Done Deal Pro to help another new
writer well on his way to a 300 page, first draft. Of course I credited you for
your thoughts. It can be found at http://messageboard.donedealpro.com
/boards/showthread.php?t=72333&page=2. I say this with profound
appreciation: Wish I’d have seen your analysis before I started writing… take
care.
Thanks, MJ
 Reply
You’re welcome! And thanks so much for the link, MJ.
 Reply
Pingback: Hanging meat on the bones of your story | Sleeping Brodie
Glenn Ashton on 06/17/2013 at 7:27 PM
Thanks for the tightly constructed summary of the main points of the Blake
beat sheet. Very useful to keep next to your typewriter!
 Reply
Tango Vera on 06/21/2013 at 5:37 PM
Thanks Tim for whetting my appetite – I went ahead and bought the book.
 Reply
My pleasure. Thanks for reading.

I hope you enjoy the book!
 Reply
Samantha Fountain on 07/01/2013 at 11:10 PM
Love your explination. I mentioned this post in one of mine. Thanks.

http://sfountain.com/notes/writers-creative-flow
 Reply
Thanks, Samantha!
 Reply
yusef on 07/12/2013 at 2:14 PM

what comes first the theme stated or the set up? in the book the theme
stated comes first but above you switched those two sections. thanks.
 Reply
Hey Yusef,
Thanks for the question. The Theme Stated typically occurs during the
first 10 minutes as part of the Set Up, so above or below, it doesn’t
really matter. It could actually be anywhere in the first act. For example,
in Blake’s second book, Save the Cat Goes to the Movies, he shows
that the theme of Cocoon is after the Debate. As long as it is in the first
act, you should be good to go.
 Reply
MJ on 07/19/2013 at 4:28 PM
Ahaa!! Check out article at Slate on today’s date that points out Beat Sheat
analysis and how it’s impacting movie productions these days. It confirms
many of my most similar thoughts since I read this/your post and started
evaluating films in terms of it. And, I figure, as the soothsayer you are Tim,
you’ll especially enjoy this read…
http://www.slate.com/articles/arts/culturebox/2013/07
/hollywood_and_blake_snyder_s_screenwriting_book_save_the_cat.single.h
tml
 Reply
MJ, thanks for heads up! Due to the article, this page was posted on
reddit and got a 2000% bump in traffic. Awesome!
Unfortunately, I think the article is pretty silly. “…a formula that

threatens the world of original screenwriting as we know it.” … “Is
over-reliance on Snyder’s story formula killing movies?” What
nonsense.
I agree with the final statement: “…sometimes you can let the formula
guide you. But that shouldn’t be the only thing you know how to do.”
But the journalist doesn’t even ask any screenwriters or producers or
directors if they use the beat sheet. How does he know they are
becoming over-reliant? He doesn’t.
As Sherlock Holmes would say he’s “twisting facts to suit theories,
instead of theories to suit facts,” and using the beat sheet as an excuse
to throw mud at Hollywood over some of the summer blockbusters
(coincidentally, the movies he didn’t like). Movies are not dying.
Screenwriting is not in peril. The Beat Sheet is not to blame.
Nevertheless, the article is getting attention so I hope it’s helping STC’s

sales.
 Reply
Markus on 07/24/2013 at 5:44 AM
I LOVE Blake Snyder’s Save The Cat! series. And though I was still having a
bit of trouble because some of the beats are vague, I actually found another
book that helped clarify any remaining questions I had about plot beats. A
Stranger Comes To Town by Adron J. Smitley is another great book on plot,
and if you enjoy Blake Snyder’s Save The Cat! series then you’ll also want to
take a read of that book as well. Beats like Fun And Games or Bad Guys
Close In are sometimes hard to fill out in your story, as they are pretty story
specific so Blake Snyder gives a small amount of ‘instructions’ then let’s you
have at it, but in A Stranger Comes To Town, if you’re a very plot-driven
writer like myself, you’ll find a more detailed explanation of the necessary
plot beats. I recommend everyone check those books out, if even only for a
quick flip-through. They helped me and my writing a lot. Great article, by the
way. Thanks =-)
 Reply
HeavyHeartLaments on 08/15/2013 at 12:16 AM
Your beat sheet is wrong.
It’s THEME STATED which comes BEFORE SET-UP. Not what you have
done.
 Reply
Thanks for the comment, but above you’ll see on 7/16/13, I wrote the
following to Yusef:
“The Theme Stated typically occurs during the first 10 minutes as part
of the Set Up, so above or below, it doesn’t really matter. It could
actually be anywhere in the first act. For example, in Blake’s second
book, Save the Cat Goes to the Movies, he shows that the theme of
Cocoon is after the Debate. As long as it is in the first act, you should
be good to go.”
The Beat Sheet is a guideline, so there is room to play around with it.
 Reply
Pingback: Blake Snyder’s Beat Sheet | Tim Stout | S. A. Merk
Pingback: Plot, Theme… Premise? : Pendorwriting
sherrill nilson on 09/15/2013 at 4:33 PM
Since my weak point is plotting, I am finding the beat sheet VERY helpful. I
think I’m going to have to buy more books. Glad I found this. I don’t really
like cats, but I’ll buy Save the Cat anyway. And maybe A Stranger Comes to
Town. Just hope he’s tall, dark, and handsome and comes on a dark and
stormy night to save me from the dungeon and the bat like creature sliming
(climbing) the walls behind me, unseen. To creepy music.
 Reply
adeptula on 09/20/2013 at 10:36 AM
Thanks so much for this brief break down. It is really helping me with my
plotting!
 Reply
Pingback: Screenplay Outline Onslaught: 45 Screenwriting Resources To Help

Improve Your Outlines | The Screenwriting Spark
Pingback: Writing and Publishing News and Notes | Sally Apokedak
Pingback: 15 Beats | Jennifer Roundell
Pingback: Cross-Genre Support (NaNo Prep 15) and a sort of checklist
Pingback: Discovering My Process | The World's Forgotten Boy
Pingback: Fun Writing Update Time!!! | LAURJEFF WRITES
TJ Broadhurst on 10/28/2013 at 9:24 AM

Dear Tim,
I just read the Beat Sheet for Toy Story 3 and I learnt s-o much! Do you have
any others that you can send?
God Bless,
TJ
tj@rocknsouls.com
 Reply
Hey TJ,
If you want more movies, I’d recommend Blake Snyder’s second STC
book, Save the Cat Goes to the Movies, because Blake Snyder
analyzes the beats of a bunch of popular films. You could also check
out the Save the Cat forum, where other fans of the Beat Sheet have
shared their breakdowns: http://savethecat.informe.com/
Of course, if you want some breakdowns for graphic novels, you can go
to this link, or you can check out my ebook, Short Notes on Long
Comics.
I hope that helps!
 Reply
Pingback: First Post | Jumping Right In | Don't Stop Writing
Pingback: Do you…NaNo? | AJPine.com
Pingback: NaNoWriMo-Making a Book Bible » What a Nerd Girl Says
Pingback: the Norman Crane
Pingback: The Best Thing That Did Happen From NaNo | Marti Ink
Pingback: THE MASTER Save the Cat Beat Sheet | megasus5000
Pingback: Revision 101: Characters, Building Them and Their Arc | Don't Stop
Writing
Dawn on 12/12/2013 at 9:44 AM
Thank you
 Reply
Pingback: Blake Snyder’s Beat Sheet | Kindlemojo's Books and Bacon
Orrin on 12/27/2013 at 5:40 AM
Hello Tim,
I read save the cat, and it did help with the plot on a script I’ve been writing
for 3 years, but, I have some questions about the book, and I’m grateful this
site is here for me to ask them. I will buy the other book: A stranger comes to
town, for more clarity. Okay, I also read the article accusing save the cat of
ruining Hollywood. I agree with you, It seemed a bit jaded. My first question
is the All is lost beat being the opposite of the midpoint- “awful/great”. All is
Lost denotes awful, and losing all you’ve gained, or, finding out all you have
means nothing are both negative. My Midpoint is: hero brings hope back , so
it seems, and my All is lost beat is the good guys lose the other half of their
army. After a lot of cross referencing, I get it, but Blake’s throwing out All is
lost is opposite of the Midpoint either awful, or great… Needs a little more
explanation, maybe even it’s own chapter. It made me stop reading and I
spent a week getting my head around the concept. The other question is the
part that says there should be 9 or 10 beats per act segment on your beat it
out sheet. I’m writing an action story, and I’m having a hard time changing it
to fit this rule, so I’m not going to. I found the following article exploring this
question. It isn’t referencing, or downing save the cat book, but I think it
addresses the question. http://messageboard.donedealpro.com/boards
/showthread.php?t=18034
What are your thoughts? And thank you for your time and this site :)\
 Reply
Hi Orrin,
Thanks for the questions.
1) The Midpoint is the opposite of All is Lost:

Yes, the All is Lost (or Whiff of Death) is a negative thing. Often, the All
is Lost comes about because the Bad Guys have Closed In and gotten
in between the Protagonist and their goal. It is painful. And out of that
pain, the character is given the opportunity to grow. It forces the
character to dig deep inside themselves and choose to apply the
message of the B-Story—and thereby transform into a more mature
person—in pursuit of the original goal, or in pursuit of a new, more
mature/enlightened goal. This is an example of how things are “great”
at the Midpoint and then “awful” at the All is Lost.
However, sometimes the All is Lost comes about because things were
looking really “awful” at the Midpoint but then the Bad Guys Closed In
and HELPED the Protagonist achieve the goal they THINK they want.
So, they have everything they’ve always wanted. They have achieved
the goal they set out to achieve—typically something shallow,
thematically (money, the wrong girl, what’s expected of them but they
don’t really want, etc.). They should feel good because things are now
“great” and yet they feel dead inside. This is the All is Lost (or Whiff of
Death) and is once again a painful, negative thing despite being “great.”
Out of this pain, the character is given the opportunity to grow. It forces
the character to dig deep inside themselves and choose to apply the
message of the B-Story—and thereby transform into a more mature
person—in pursuit of a new, more mature/enlightened goal.
I hope that makes sense.
2) 9 or 10 beats per act:

If it doesn’t work for you, don’t force it. Do what feels right.
 Reply
Orrin on 12/27/2013 at 5:54 AM
Hi Tim, on the link I sent with my reply, check out the Q&A for how many
scenes per act. And I’ve got to say this, and please quote me: “Save the
Cat” in Hollywood, is kind of like the Pirate Code in “Pirates of the
Caribbean”. If you question it, One pirate/person might shoot you dead on
the spot, but another would say: “Argh, it’s just a guideline”
There, I said it… I think I’ll go lock my doors. :)\ Thanks again!
 Reply
Orrin on 12/29/2013 at 1:29 AM
H Tim,
Thanks, that makes it more clear, it’s either all is lost, got to dig, or get want,
not need. I think my story is on target with an all is lost, got to dig beat. I was
a bit confused about the part in Save the Cat that said each Act segment
needs 9 or 10 beats, but I guess my final # of beats will come out in wash.
…I’ll do what feels right.
Thanks again! :)\

 Reply
Pingback: Best plot structure for writing a Hollywood Feature Film – Blake Snyder |
productionbunch
Dear Tim,
I use Blake’s Beat Sheet and I love it; but your explanations on these boards
add more dimensions to it! Do you have a page or document I can view with
your comments and explanations of Blake’s Beat Sheet?
God Bless and Love,

TJ
 Reply
Thanks for the comment, TJ.

I don’t have an expansion of what’s written above, if that’s what you
mean, but I do discuss the beats through the examples of story
structure in Graphic Novels (https://timstout.wordpress.com/story-
structure/) and in my ebook Short Notes on Long Comics
(http://amzn.to/1aER8l0).
 Reply
Dear Tim,
Thank you for the reply. The Batman Year One Beat Sheet is already
helping! Do you consider the Premise the same as a Log Line?
God Bless & Love,

TJ
 Reply
Dear Tim,
The Beat Sheet of “Batman Year One” has invoked a few questions I would
like to ask; if I may?
Act I
“Premise”: – same as a “Log Line”?
The focus of the “Premise” is on Jim Gordon and not as much on Batman it
seems. Would it be wrong to have the Premise focus more on Batman?
“Opening Image”:
Seems to have a contrast; one person -Gordon- wanting “out” and Bruce
Wayne wanting “in”. Is this a common picture and tension? Can the
“Opening Image” focus on the Antagonist or should that character be held
back until the Catalyst Beat?
“Set Up”:
Seems to display the involved persons preparing for the battle which is to
come; correct? Can this be both Protagonist and Antagonist?
Act II
“B Story”:
If this is usually the Love Interest part, is this where Gordon gets involved
with the girl?
“Fun & Games”:

Can this be a time when the Antagonist is also having fun and building
towards his goals?
“Midpoint”:
I’m not clear on this Beat. Could you explain?
“Bad Guys Close In”:

In this beat, do the bad guys close in became Batman and Gordon have let
their guards down? For Bruce leaves to recover and Gordon is focused more
on the girl?
“All is Lost”:
Seems like a Contemplative Beat; yes?
“Dark Night Of The Soul”:

This seems like Gordon tries his best again on just his natural powers but in
order to emerge from the Dark Night Beat, Gordon has to reach for a higher
moral and power to accomplish it; correct?
Act III
“Choosing Act Three”:
I see how Gordon makes some new decisions but has Bruce / Batman made
any new descions?
“Final Image” can this also be called “New Equilibrium”?
Sorry Tim, if this is lengthy but I trust you with insightful answers…
God Bless & Love,

TJ
 Reply
““P
Prreem
miissee””:: –– ssaam
mee aass aa ““LLoogg LLiinnee””??
T
Thhee ffooccuuss ooff tthhee ““P
Prreem
miissee”” iiss oonn JJiim
mGGoorrddoonn aanndd nnoott aass m
muucchh oonn
B
Baattm
maann iitt sseeeem
mss.. W
Woouulldd iitt bbee w
wrroonngg ttoo hhaavvee tthhee P
Prreem
miissee ffooccuuss
m
moorree oonn B
Baattm
maann??
I wrote the Batman Year One “Premise” based upon a template for
writing log lines, which I wrote about here:
https://timstout.wordpress.com/graphic-novel-writing/loglines/
I used the word “premise” so readers can make the connection during
the Fun N’ Games section (the Promise of the Premise). So, I am using
the words “premise” and “log line” interchangeably. Maybe that’s wrong.
I’m not sure.
However, Gordon is the protagonist, so he is featured in the

premise/log line. If I were to feature Batman more than Gordon in the
premise/log line, then I’d be telling a different story. I would be
promising a different premise to my readers, which I would need to fulfill
in the Fun N’ Games section (the Promise of the Premise). Batman
would be the protagonist in this different story, instead of Gordon.
“Log line” can often be confused for the “pitch.” If you were tell
someone what Batman Year One is about in as few words as possible
(pitching it to them), you might say it’s Batman’s origin story, even
though Gordon is the protagonist.
““O
Oppeenniinngg IIm
maaggee””::
S
Seeeem
mss ttoo hhaavvee aa ccoonnttrraasstt;; oonnee ppeerrssoonn --G
Goorrddoonn-- w
waannttiinngg ““oouutt”” aanndd
B
Brruuccee W
Waayynnee w
waannttiinngg ““iinn””.. IIss tthhiiss aa ccoom
mmmoonn ppiiccttuurree aanndd tteennssiioonn??
C
Caann tthhee ““O
Oppeenniinngg IIm
maaggee”” ffooccuuss oonn tthhee A
Annttaaggoonniisstt oorr sshhoouulldd tthhaatt
cchhaarraacctteerr bbee hheelldd bbaacckk uunnttiill tthhee C
Caattaallyysstt B
Beeaatt??
Antagonists can be shown anytime you want. It’s your story. Darth
Vader is shown waaay before Luke. The point is to show the tension.
The Opening Image of Star Wars shows a war between the tiny
rebellion and the big evil empire. We understand the drama
immediately.
““S
Seett U
Upp””::
S
Seeeem
mss ttoo ddiissppllaayy tthhee iinnvvoollvveedd ppeerrssoonnss pprreeppaarriinngg ffoorr tthhee bbaattttllee
w
whhiicchh iiss ttoo ccoom
mee;; ccoorrrreecctt?? C
Caann tthhiiss bbee bbootthh P
Prroottaaggoonniisstt aanndd
A
Annttaaggoonniisstt??
As the writer, you use the Set Up to prepare the reader for everything
that is to come later in the story. Sometimes the characters are aware
of that preparation, sometimes they aren’t.
In Batman Year One, they are. In Romancing the Stone, for example,
only the Antagonist is actively preparing the conflict, while the
Protagonist is blissfully unaware until the Catalyst. (And yes, the Set Up
can feature both the protagonist and antagonist.)
Note: Instead of using the word “battle” which denotes war, use the
word “conflict” because Romancing the Stone is not about war or
battles, but the Set Up does prepare the viewer for the conflict a shut-in
romance novelist would have during a wild adventure.
A
Acctt IIII
““B
BSSttoorryy””::
IIff tthhiiss iiss uussuuaallllyy tthhee LLoovvee IInntteerreesstt ppaarrtt,, iiss tthhiiss w
whheerree G
Goorrddoonn ggeettss
iinnvvoollvveedd w
wiitthh tthhee ggiirrll??
The B Story is the THEMATIC relationship—the relationship that will

reveal to the protagonist what value they need in order to transform and
mature as a person. In many stories, that’s shown through the love
interest. But in this case, the thematic relationship is Gordon’s
relationship (partnership, friendship) with Batman.
““F
Fuunn &
&GGaam
meess””::
C
Caann tthhiiss bbee aa ttiim
mee w
whheenn tthhee A
Annttaaggoonniisstt iiss aallssoo hhaavviinngg ffuunn aanndd
bbuuiillddiinngg ttoow
waarrddss hhiiss ggooaallss??
Sure. I don’t see why not. The Fun n’ Games is not necessarily a walk
in the park for the Protagonist. The Antagonist is always pushing back.
““M
Miiddppooiinntt””::
II’’m
m nnoott cclleeaarr oonn tthhiiss B
Beeaatt.. C
Coouulldd yyoouu eexxppllaaiinn??
Well, I don’t understand the confusion. So, I’ll phrase the explanation a
different way and say that after the Fun n’ Games, when the protagonist
is attempting to achieve their goal, they either are succeeding halfway
through the story and things are going great, or they aren’t and things
are awful. In most stories, things are going great at this point. For
Batman Year One, Gordon is attempting to clean up his city, and
halfway through the story, Batman has helped. Their relationship is
growing and showing positive results. So, things are going great… until
the Bad Guys Close In.
““B
Baadd G
Guuyyss C
Clloossee IInn””::
IInn tthhiiss bbeeaatt,, ddoo tthhee bbaadd gguuyyss cclloossee iinn bbeeccaam
mee B
Baattm
maann aanndd G
Goorrddoonn
hhaavvee lleett tthheeiirr gguuaarrddss ddoow
wnn?? F
Foorr B
Brruuccee lleeaavveess ttoo rreeccoovveerr aanndd
G
Goorrddoonn iiss ffooccuusseedd m
moorree oonn tthhee ggiirrll??
The Bad Guys Close In because they see the protagonist as a threat to
their goals. They elevate their game and try to keep the protagonist
from winning. Bruce’s recovery and Gordon’s affair simply aid the bad
guys in that pursuit.
““A
Allll iiss LLoosstt””::
S
Seeeem
mss lliikkee aa C
Coonntteem
mppllaattiivvee B
Beeaatt;; yyeess??
In the case of Batman Year One, yes.
““D
Daarrkk N
Niigghhtt O
Off T
Thhee S
Soouull””::
T
Thhiiss sseeeem
mss lliikkee G
Goorrddoonn ttrriieess hhiiss bbeesstt aaggaaiinn oonn jjuusstt hhiiss nnaattuurraall
ppoow
weerrss bbuutt iinn oorrddeerr ttoo eem
meerrggee ffrroom
m tthhee D
Daarrkk N
Niigghhtt B
Beeaatt,, G
Goorrddoonn
hhaass ttoo rreeaacchh ffoorr aa hhiigghheerr m
moorraall aanndd ppoow
weerr ttoo aaccccoom
mpplliisshh iitt;;
ccoorrrreecctt??
He has to be willing to change. Mature. Do the right (difficult, scary,

against your better judgement) thing. In this case, Gordon must partner
with Batman.
A
Acctt IIIIII
““C
Chhoooossiinngg A
Acctt T
Thhrreeee””::
II sseeee hhoow
wGGoorrddoonn m
maakkeess ssoom
mee nneew
w ddeecciissiioonnss bbuutt hhaass B
Brruuccee //
B
Baattm
maann m
maaddee aannyy nneew
w ddeesscciioonnss??
It’s Gordon’s story, so his change is the most important. I’d have to read
the book again to know your answer for sure.
““F
Fiinnaall IIm
maaggee”” ccaann tthhiiss aallssoo bbee ccaalllleedd ““N
Neew
wEEqquuiilliibbrriiuum
m””??
Sure. Whatever works for you.
 Reply
John on 01/22/2014 at 2:45 PM
I attended the Blake Snyder seminar in Santa Monica. The BS2 is a great
tool. If fact, it is responsible for me being able to complete my first novel and
get it published. I’ve followed discussions about structure and find it
interesting that some writers come down hard against the BS2, saying it is
nonsense and ruins the creative process. Until I used the beat process, I
wrote tons of garbage that either went nowhere or slid off on a never ending,
tedious tangent.I wasted years hanging around with novelists who harped
about their muse and the metaphysical aspects of the creative process. It
was all nonsense. The beat process is a tool, not a set process. It is a kick
start for the creative process. Once you get your beats, then you’re off and
running. I would never take a journey without a map.
 Reply
I couldn’t agree more, John. Thanks for the comment.
 Reply
TJ Broadhurst on 01/22/2014 at 8:28 PM
Dear Tim,
Thank you s-o much for taking the time to answer all my questions; it is a big
help to me!
And thank you John also for your insight!
God Bless & Love,

TJ
 Reply
Amos on 01/24/2014 at 10:34 AM
I haven’t implement it yet but it gonna be very helpful. I have written a story
which is very unique it took me a year to write it and i am going to produce a
film and publish a book. thnx
 Reply
Pingback: The Books: Save the Cat! | The Art of Ignorance
Pingback: 6 Tips to Re-Build Your Story From the Ground Up | THE

SCRIPTOLOGIST
areadmedia on 02/18/2014 at 2:27 AM
Very interesting post, thank you!
 Reply
Pingback: Disney vs. the Beat Sheet : Pendorwriting
Pingback: keep on. | * Thup
susielindau on 03/13/2014 at 10:26 AM
I wrote a paranormal thriller and just started a screenwriting class. This

concise beat sheet is EXACTLY what I need to finish edits on my book and
plot out the screenplay. A week ago, I wondered if a formula for writing
existed which would make my life easier and here it is!
Thank you!!
 Reply
Fantastic news, Susie! Keep up the good work.
 Reply
Thank you! I am going to send your link to my class.
Great! Thanks, Susie!
Pingback: Feature autopsy: Story map + Beat Sheet | TTVO Future Film Studies
Pingback: Blake Snyder’s Beat Sheet for Novels | the written word
Pingback: What’s Your Process? |

Pingback: Jennifer Blackwood
Pingback: My Writing Process Blog Tour | René Gilley – young adult & new adult
author
Pingback: May 2nd–Creative Writing « Stearns
Pingback: Now What? | The Dryad Chronicles
Pingback: Wed, May 21st–Creative Writing « Stearns
MJ Brewer on 05/21/2014 at 7:39 PM
What really helped me is on page 70 of the book, this list includes the pages
and length of each of the portions as well. The clarification is a life saver for
me.
 Reply
MJ Brewer on 05/21/2014 at 7:40 PM
Still, I shared this page with my screenwriting group, The Film Scene, on
Facebook.
 Reply
Thanks, MJ!
 Reply
Pingback: I Give You Permission To Suck | Ferrett Steinmetz
Pingback: Beauty In The Beats | Spellbound Scribes
Pingback: 10 Query Tips from a Literary Assistant — Week of 6/20/2014 – Lane

Heymont
Pingback: Sookie Stackhouse and the 4 Act Plot Structure | ParaYourNormal
Chance Knight on 07/17/2014 at 10:51 AM

Often I feel that a story instinctually develops in this manner, but it’s still nice
to have this as a clear reference, like mile markers to make sure your story
develops in an understandable way. The premise and setup is nice, as I feel
a lot of people fail to establish the theme of their story at the outset. Thanks
again for the handy resource.
 Reply
TJ Broadhurst on 07/23/2014 at 9:33 PM
Dear Tim,
Love your site and so I turn to you for clarification once again on the
“Choosing Act II” beat.
Is the term, “1st Plan” the same as the term “1st Turning Point” and where
does this fit in with Blake’s Beat Sheet; under the Choosing Act II beat or
elsewhere?
Also in the beat Choosing Act II, this is were the Protagonist receives his
“Mission” or “Task”, meaning they know where life is suddenly sending
them?
Is the “Development” of Choosing Act II placed under this beat or is it placed

in later beats such as B Story, Fun ‘N’ Games, etc?
 Reply
IIss tthhee tteerrm

m,, ““11sstt P
Pllaann”” tthhee ssaam
mee aass tthhee tteerrm
m ““11sstt T
Tuurrnniinngg P
Pooiinntt””
aanndd w
whheerree ddooeess tthhiiss ffiitt iinn w
wiitthh B
Bllaakkee’’ss B
Beeaatt S
Shheeeett;; uunnddeerr tthhee
C
Chhoooossiinngg A
Acctt IIII bbeeaatt oorr eellsseew
whheerree??
I don’t know the term “1st Plan,” I’m afraid, so I can’t help you there.
But most storytelling theorists I’ve read often use “1st Turning Point” to
mean the same thing as “Choosing Act II.” Sometimes, they are
referring to the “Catalyst,” but usually it’s “Choosing Act II.”
A
Allssoo iinn tthhee bbeeaatt C
Chhoooossiinngg A
Acctt IIII,, tthhiiss iiss w
weerree tthhee P
Prroottaaggoonniisstt
rreecceeiivveess hhiiss ““M
Miissssiioonn”” oorr ““T
Taasskk””,, m
meeaanniinngg tthheeyy kknnoow
wwwhheerree lliiffee iiss
ssuuddddeennllyy sseennddiinngg tthheem
m??
The Catalyst occurs, which shakes things up. In reaction, there’s the
Debate section where character(s) figure out what do to, involving the
development of a goal. The overall goal is more important than the plan
to get there. Sometimes, they develop a plan in the Debate section,
and sometimes the protagonist just jumps in and they’ll figure out a
plan as they go. The point is to develop a goal that the protagonist
wants. Still in the Debate section, the protagonist hesitates in a moment
of doubt (they want it, but it’s not necessarily going to be easy). Then
they choose to do it in Choosing Act II.
IIss tthhee ““D

Deevveellooppm
meenntt”” ooff C
Chhoooossiinngg A
Acctt IIII ppllaacceedd uunnddeerr tthhiiss bbeeaatt oorr
iiss iitt ppllaacceedd iinn llaatteerr bbeeaattss ssuucchh aass B
BSSttoorryy,, F
Fuunn ‘‘N
N’’ G
Gaam
meess,, eettcc??
Again, I don’t know what exactly the term “Development” is referring to

(storytelling theorists have often used the same words to mean different
things depending on their individual theories), but during the Debate
section, character(s) develop a goal (mission or task) in reaction to the
Catalyst. That might be what you mean. Sorry I can’t be more help.
 Reply
Dear Tim,
I have been finding your explanations are of great assistance, possibly, it is

your choice of words that helps me to understand things more deeply.
My main questions right now are in regards to the different names for the
“beats” and sometimes all that happens in every beat; for example:
In the “Opening Image”, this is also called the “Story World”; correct? If so,
does one have to start by showing the characters in their natural
environment or “Story World” or can one start the “Opening” beat with an
event that has already started or shooken up the characters world? Like the
“bomb” has already been dropped?
The “Teaser” is another name for “Opening Image”?
The “Subplot” is also called the “B Story”?”
The “2nd Turning Point” would then be the “Choosing Act Three” beat?
In which beat does the Protagonist try his first attempt to fix the situation;
“Fun ‘N’ Games” beat? And where does the plan fail; in the “All Is Lost”
beat?
Would you say there are usually two attempts to try to fix the situation; the
second happening in the “Choosing Act Three” beat?
 Reply

IInn tthhee ““O
Oppeenniinngg IIm
maaggee””,, tthhiiss iiss aallssoo ccaalllleedd tthhee ““S
Sttoorryy W
Woorrlldd””;;
ccoorrrreecctt?? IIff ssoo,, ddooeess oonnee hhaavvee ttoo ssttaarrtt bbyy sshhoow
wiinngg tthhee cchhaarraacctteerrss iinn
tthheeiirr nnaattuurraall eennvviirroonnm
meenntt oorr ““S
Sttoorryy W
Woorrlldd”” oorr ccaann oonnee ssttaarrtt tthhee
““O
Oppeenniinngg”” bbeeaatt w
wiitthh aann eevveenntt tthhaatt hhaass aallrreeaaddyy ssttaarrtteedd oorr sshhooookkeenn
uupp tthhee cchhaarraacctteerrss w
woorrlldd?? LLiikkee tthhee ““bboom
mbb”” hhaass aallrreeaaddyy bbeeeenn
ddrrooppppeedd??
Movies don’t always start chronologically. So, no, the Opening Image
doesn’t HAVE to feature the “story world” (a term I am unfamiliar of, but
I’ll use it as you’ve described it). It’s your story. Do what you want. Don’t
follow the beat sheet if you don’t want to.
T
Thhee ““T
Teeaasseerr”” iiss aannootthheerr nnaam
mee ffoorr ““O
Oppeenniinngg IIm
maaggee””??
I know “Teaser” has a TV term for the event that hooks the viewer in
before the first commercial break and sometimes before the show’s title
sequence, depending on the show. So, yes, “Teaser” could be another
name for “Opening Image.”
T
Thhee ““S
Suubbpplloott”” iiss aallssoo ccaalllleedd tthhee ““B
BSSttoorryy””??””
The B Story is a subplot, yes.
T
Thhee ““22nndd T
Tuurrnniinngg P
Pooiinntt”” w
woouulldd tthheenn bbee tthhee ““C
Chhoooossiinngg A
Acctt T
Thhrreeee””
bbeeaatt??
Sometimes. Some story theorists advise 10+ “turning points.” I can’t

say for sure without knowing who you’re reading.
IInn w
whhiicchh bbeeaatt ddooeess tthhee P
Prroottaaggoonniisstt ttrryy hhiiss ffiirrsstt aatttteem
mpptt ttoo ffiixx tthhee
ssiittuuaattiioonn;; ““F
Fuunn ‘‘N
N’’ G
Gaam
meess”” bbeeaatt??
I don’t know what you mean by “first attempt” but the Fun ‘N’ Games
beat is when the characters fulfill on the promise of the premise, which
typically is attempting to execute the plan for achieving the desired
goal.
A
Anndd w
whheerree ddooeess tthhee ppllaann ffaaiill;; iinn tthhee ““A
Allll IIss LLoosstt”” bbeeaatt??
Possibly, but not necessarily. The plan can sometimes succeed.

Sometimes the characters get what they want and realize they don’t
actually want it because it’s now meaningless. In the All is Lost, the
character is just worse off than when they started.
W
Woouulldd yyoouu ssaayy tthheerree aarree uussuuaallllyy ttw
woo aatttteem
mppttss ttoo ttrryy ttoo ffiixx tthhee
ssiittuuaattiioonn;; tthhee sseeccoonndd hhaappppeenniinngg iinn tthhee ““C
Chhoooossiinngg A
Acctt T
Thhrreeee”” bbeeaatt??
After “Choosing Act Two,” the characters are constantly attempting to

reach their goal. But in “Choosing Act Two,” they DECIDE to go for the
goal. And in “Choosing Act Three” they DECIDE to go for it again (or for
a better goal, if the first goal proves to be undesirable, e.g., The Bad
News Bears), but this time incorporating the lesson learned from the B
Story.
 Reply
Thank You Tim,
God Bless & Love,

TJ
 Reply
Pingback: Planning – a slowly-reforming Pantser’s guide | Catherine Queen
pukkanasha (@pukkanasha) on 08/12/2014 at 9:06 AM
hi tim, this is great well done…
 Reply
Pingback: Story Structure: Plot Points | Just Another Writer
Pingback: Conducting a Story | SJ O'Hart
Pingback: Is Your Plot Hitting All the Right Notes? A Quick Checklist | Yellow Road
Editing Services
Pingback: Feature Film Journal #2: Refining The Story & Creating A Beat Sheet |
Noam Kroll
Pingback: Ya ne vernus – Ma ei Tule Tagasi – I Won’t Come Back (2014) | Ma

Armastan Filme - Mart Raun - Filmiblogi
Pingback: Story Signposts - Elizabeth Spann Craig
Pingback: Basic Screenwriting Tips (Special Topic: Horror) | Tracy Held Potter
Pingback: NaNoWriMo Prep #14 – Save the Cat | Diana Castle
Pingback: Taking a Screenwriting Class | Storing a Documentary

Pingback: [NaNoWriMo] Outline – Letzter Schliff | scribo ergo sum
Pingback: A crash course in creativity - A Reason to Smile
Pingback: NaNoWriMo | espresso coco
Pingback: Plotting and Pacing a Romance | Mindy Hardwick's Blog
Pingback: What to Do If You're Running Out of Story Ideas |

writesmarternotharder.com
Pingback: Building your Novel Bible (Part Four: Planning the Plot Arc Acts) | Writing
Books Secrets
Judith on 12/22/2014 at 6:20 AM
This article is one of the most helpful I have read.
 Reply
Pingback: Joseph Gordon-Levitt Is a Married Man | Scandal Sheet
mibtp on 01/08/2015 at 11:26 PM
Thinking of you Blake, hoping you are resting in peace.
 Reply
coffeennotes on 02/02/2015 at 5:06 AM
Love the post I use it a lot.
 Reply
Excellent! Glad I could help.
 Reply
coffeennotes on 02/02/2015 at 2:29 PM
Pingback: The Fat Lady Sings (Again) – to Beat Sheets | Mostly Mystery
Pingback: So Much to Write, So Much to Learn – SCBWI Europolitan Day 1 |

DeeScribewriting Blog
Pingback: Plot Help: A round up of links and resources » Tera Lynn Childs
doordirt4creations on 07/26/2015 at 3:29 AM
Tim, thank you very much for this. my book is gone , but now found your
page.
may the words flow like lava through the volcano of your heart…
unstoppable and unquenchable!
And may the NaNoWriMojo be with you always!
 Reply
David Stacey on 01/05/2016 at 4:19 PM
I spent two years of self teaching and you do it in one page in practical
terms! (Yes without the self teaching I wouldn’t have recognized the trail you
blazed-grin.)
 Reply
Glad I could help, David.
 Reply
Ochola Chris Cosmas on 01/09/2016 at 3:46 PM
This helped me am begining to write a fiction very soon but need more
guides please
 Reply
TD on 04/28/2016 at 12:13 AM
Are the beats typically in the same order, or can they vary depending on the
story?
 Reply
Usually they are in the same order, but they can be moved around.
Especially the “Theme Stated” and “B Story” beats. It’s helpful for the
audience if the Theme Stated is somewhere in the first act — to set up
the emotional context of the protagonist’s actions — and placing the B
Story before “Bad Guys Close In” is helpful in order to remind the
audience of the emotional struggle the protagonist is going through
before things get even tougher.
 Reply
Hannah England on 05/02/2016 at 10:02 PM
Thanks for this! My sister is borrowing my Save the Cat book and I needed
this plotting layout.
 Reply
Shawn on 05/16/2016 at 7:23 PM
Would BS2 be a good beat sheet for a mystery novel? Or is there another
another beat sheet version that would work better for a mystery? Thanks!
 Reply
Is there one that works better? I’m not sure. But yes, BS2 should work
with a mystery novel. To test it out, you could analyze a few mystery
novels you enjoy and see if you can find the beats. Just an idea.
 Reply
Shawn on 05/17/2016 at 11:28 PM
Thank you. I’ll do that.
 Reply
Follow Blog via Email
Enter your email address to follow this blog and receive notifications of new posts by email.
Follow
D a n g e r & D o o m : B r a i n l e ssss B r o t h e r
A
Ann E
Exxcciittiinngg N
Neew
wEEbbooookk ffoorr K
Kiiddss A
Aggeess 88--1100!!
“Exciting! … I could barely stop reading your story until I finished it!!”
— Christina (age 8)
“Hilarious!!”
— Martin (age 9)
“He laughed out loud. … An eight-year-old laughing out loud? Success!”

— Sarah, mother of Judson (age 8)
What would you do if your brother lost his mind… literally? Will Doom find Danger's runaway brain
before the test at school, or will he have a brainless brother forever?!
Short Notes on Long Com

miic s
TThhrreeee--A
Acctt S
Sttoorryy S
Sttrruuccttuurree iinn G
Grraapphhiicc N
Noovveellss
"Short Notes on Long Comics is awesome!”
— Calista Brill, Editor for First Second Books
Short Notes on Long Comics will show you how three-act story structure is used in 10 of the most
popular graphic novels on the market. From their example, you can learn how to structure your
own story and make your graphic novel the best it can be.
To p P o s t s
Blake Snyder's Beat Sheet

Eight Character Roles
Graphic Novel Script Format
How to Use 3-Act Story Structure in Comic Strips
Story Structure in Graphic Novels
Categories
Blog
Books on Writing
Comics & ePublishing
Common Story Problems
Graphic Novel Writing
Li'l Nauts
Middle Grade Ebooks
Middle-Grade Novel Month
Story Structure in Graphic Novels
View Full Site
Blog at WordPress.com.

Blake Snyder's Beat Sheet - Tim Stout

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Blake Snyder's Beat Sheet - Tim Stout

Uploaded by

Copyright:

Available Formats

Menu 

Blake Snyder’s Beat Sheet

 Email  Facebook 284  Twitter  Reddit

Notify me of new comments via email.

Notify me of new posts via email.

Kimberly on 03/16/2010 at 9:16 PM

timstout on 03/17/2010 at 11:32 AM

Blake Snyder’s Books on Amazon

Cat on 02/01/2011 at 1:41 AM

rozmorris on 04/21/2011 at 4:16 AM

Pingback: Tools For The Writing Process « Gem State Writers

Pingback: Saving the Cat This NaNoWriMo

Emmy on 07/10/2012 at 4:51 PM

timstout on 07/11/2012 at 11:35 AM

Mike Stasyna on 07/25/2012 at 10:47 AM

Solid summary…Works like a charm.

timstout on 07/25/2012 at 10:53 AM

Pingback: Blake Snyder’s Beat Sheet – Planet of the Apes (1968) |

Ethel on 10/27/2012 at 8:03 AM

As a student studying scriptwriting, thank you!

timstout on 10/27/2012 at 3:25 PM

Pingback: Pre Writing Step #3: Structure—Creating the Foundation — Robin

Angela on 10/31/2012 at 10:17 PM

claudiacv on 11/26/2012 at 7:25 PM

timstout on 11/26/2012 at 8:56 PM

And, in answer to your question: a)

David Fraser on 05/06/2013 at 11:01 PM

Hey Tim, is the catalyst also plot point one?

timstout on 05/07/2013 at 10:48 AM

alienredqueen on 01/11/2013 at 4:25 PM

timstout on 01/19/2013 at 10:44 AM

alienredqueen on 01/19/2013 at 3:27 PM

Well, I think they look promising.

timstout on 05/22/2013 at 11:45 AM

You’re welcome! And thanks so much for the link, MJ.

Pingback: Hanging meat on the bones of your story | Sleeping Brodie

Glenn Ashton on 06/17/2013 at 7:27 PM

Tango Vera on 06/21/2013 at 5:37 PM

timstout on 06/21/2013 at 5:41 PM

My pleasure. Thanks for reading.

Samantha Fountain on 07/01/2013 at 11:10 PM

Love your explination. I mentioned this post in one of mine. Thanks.

timstout on 07/06/2013 at 10:18 PM

yusef on 07/12/2013 at 2:14 PM

timstout on 07/16/2013 at 3:41 PM

timstout on 07/22/2013 at 9:33 AM

Unfortunately, I think the article is pretty silly. “…a formula that

Nevertheless, the article is getting attention so I hope it’s helping STC’s

Markus on 07/24/2013 at 5:44 AM

HeavyHeartLaments on 08/15/2013 at 12:16 AM

Your beat sheet is wrong.

timstout on 08/15/2013 at 3:26 PM

Pingback: Blake Snyder’s Beat Sheet | Tim Stout | S. A. Merk

Pingback: Plot, Theme… Premise? : Pendorwriting

sherrill nilson on 09/15/2013 at 4:33 PM

adeptula on 09/20/2013 at 10:36 AM

Pingback: Screenplay Outline Onslaught: 45 Screenwriting Resources To Help

Pingback: Writing and Publishing News and Notes | Sally Apokedak

Pingback: 15 Beats | Jennifer Roundell

Pingback: Cross-Genre Support (NaNo Prep 15) and a sort of checklist

Pingback: Discovering My Process | The World's Forgotten Boy

Pingback: Fun Writing Update Time!!! | LAURJEFF WRITES

TJ Broadhurst on 10/28/2013 at 9:24 AM