Screenwriting : Saving the cat by blake snyder! by Divij Kak

I already posted this but felt the need to post it again... "Save the Cat" is a great introductory to storytelling with valuable observations, but there's so much more to craft than what is presented. STC is a helpful guide as to how the audience will receive a story, but it lacks substantial material to help a screenwriter say exactly what he/she wants to say. "The 15 Beats," or collection of touch points, are great observations but they do not not take into account the differences between genres (for example) or what YOUR SPECIFIC STORY STRUCTURE may need to achieve your creative intent. It's reductive. Plus, to impose an exact page number on where the inciting incident must occur (or any incident) is corruptive. Blake Snyder seemed to sense the reductive and limiting aspects of the first book and followed up with additional books. It would seem STC is indeed not "The Last Book on Screenwriting That You Will Ever Need." So, build upon that STC paradigm, learn from it, use what works for you and just keep going!

I believe STC is just another term for Hollywood Structure. If you know it, you can talk structure with anyone.

Beth said it best!

It is an important screenwriting structure to follow in today's 90-minute formulaic movie world. A lot of producers love the STC formula, and even mention the beat names during pitches. And audiences of 90-minute movies are pretty conditioned to that flow, and react positively to a story that unfolds like that, too - with or without deep character development. If someone was trying to write a 90-minute formulaic commercial screenplay, they should be all over Save the Cat.

...But, formulaic writing is quickly recognizable, predictable, lacks voice and thus may not help your work stand out among the vast sea of other amateur formulaic scripts. It's just more of the same. Don't get me wrong! I think it's a very good thing to know this paradigm, but don't be afraid to bend it to what would work better for you and your creative intent. The thing about STC is that it presents structure from the consumer perspective, not the creator. To take your narrative and funnel it through "outside" reductive filters without specific regard impedes on the creative process. Structure gives story meaning; it's not a template. Anyway, what's interesting is that some professional writers and execs on Stage 32 have said that while they are somewhat aware of STC it has never been used to influence their work nor really been part of their professional experience. STC seems to be more worshiped within amateur circles. :)

Just a side note... On the latest Scriptnotes podcast #245, screenwriters John August and Craig Mazin talk about outlines and treatments. They post pdf examples of their own outlines/treatments/write-ups from produced and unproduced films and TV series. They also talk about the additional supportive writing they do for each project... Anyway, what's great to see is story structure at work in those examples. I only bring this up because I think it's incredibly valuable to see professional working examples to broaden one's understanding—it certainly helps me! Here's the link: http://johnaugust.com/2016/outlines-and-treatments.

I say drown the cat but save yourself a couple of kittens.

It's a good starting place, but an awful place to end up, like Beth says. Now that you have the story, in that structure, you can play with it to make the presentation original. Look at Deadpool for instance. Had a lot of the beats that STC has, but the movie mixed up the timing enough to make look fresh.

Advice I was given started with: "Watch 500 movies, study a few books, understand structure, then forget about it..."

Cookbook writing. Not for me.

Divij - Disney and Dreamworks (and other studios and production companies) structured many of their films with Blake Snyder's help, and so have many other professional writers. At the end of the day, it's your story that counts, and not the words of people who are "Anti-Save the Cat."

Whatever beat system you use, and there are tons of other ones out there from other gurus, you better have a story figured out first... i.e., get the premise right before you start beating the cat or the dog or the alligator. Just sayin. :)

There's gurus with systems and structures and models all over the shop, if it suits you then go ahead and use it... But as others have said you may end up with a fomulaic story (which in Hollywood may sell just fine). Personally the guru i listen to is Stephen King... His view is... Start writing, see where the characters and the story takes you, let it evolve organically. He's written a decent story or two so i figure he knows a thing or two ;-) And as a sample of just my own feature scripts... Scripts written to some model or other = 2 Scripts written without = 3 Scripts optioned = 1 And you can probably guess which camp the optioned script came from ;-)

Everybody in the screenwriting forum loves the debates about Syd Field and Blake Snyder. I've read Syd's book and found it very helpful. I have a Blake Snyder beat sheet in my toolbox that I've looked at a couple of times. That being said, I've written 27 scripts and I'm at a point where I have a defined style that works for me. There are things I believe need to happen within certain acts but I'm never calculated in how I do that. I agree with Anthony and Stephen King about letting things happen organically as well. The script I finished on Sunday had the most detailed treatment that I've ever used. However, there are still so many plot ideas and connectors that popped up during the writing process. Your writing should draw from a myriad of things including consideration of tried and true elements such as inciting incidents, setbacks, obstacles and mid point finale. You don't need to live and die by any formula or methodology. Just use them as tools if you feel it makes your work better. I've attached a Save the Cat Beat Sheet PDF file link for those of you who are interested in having it. http://freepdfhosting.com/12eb559270.pdf

I've never understood exactly what "organically" means when it comes to writing :) Everybody says this, but what does it mean? Most people think it means "let the story tell itself." Is this the case? Does it mean something else? Organic means "of, relating to, or derived from living matter".... so I'm very curious. Maybe someone can explain to me what organic writing is all about. I just don't get it.

@Jeff: Here's a great quote I found: "Organic writing relates to spontaneity and creativity, that the only way a story can come alive is to discover the characters and allow them to set the course of the story. To listen to them." And though it may not be a living thing, the way I use the term organic is to allow things to spring to live during the creative process. However, I also believe this is better facilitated by having a good outline before you start writing.

I'm no PRO, but I believe that is important to grab your readers or audience attention in the first 10 pages. If this is what STC teaches, I'm all for it, but once you absorb it, you must develop your own, like Philip E said, organic methods. I trust my characters and my own instincts as a screenwriter. Now, I highly respect that what ever works for you, you should continue using. I'm only on my seventh screenplay and still learning.

"Organic" to me means you allow room for discovery. :)

My mantra is: try everything, listen to everyone, follow no one. You are your own guru. :)

Patricia: With all due respect and using Peter's wine analogy, I have to disagree. I believe it has everything to do with spontaneity. naturalness of action and dialogue? As opposed to unnatural action and dialogue? If a writer has to think too much about that they may be in for a rough ride. I've always had my characters speak and act like real people. For me, that comes as naturally as breathing.

Beth: "Organic" to me means you allow room for discovery. :)" - you're dang tootin'

Also, no one is denying story structure, its purpose and function. Nor the need to engage your reader. But, "Save the Cat" and other paradigms are someone's interpretation of structure—not structure itself. In my humble opinion, I think it's best to study and understand story structure from various sources, not just adopt one interpretation. :)

...Sorry, I fixed my typos. I'm a bit exhausted at the moment.

@Peter: Your remarks about Blake got me curious, so I looked up his credit list. Are you saying "Stop Or Mom Will Shoot" doesn't qualify old Blake as a master storyteller? @Beth: I'm sorry but your gig as moderator doesn't allow you to be exhausted. And as far as your typos? We expect nothing less than perfection from our Beth. Where's my pedestal when I need it?

Ah, c'mon, Phillip... to error is to be human, no? And sorry but your pedestal has been taken away! LOL! ...Anyhoo, I've been battling sleep deprivation as of late. Plus, speaking of wine I'm currently sipping a nice pinot noir, then it's nighty night time.

Beth: Sounds like a good way to unwind. I'm reading a fun script by one of our confused S32 writers.

Lol!! This is better than Seinfeld.

Just out of coincidence I read an interview of John Milius (Apocalypse Now, Jeremiah Johnson, Red Dawn, Conan the Barbarian, and on and on) today and he is not a fan of screenwriting how-to books and says he was never conscious of even so much as "acts" in his screenplays.

That's what I'm saying. No one saved Blake's kitty.

Homework reaps rewards.

Hey Shawn, a big congrats to you on your credit in a major Hollywood production. Wishing you also many more Hollywood projects. - Divij

Because of S32's lack of people with opinions, I will jump in here too. All story structures are a derivation of two main concepts; beginning-middle-end and story arc. By definition, a story must have a beginning, middle and an end or it really isn't a story. The arc is what makes it a story worth telling. While some independent, bauhaus, artsy films may distort or ignore these two main elements of structure, I have a feeling you will not sell a spec script that does not adhere to the basics of story structure. Blake breaks down the beginning, middle and end into 15 beats that make up the arc. STC is really just an extension of Syd Fields paradigm (although it's been about thirty years since I read 'Screenplay'). Organic and spontaneous writing maybe from whence a screenplay springs. However, if writing is rewriting, by draft 6 you have about as much spontaneity as a 23 year-old marriage and your organic spuds have been showered with insecticide. I think the way we shape the substance of our stories is what will ultimately make for a great screenplay. That includes things such as natural sounding dialogue, believable interesting characters and an entertaining plot.

Hey, Divij! It was just a short, my friend. No major Hollywood productions, yet :) Glad to see you in the lounge. Great post!

Thanks Shawn! I'm glad you liked it.