Screenwriting : The cult of the kitty by Phillip E. Hardy, Prolifique

Very interesting article. In my above post, I had mentioned that in getting started myself, I was trying to find a "process" that would work in helping me identify the elements and organize them in to a compelling story. However, I quickly found that in every screenwriter interview..they were ALL DIFFERENT! What works for me? What works for other beginners? I think the cat book article you post, nails some of that as well with "breaks" and the cookie cutter nature. Am I crazy to think that beginners should simply plop a beginning and an ending down on paper and pour their soul into the middle? AND THEN go back and edit and slice it up as needed? I think analysis paralysis is a real thing for new writers, myself included!

Dallas: There are lots of resources available including The Writer's Room here at S32 and the books I recommend are The Hollywood Standard and The Screenwriter's Bible. And definitely make friends with writers to get some advice. But don't forget to trust your creative instincts and keep pouring your soul into the work.

I once heard a podcast where someone was teaching STC. The lecturer and the class were arguing that the “back flip ass kiss” (I don’t know any of the terms and yes I am being dismissive) occurred on page 75 others said page 74, some said page 76. The lecturer said it had to be on Page 75 because the book says it must.

That right there told me it was crap. They were not discussing story. They were discussing adherence to a formula. They had a premise and were finding facts to try and prove it right. Rather than following the evidence.

Stephen Knight the British writer (Peaky Blinders, Locke, Dirty Pretty Things and Sale of the Century - diverse I know) said in a BAFTA Lecture “Following a formula is like noticing a masterpiece is 40% blue paint, so all paintings must be 40% blue paint to be good. That is insane..”

Phil, I have also heard people say that woman must be subservient to men. Just because it is said, doesn’t mean that it holds any credibility outside the intended audience. This director was speaking directly to STC people. Which I am guessing he is one. Or he has a screenplay written in that style and he can’t bring himself to start again.

The function of a recipe is to make identical meals when it is followed. This that what we want in our stories? I would not like to have the audience sing along, I would prefer they be amazed, shocked or angry.

I've been wary of Save The Cat simply because it always comes up with any screenwriter I talk to. The usual mindset is, "If everyone is using it then it must be good", which I clearly understand. But my thought is, "If everyone is using it, doesn't that just homogenize the output?"

At the end of the day it's probably like any other screenwriting book where you take what works for you and discard the rest. The writing process is individualized and I think a lot of beginning screenwriters assume following a step by step procedure will guarantee them a good product in an industry where everything is subjective.

I started using the "Save the Cat" formula way back. It helped me get a better understanding of script structure. I still use parts of the formula when I outline a script, but I leave room for twists and surprises, and there are parts in the "Save the Cat" formula that I don't use.

https://www.amazon.com/Turn-Burn-Scriptwriters-Writing-Screenplays/dp/1910515868

This is the best book on screenwriting.

I did read the book many years ago, and I believe that it has some merit, but I do agree that each story has a unique fingerprint that a 'formula' can never create. Perhaps we want some directive to augment our unique ideas.

I'm reading that book, John Ellis! Great stuff!

I first met Blake at the Writer's Store when it was on Wilshire. He seemed pretty proud of the assumption that he 'discovered' the magic formula to screenwriting. He made it so simple that any dummy could write a blockbuster. It continues to be popular among the 'dummy' class still today. If you intend to read it, also read Save the Cat Goes to the Movies and Save The Cat! Strikes Back. Most of you don't even know those books are out there.

Cheers, point taken! I'd also say the fact that people are still talking about it demonstrates the role it has played for many writers (including me), especially starting out as you say, and continues to be relevant.

We're all different, some of us have plenty of imagination but not as much understanding of craft. Some have an academic immersion in literature but not as much comprehension of visual cinema. Some might enjoy a more unstructured approach, others may need or benefit from a template or format.

To say that the STC approach is helpful to some is not to advocate for it in any kind of absolutist manner. I don't think anyone would refute taking it with the proverbial grain of salt.

Where I get mystified is when people seem actively angry that anyone would even presume to refer to it, as if it was the devil's work. It makes me laugh, and I can only theorize that the critics who so strongly oppose the existence of this resource, which is one of many, are just agonizingly jealous of the powerful and enduring success it has enjoyed.

Which to me is a wonderful study in human psychology, highly entertaining and shows us that every interaction is a mirror.

Phillip, I'm COMPLETELY with you!

I've gotten more out of Michael Hauge's methods than out of anything Blake Snyder teaches. (And I'll take CJ Walley's "Turn and Burn" system over "Save the Cat," too.)

Not surprised best-selling screenwriting books are written by "average screenwriters & teachers" (field dominated by white dudes).

One time I asked a famous tv showrunner if he keeps "how to write screenplay books" in his writing rooms for the staff and he just rolled over laughing.

I did production dailies for a decade and I am always amazed how the best filmmakers sorta "wing it" on-set, in real time.

Nobody reads "how to" book on the set. But I did

see a cinematographer read the "red cinematography book" on set, trying to figure out light exposure. He lost the respect of Gaffers & Grips.