The 15 Beats Of A Story
Summary of "Save the Cat" by Blake Snyder
📚 Save The Cat is a best-selling book on storytelling.
🕒 Save time by reading my comprehensive summary.
✍️ You'll discover techniques for crafting a compelling story.
My summary is broken into four posts:
Part 1: 4 storytelling tricks that will level-up your writing
Part 2: How to write a logline
Part 3: The 15 beats of a story
Part 4: How to outline a story
Here is Part 3:
Save the Cat features an extensive section on the beats found in a typical story.
Author Blake Snyder explains each of these 15 beats and why following the structure they create can be so effective.
It’s important to note that the beats are related to a three act story, so your specific story may differ to a large extent.
Despite this, I’ve found tremendous value from going over the story beats even if they don’t fit completely with what I’m working on.
The overall structure looks like this:
Act 1 = Thesis (the normal world of the protagonist)
Act 2 = Antithesis (an upside down version of that world)
Act 3 = Synthesis (a new world, a new life)
Here are Blake Snyder’s 15 story beats:
1. Opening Image:
The story begins with an image or scene that sets the tone and establishes the world of the story.
Matching beat: the Final Image (#15). The Opening Image often contrasts with the Final Image to highlight the character's journey of change.
2. Theme Stated:
Early in the story, the theme or central message is introduced either explicitly or implicitly.
This sets the stage for the character's internal journey and provides a guiding principle for their actions.
The statement is the story’s thematic premise. A good story is an argument posed by the writer. It will include pros and cons of living a particular kind of life or pursuing a particular goal. The rest of the story is the argument laid out.
3. Set-Up:
The audience is introduced to the main character, their world, and their everyday life.
Here writers will plant character tics, exhibit behaviors that need to be addressed later on, and show how and why the hero will need to change in order to win.
This beat establishes the status quo and sets the stage for the inciting incident.
4. Catalyst:
Also known as the inciting incident, this beat disrupts the protagonist's ordinary world and sets them on a new path.
It's the event that kickstarts the main conflict of the story.
In the set-up, the writer tells us what the world is like, and in the catalyst moment he knocks it all down.
5. Debate:
The protagonist grapples with the decision to embark on their journey or remain in their comfort zone.
It’s the last chance for the hero to say: this is crazy.
This beat explores their internal conflict and sets up the stakes of their decision.
6. Break into Two:
The protagonist makes a decisive choice to pursue their goal, setting them on a new course of action.
This marks the end of the story's setup and the beginning of the main adventure.
The act break is the moment we leave the old world (thesis) behind and proceed into a world that is the upside down version of that (antithesis).
Because these two worlds are so distinct, the act of actually stepping into Act Two must be definite. The hero can’t be lured, tricked, or drift into Act Two. The hero must make the decision himself. That’s what makes him a hero anyway — being proactive.
7. B Story:
A subplot or secondary storyline is introduced, often involving relationships, personal growth, or thematic elements.
This subplot runs parallel to the main plot and provides additional depth to the story.
An example would be adding a love story.
This is also often where a brand new bunch of characters are introduced. Since Act Two is the antithesis, they are the upside down version of those characters who inhabit the world of Act One.
8. Fun and Games:
The protagonist experiences success, setbacks, and challenges as they pursue their goal.
This beat is also called the promise of the premise, and it’s characterized by moments of action, humor, and exploration.
We aren’t as concerned with moving the story forward (the stakes won’t be raised until the Midpoint) as we are concerned with having “fun.”
9. Midpoint:
A major turning point occurs halfway through the story, shifting the direction of the plot and raising the stakes for the protagonist.
The stakes are raised at the Midpoint. It’s the point where the fun and games are over, and it’s back to the story.
A story’s Midpoint is either an “up” where the hero seemingly peaks (though it is a false peak) or a “down” when the world collapses all around the hero (though it is a false collapse), and it can only get better.
When you decide which Midpoint your story is going to require, it’s like nailing a spike into a wall. The clothesline that is your story can now be strung securely.
Matching beat: All Is Lost (#11). These two beats should be an inverse of each other.
The rule is: It’s never as good as it seems at the Midpoint and it’s never as bad as it seems at the All Is Lost point. Or vice verse.
If the Midpoint is up, the False Defeat is down.
If the Midpoint is down, the False Defeat is up.
10. Bad Guys Close In:
The antagonist or obstacles intensify, posing greater threats to the protagonist's success.
This beat raises the tension and pushes the protagonist to their limits.
Blake Snyder notes that the Midpoint to the All Is Lost is the toughest part of writing a story.
11. All Is Lost:
It could also be called “False Defeat.”
The protagonist suffers a major setback or loss, plunging them into despair and forcing them to confront their greatest fears.
This beat marks the lowest point in the story and sets the stage for the protagonist's transformation.
There is often a “whiff of death” at this point. Many stories will include something involving death, whether a character dies (like Obi Wan in Star Wars) or death is symboloized.
The All Is Lost is where the old world, the old character, the old way of thinking dies. The way is clear for the fusion of the thesis (what was) and antithesis (the upside down version of what was) to become synthesis (a new world, a new life).
Matching beat: the Midpoint (#9). As noted above, the All Is Lost will be the opposite of the Midpoint in terms of an “up” or a “down.”
12. Dark Night of the Soul:
The protagonist grapples with doubt, despair, and uncertainty as they face the consequences of the All Is Lost moment.
This beat is a moment of introspection and self-reflection for the protagonist.
It’s the point just before the hero reaches way, deep down and pulls out that last, best idea that will save himself and everyone around him.
Blake Snyder notes that it could last five seconds or five minutes, but that the moment has to be shown.
13. Break into Three:
The protagonist experiences a revelation or receives new information that leads to a breakthrough.
The revelation typically comes from what the protagonist learns from the characters in the B story.
Both in the external story (the A story) and the internal story (the B story), which now meet and intertwine, the hero has passed every test and dug deep to find the solution. Now all he has to do is apply it.
The classic fusion of the A and B is the hero getting the clue from “the girl” that makes him realize how to solve both — beating the bad guys and winning the heart of his beloved.
This beat marks the beginning of the final act and sets the stage for the climax.
14. Finale:
The Finale is Act Three.
This is where things are wrapped up and lessons learned are applied.
The old world is turned over and there’s a creation of a new world order— all thanks to the hero.
The protagonist confronts the antagonist or faces their greatest challenge, leading to a final showdown or resolution.
The Finale entails the dispatching of all the bad guys, in ascending order. Lietenants and henchman die first, then the boss. The chief source of “the problem” — a person or thing — must be dispatched completely for the new world order to exist.
This beat resolves the central conflict of the story and brings closure to the narrative.
A new society is born. It’s not enough for the hero to triumph, he must change the world.
15. Final Image:
The story ends with an image or scene that mirrors the opening image, highlighting the protagonist's transformation or the journey they have undertaken.
This beat is your proof that change has occurred and that it’s real.
If you don’t have that final image, or you can’t see how it applies, Blake Snyder recommends to go back and check your math. There’s something not adding up in Act Two.
Matching beat: the Opening Image (#1). They should be opposites to showcase the change your character has been through.
Continue reading the other parts my Save The Cat summary:
Part 1: 3 storytelling tricks that will level-up your writing
Part 2: How to write a logline
Part 3: The 15 beats of a story
Part 4: How to outline a story
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