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Blake Snyder's Beat Sheet - Explained: NYC Screenwriters Collective

The document explains Blake Snyder's Beat Sheet, which breaks down a three-act screenplay structure into 15 narrative beats or sections. Each beat has a specific purpose and approximate page number. The beats include the opening image, theme stated, set-up, catalyst, debate, breaking into two acts, B-story, fun and games, midpoint, bad guys closing in, all is lost, dark night of the soul, breaking into three acts, and finale. The beat sheet is a useful tool for screenwriters to conceptualize the stages and progression of a screenplay narrative.

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877 views4 pages

Blake Snyder's Beat Sheet - Explained: NYC Screenwriters Collective

The document explains Blake Snyder's Beat Sheet, which breaks down a three-act screenplay structure into 15 narrative beats or sections. Each beat has a specific purpose and approximate page number. The beats include the opening image, theme stated, set-up, catalyst, debate, breaking into two acts, B-story, fun and games, midpoint, bad guys closing in, all is lost, dark night of the soul, breaking into three acts, and finale. The beat sheet is a useful tool for screenwriters to conceptualize the stages and progression of a screenplay narrative.

Uploaded by

chosen_one_dtn
Copyright
© Attribution Non-Commercial (BY-NC)
We take content rights seriously. If you suspect this is your content, claim it here.
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NYC Screenwriters Collective

Blake Snyders Beat Sheet - Explained


The Blake Snyder Beat Sheet breaks down three-act screenplay structure into 15 bite-size, manageable sections called beats, each with a specific goal for your overall story. Below is an explanation of each beat. The page numbers are not strict, they are approximations of where the beats should occur in a 110 page screenplay. THE BLAKE SNYDER BEAT SHEET (aka BS2) Opening Image (1) A visual that represents the central struggle & tone of the story. A snapshot of the main characters problem, before the adventure begins. Often mirrors the Closing Image. Set-up (1-10) Expand on the opening image. Present the main characters world as it is, and what is missing in their life. Stasis = Death, the before life of the protagonist is such that if it stays the same, he or she will figuratively die. In addition, the main characters flaw, his problem that needs fixing over the course of the story, is revealed. (In many stories, it is not the main characters flaw, but another central characters flaw that is presented for him to resolve over the course of the story for the character to arc) Theme Stated (5) (during the Set-up) The message, the truth you want to reveal by the end of your screenplay. What your story is about in a larger sense. Usually, it is spoken to the main character or in their presence, but they dont understand this truthnot until they go on the journey to find it. Catalyst (12) A moment where the opportunity to go on a journey is presented to the main character. Life as it is now changes. It is the telegram, catching your loved-one cheating, allowing a monster onboard the ship, a secret holographic message from a galactic princess, etc. The before world is no more, change has begun. (Catalyst is the same as the Inciting Incident or Call to Adventure) Debate (12-25) 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? Often the hero denies the call to adventure at first. Break Into Two (Choosing Act Two) (25) The main character makes a choice and to go on the journey, and our adventure begins. We leave the Thesis world and enter the upside-down Anti-thesis world of Act Two. B Story (30) This is a discussion about the Theme the nugget of truth. This discussion often takes place between the main character and the love interest. So, the B Story is usually called the love story. Fun & Games (30-55) The Promise of the Premise This is the fun part of the story. The Fun & Games is the first half of Act II where the audience is entertained as the main character explores the new world and overcomes the type of obstacles they have been promised by the premise of the film, its genre, even its one-sheet poster. This is when the detective finds his clues and interviews his first witnesses to the murder mystery, when Indiana Jones tracks down the possible resting place of the Arc, when Harry & Sally are stuck together over and over seeming to annoy one another. The Fun & Games are what we came to see the movie for! Midpoint (55) The midpoint is the largest plot twist of the film, it raises the stakes of the main characters goal, can change the goal completely, or at least makes the requirements of the goal much more difficult. It can feel like a new movie is starting as a result of the midpoint. Here the main character must recommit to the new goal, for which there is no turning back. Often it is the B Story that incites the midpoint plot twist. Often a ticking time clock for resolving the goal begins ticking at the midpoint.

NYC Screenwriters Collective

Bad Guys Close In (55-75) Now the Fun & Games get serious. The BGCI is the second half of Act II where the audience is exhilarated by an ever more complex and overwhelming set of obstacles to the main characters goal. Here the main characters gifts are of no use, their plans are foiled, their team can be split up, or a trusted friend will betray them. The detective himself is now being chased and shot at, Indiana Jones is discovered by the Nazis and thrown into a snake pit, Harry runs into his first wife and takes out his anger on Sally. (In terms of B Story, there is a saying sex at 60, that is page 60) All is Lost (75) The low point of the main characters journey. The moment that the main character loses everything they gained so far, or realizes everything they now have has no meaning. The main character has lost even more than if hed never gone on the journey in the first place. At the All is Lost, something or someone dies. Blake Snyder calls this the Whiff of death. It can be physical or emotional, but the death of something old makes way for something new to be born. The detectives partner is killed, and he is powerless because its the commissioner who is behind the original crime. Indy has lost the Arc to the Nazis and believes Marion is dead. Harry & Sally sleep together and may have thrown their entire friendship away. Dark Night of the Soul 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. Here the main characters arc is complete as they fully understand the truth they could not see when they set out on the journey. The DNOTS is directly followed by New Information also delivered via the B Story. This information functions as a second Catalyst that gives the main character the choice again, to pack up and go home, or give it one more try to complete the journey. The DNOTS can be anywhere from 10 pages long to a single action or word by the main character. Break Into Three (Choosing Act Three) (85) 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. The New Information presents the final goal the main character will have to achieve to complete the journey. Finale (85-110) The main character confronts the antagonist or force of antagonism with new strength. This time around, the main character incorporates the Theme the nugget of truth that now makes sense to them into their fight because they have experience from the A Story and context from the B Story. So we can say the main character has left the Anti-thesis world and entered the Synthesis world. Here the journey will be resolved, one way or another. Final Image (110) opposite of Opening Image, proving, visually, that a change has occurred within the character. THE END

SCRIPT STRUCTURE
ACT 1 pg 25 BREAK INTO 2 Starts Act 1 knowing the 6 things that need fixing either with main character or the world ACT 2 Transformation Section The hero will come into this act in one way and leave it changed pg 55-75 BAD GUYS CLOSE IN pg 85 BREAK INTO 3 ACT 3 The things wrong with the world or hero in act 1 should be resolved

page 1: OPENING IMAGE

pg 30-55 FUN AND GAMES Trailer moments/ fish is the most out of the water

False Victory

pg 75-85 DARK NIGHT OF THE SOUL The darkest before the dawn

page 85-110: FINALE

page 5: THEME STATED

page 1-10: SET UP

pg 30 B STORY use B story to discuss theme

pg 55 MIDPOINT This is where the stakes are raised and timeclocks appear. The pace should pick up from this point forward. The A story and B story should cross here.

False Defeat

Page 12: CATALYST

pg 75 All is Lost page 110: FINAL IMAGE

Page 12-25: DEBATE

False Victory

BREAK INTO 2 The hero needs to be proactive. They are the one that should push us into 2.

False Defeat

B R E A K I N TO 3 The A story and B story have come together. The people from the B story can kick you into 3.

world before the story

THESIS

bizarro version of the world in act one

ANTITHESIS

the worlds from act one and two are merged in some way

SYNTHESES

THE BLAKE SNYDER BEAT SHEET PROJECT TITLE: GENRE: DATE: 1. Opening Image (1): 2. Theme Stated (5): 3. Set-Up (1-10): 4. Catalyst (12): 5. Debate (12-25): 6. Break into Two (25) 7. B Story (30): 8. Fun and Games (30-55): 9. Midpoint (55): 10. Bad Guys Close In (55-75): 11. All Is Lost (75): 12. Dark Night of the Soul (75-85): 13. Break into Three (85): 14. Finale (85-110): 15. Final Image (110):

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