!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!NYC Screenwriters Collective!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! !
!
Blake Snyder’s 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 character’s problem, before the adventure begins. Often mirrors the
Closing Image.
Set-up (1-10) – Expand on the opening image. Present the main character’s 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 character’s flaw, his problem that needs fixing over the course of the story, is revealed. (In many stories, it is not
the main character’s flaw, but another central character’s 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 don’t understand this
truth…not 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, it’s genre, even it’s 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 character’s 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.
