Hello and welcome to "Save the Cat!" What is "Save the Cat" you may ask? Well, if you are a filmmaker or a screenwriter then you probably have heard of Blake Snyder's handy tool that helps structure plot into fifteen beats. AKA the BEAT SHEET famously coined "Save the Cat."  

Across the internet there are thousands of different beat sheets some more complex than others, but most include a base structure of fifteen plot points and an approximate time within a novel one should hit those points in order to have a cohesive, interesting, and well crafted novel.

No one is required to follow a beat sheet when writing, but most stories unintentionally fall into the core idea that incompases plot that has fascinated humanity since the great epics of Gilgamesh and Homer's Iliad and Odyssey. 

Below are two examples of a Beat Sheet's basic format:

Let's break this down!

ACT ONE:

- Introduce your protagonist. It is incredibly important to introduce the reader who your hero or antihero is. Get your character's name in quickly. This could include dialogue instead of narration if your writing style reflects that. I recommend getting this is done by no later than page 2. 

- HOOK the reader! Many people begin their stories with prologues about the origins of their fantasy worlds or an epic battle. All this is fine and dandy if it is kept short and hooks the reader, IMMEDIATELY. If it does neither of these things then perhaps the prologue should be changed or scrapped. A story that fails to hook the reader may not make it very far in the competitive fantasy market. This can easily be done with a great first sentence. More on this later. 

- Conflict. By page 10 a conflict should be introduced. Either that conflict be an internal or external one affecting the protagonist directly or indirectly. This conflict should provide foreshadowing or a stake that the protagonist wants to pursue, overcome, or has to achieve in order to reach their goal. This gives the story strength and depth early on and can easily be played upon later in the book. 

- By no later than page 20-30, an event occurs sending the protagonist and the reader into a journey.  

- The choice. By the end of Act one, a choice has to be made by the protagonist. This choice could be a forced one by pressures that push the protagonist down a path they otherwise would not have chosen, or a choice made by freewill. Typically the forced choice is more popular as it allows the reader to feel the struggle and sometimes the helplessness of the protagonist as they witness an event that alters their life.  Act one should wrap up between pages 50-100. By now the reader has a well defined idea of the story and the main character's backstory/personality/reasons to do what they do. 

ACT TWO:

- The Reaction. The protagonist is not a stale emotionless character. They have thoughts and feelings. A well crafted character will have flaws and concerns and will react negatively or positively to the events that have since shaped their life. It is during this time that the plot be two steps ahead and the protagonist one step behind. The reader needs to go on a journey with the protagonist. It is key that the reader does not simply observe this journey but is part of the action, involved emotionally and physically, as though they were standing next to the protagonist. 

- Expand your story. Add on the conflict. Are there other issues invading this one? Are there other unknown forces shaping the story behind the scenes? Cliffhangers at the end of chapters keep the reader guessing while progressing the story into a more complex and interesting one. This add on to plot may be done multiple times during act two. If done right multiple plot climaxes can be reached before the finale. 

- Antagonist(s). Before you reach midpoint of the novel, a villian should be introduced. As a writer one does not need to be crazy descriptive on the villians, their plans, or their intentions. Sometimes it's best to leave a little mystery.

- A crisis of faith. You've seen it time and time again. A sense of loss of innocence, hopelessness, or betrayal reflected in all great books and movies. The character has that 'all is lost' moment where everything that could go wrong does go wrong. 

ACT THREE:

- Against all odds. Now is the moment for the protagonist to overcome adversity. It is the moment the reader roots for and cheers. It is the moment the protagonist says enough is enough. Rising action begins to intensify as the climax draws nearer. Things start coming together.

- The change. A story arc is a powerful tool that brings realism to a character. No one ever stops learning and growing, so why shouldn't characters too? What have they learned? What is forcing this change? 

- The climax/endgame. All things come to this. Every foreshadowing, every moment has finally come together and made sense. A battle occurs, the goal is reached, the enemy is defeated. Besides the opening hook this is the most important part of the novel. It is what everyone has been waiting for.

- Full circle. It's time to wrap up loose ends and secure the plot. Many great writers and filmmakers love to come full circle. A reflection of the beginning when the story first began appears comparing the protagonist then to the protagonist now. It is during this time that no new plot should be introduced, unless there is a sequel. Hook the reader again if this is the case.

By now you should understand the beat sheet and its break down of plot structure. Explore around for one that works for you. You can find many blank beat sheets and more detailed ones online. 

You are now a master of plot!