EXERCISE: Save the Cat: What is it? (2)

[mbarker.livejournal.com]

Original Posting 8 June 2011

Here's another one from Blake Snyder.

FBI out of water.

"This works for comedy or drama. Name five places that an FBI agent in the movies has never been sent to solve a crime. Example: "Stop or I'll baste!": Slob FBI agent is sent undercover to a Provence Cooking School."

Of course, you can twist this several other ways. The SEAL sent to a kindergarten... Well, that's almost been done. Anyway, pick your character such as an FBI agent, then think of unusual places that they might have to go. Simple, right?

So, write!

EXERCISE: Save the Cat: What is it? (3)

[mbarker.livejournal.com]

original posting 10 June 2011

Number three from Blake Snyder. Put your thinking caps on because it's time
for...

Blank School

"Works for both drama and comedy. Name five examples of an unusual type of school, camp, or classroom. Example: "Wife School": women sent by their rich husbands soon rebel.

Who's teaching, what are they teaching, and just how do the students take it?

Write!

EXERCISE: Save the Cat: What is it? (4)

[mbarker.livejournal.com]

original posting 13 June 2011

Blake Snyder also provided this one. Start with the conflict!

VERSUS!!!

"Drama or comedy. Name several pairs of people to be on opposite sides of a burning issue. Example: a hooker and a preacher fall in love when a new massage parlor divides the residents of a small town."

Okay. Pick your burning issue (not the bush, please), and then set up some pairs to be in opposition. You might surprise us a bit -- I mean, I never expected that the hooker would be opposed to the massage parlor, did you?

Go ahead, write it up.

EXERCISE: Save the Cat: What is it? (5)

[mbarker.livejournal.com]

original posting 13 June 2011

And the last exercise from Blake Snyder for his chapter on What Is It -- give me a one line description and a title...

My blank is a serial killer.

"Drama or comedy. Name an unusual person, animal, or thing that a paranoid can suspect of being a murderer. Example: "My boss is a serial killer." A guy gets promoted every time a dead body turns up at the corporation -- is the murderer his employer?"

Just who's killing all these people? And why? What's going on here?

Okay, that's the exercises for chapter 1. So we've got this idea of putting together a one line hook that is emotionally involving (ironic), implies a whole story when you hear it, and outlines the audience. Along with a great title. And we've got some games to help us kick off our thinking.

That's just chapter 1! The first 19 pages. Stay tuned, and we'll look at chapter 2, where Blake Snyder talks about "Give me the same thing... Only different!"

In the meantime, who was that killer that just walked by?

TECH: Save the Cat!: Give me the same thing... Only different!

[mbarker.livejournal.com]

original posting 15 June 2011

This is probably one of the more controversial chapters in Blake Snyder's book. Pages 21 to 45 talk about the problem of avoiding cliche while embracing it, and gives you a set of 10 categories to use or abuse. Part of Blake Snyder's point here is that to make great movies (or great novels, great whatevers) you really have to know what's already been done -- and take advantage of it, with a twist. To avoid the cliche, you have to know what the cliche is.

So he starts out by suggesting that once you've got your one line and your title that you've tried out on friends and strangers, the next step is to figure out what your story is like. And, being the generous guy that he is, he suggests 10 categories (or genres) to get you started. Now these aren't things like romantic comedy, because it's hard to figure out what those stories are. Instead, here's the 10 that Blake Snyder suggests you try:

1. Monster in the house. One monster, one house. Will they escape?
2. Golden fleece. The quest, where the hero discovers himself.
3. Out of the bottle. Wishes? I wish I had a... And then what happens?
4. Dude with the problem. Ordinary guy, extraordinary circumstances. Big problems.
5. Rites of passage. Changes. Victory through experience.
6. Buddy love. Walk with me (love stories in disguise!)
7. Whydunit. Evil lurks in the hearts of men -- why?
8. The fool triumphant. Underdog bites establishment bad guy.
9. Institutionalized. Who will win, the group, or the individual?
10. Superhero. Extraordinary person, ordinary world.

Now in the book, he gives examples. Some of them are a little bit surprising! Buddy movies are love stories? Anyway...

Blake Snyder points out that quite a few movies are practically step by step (beat for beat) identical. Story templates work.

"The point I'm trying to get across here is -- it works. And it works for a reason. Because the laws of physics that govern storytelling work every time, in every situation. Your job is to learn why it works and how these story called fit together. When it seems like you're stealing -- don't. When it feels like a cliche -- give it a twist.... The rules are there for a reason. Once you get over feeling confined by these rules, you'll be amazed at how freeing they are." (p. 42)

A lot of people take one look at the categories and start trying to find exceptions. That's not really the point. The point is that these categories can help you tell stories. That's all. What is your story most like? Learn the language, rhythm, and goals of these categories. Use them to make your story stronger. Sure, most of these have roots all the way back in Greece and Rome and ancient fairytales. So what? Honor the traditions, and tell your own story.

Exercises next!