writercises | TECH: Save the Cat! Strikes Back! (Part three)

Original Posting Jan. 3, 2015

So this is about chapter 3. The title is, "All laid out... And nowhere to go."

Blake starts this chapter by pointing out that everyone wants to argue about structure. It's mechanical, I don't want to do it, I'm an artiste, my story is different...

But, this is a framework. It still needs emotion, fire to make it work.

Now why do we use this structure? Well, a story needs to grab the audience. That means transformation – change. Story is always about the transformation of the world, and story always transforms our world as readers.

One of the things that Blake recommends is the transformation machine! This is a graphic, showing Act I, the world before the change, including six things that need fixing, Act II, the transformation, and Act III, the New World, with the resolution of those things that needed fixing. It's also got all of his 15 beats.

Blake explains that he prefers to call Act I the thesis, where we're looking at the world as it is. We need to make sure that the audience knows what this world is and what the rules are. Normally, there is a systemic problem here, too. A dilemma facing the character.

Then we have the antithesis. Blake suggests that this is a fun house mirror reflection of the world as it is, often with strangely twisted versions of the people. Part of the reason that this is a reflection is the very human fact that we can leave home, but we take our problems with us. One of the things that you may have to do is build or force the difference between the world as it is and this strange new world.

Finally, we have the synthesis. The character has been set up, gone through the blender of the antithesis, and has become a new character.

One thing that this graphic emphasizes is the midpoint. There may be a false victory or defeat at this point, but it is very public. Typically, the character has to come out of the closet and declare himself at this point.

Now after the midpoint, the bad guys close in. This is partly external, but also internal. The world is falling apart around the character, and the character isn't too sure about themselves, either.

Another thing that often happens is that the A story, the theme stated, and the B story, lover or mentor, often run into each other and cross during the antithesis. What the character wants and what the character needs are in collision.

Also, Blake has found that fun and games really is the pitch or the poster. People try to use other things, and they don't work out as well.

Also, look at the parallel between catalyst, debate, and break into two with all is lost, the dark night of the soul, and the break into three. Both of these start with a push on the character, the catalyst or the all is lost. Then the character grapples with what should I do, either in the debate or in the dark night of the soul. Finally, the character decides yes, I am going to... And they break into the next section.

Finally, many students have complained about the finale needing to be expanded. Well, Blake offers his five point, storming the castle, approach. Basically, go through these steps:

1. Gather the team and the equipment and the... Set everything up.
2. Execute the plan! We're going to do it and we are doing it... When
3. The High tower surprise! Whoops. Something's wrong!
4. Dig deep down. The character digs in and...
5. Execute the new plan!

There you go.

Now, log line, 15 beats, 40 beats, and all that may not suit you. If not, you may want to try one of these:

1. One-page description (300 words). Just write it up, and then dive in.
2. A tone poem, with rhyming couplets. Yes, describing your story in a poem may help.
3. Switch. Comedy or drama? Try doing it the other way.
4. Rubik's cube. Take the notecards off your board, then shuffle them. See what that new random order suggests.

Take a look at that graphic of the transformation machine. You may find it more useful for your thinking than the simple list of 15 beats.

Write!