The Novelist’s Guide to the Beat Sheet

Following a clear, tested, tried-and-true formula makes the writing process less daunting. Without further ado, the beat sheet.

Writing, at any level, isn’t easy. Think of the 500-word essays many can’t keep up with, or the projects and theses many university students famously take extra years to finish.

Now apply that logic to a 200-500 page novel or screenplay that has to be compelling, multi-layered, cohesive, and unique, without filler information.

With multiple rounds of brainstorming, revisions, editing, and rejections, it is tempting to give up. However, there is a solution.

On one level, there is a groundbreaking innovation called Save the Cat! The Last Book on Screenwriting You’ll Ever Need by Blake Snyder.

The narrative introduces a fifteen-beat plot sheet for 10 standard genres for screenplays and film structure. Synder’s authority comes from experience working on multiple million-dollar scripts.

The novelists got their own version with Save the Cat! Writes a Novel: The Last Book On Novel Writing You’ll Ever Need by Jessica Brody.

This variation similarly highlights a 15-beat plot structure, dubbed the “beat sheet”, with three acts, starting with a general format, then introducing ten universal genres and how the beat sheet plays out.

Writing has many troubles, but following a clear, tested, tried-and-true formula makes the process less daunting. Without further ado, the beat sheet.

The Beat Sheet Formula

A successful beat sheet should contain the following key elements

ACT 1

The first step is an introduction that presents the protagonist’s flawed normal world, establishes the core theme and stakes, and ends with a life-changing catalyst and a definitive choice to step into the unknown.

1. Opening image

The opening image is the first look into the main character (s) and their world. The opening image should convince the reader that the well-invested book they hold is worth their time.

If the book intends to be sad, build suspense, or spark curiosity, the introduction should tell the reader what they are getting into.

The opening image should also be a single-scene beat, containing one piece of information. This focus establishes a clear scenario, prioritizes emotional attention, and acts as a thematic compass.

2. Theme Stated

The theme stated should be a statement from a non-main character that points to their arc.

This statement should be harmless and non-threatening, and it should only come back when the mentioned event finally happens.

By the climax or resolution, that supporting character must live out the exact words they spoke, proving the story’s theme through their actions.

3. Setup

At this point, the reader should get a sense of what the hero’s life looks like.

Supporting characters can make a subtle entrance here. These wonderful introductions are the A Story characters.

Now the scenes can follow multiple beats. This is time for an informative, relevant information dump.

This area should answer questions like: Who is the hero? What defines them? How do they spend their days? Why does it matter? What are the stakes?

5. Catalyst

The Catalyst is, in simpler words, the drama.

This is where the incident has either traumatised, radicalised, or pushed the hero into a new line of thinking.

It needs to be so destabilizing that the hero cannot even think of going back to their old ways.

This is essentially a much-needed reality check. Again, if an author is against trauma porn, they can dress it up in a way that doesn’t trigger negative emotions in readers.

6. Debate

If a story is going according to plan, the character(s) should be thinking about what is next.

Usually, it comes in the form of “Do I need to take this step?” because even though the character has gone through a painful experience, they are still stubborn and reluctant to change.

ACT 2

The next step is the expansive “middle” of the story where the protagonist enters an unfamiliar world, tries flawed plans to solve their core problem, and faces escalating failures and consequences that force them to grow.

1. Break Into 2

Here, our main character (s) decide to take a decisive step to resolve what the catalyst pushed them to do.

In true one-track-mind nature, they go about this change the wrong way. They internally know it is wrong, but keep going because at least they are doing something and it eases their conscience.

2. B Story

The B story involves introducing the helper characters, so to speak.

This is a person who helps aids the hero learn the life lesson they need to grow, either through direct actions or inspiration.

Usually these characters are fresh, so they haven’t been part of the main character’s life yet.

It is easy to use an existing A-story character in the B story, but if they were already in their life, wouldn’t the main character have learnt their lesson already?

3. Fun and Games

In Fun and Games, the hero is in their new world, either enjoying or loathing it.

Here, it seems like whatever decision they made has led to new experiences and a new outlook on life. This is the novel’s hook, so it has to convince the reader.

4. Midpoint

All good, or bad, things must come to an end.

Here, the main character who has evidently been through a lot experiences a false win or victory.

This section should align with the fun and games. For instance, a character who made a big change and was, by all indications, blossoming faces a low that disrupts their illusion because, if you recall, they changed the wrong way, so they still haven’t learnt their lesson.

The midpoint is essentially saying “Nice try, but there’s more to learn”

5. Bad Guys Close In

For context, this beat is named after the part in major productions where the bad guys come back even stronger and more dangerous.

Here, the main character(s) face the lesson they need to learn, and their life gets progressively worse.

The “bad guys” can be internal or external, but the character still faces issues because they haven’t resolved their core issue.

The main character(s) should buckle up because rock bottom has a basement.

6. All is Lost

In All is Lost, the main character(s) have hit the hypothetical basement.

All their “safety nets” and delusions are gone. At this point, they have lost everything, and it is truly heartbreaking.

Please don’t play safe in this section; really break your hero’s heart in a way that makes the Catalyst look like a joke.

They need to be at nothing to move to the next beat.

7. Dark Night of the Soul

Depending on the nature of the lead character, this is the point they cry in bed for days and binge on alcohol (if they are drinkers) or ice cream—preferably cheap yoghurt, given the economy.

In Dark Night of Soul, they wallow. “Wallow” could mean bouts of anxiety, anger, silence, or denial.

If possible, they return to their ‘before’, but it doesn’t feel normal anymore because, despite their wrong approach to fixing things, they have changed.

Now, they have no choice but to finally make the right decision.

ACT 3

Lastly, the resolution shows how the protagonist has permanently changed.

1. Break Into 3

Here, the well-deserved fix appears. After the main character(s) go through unspeakable things, they finally know what to do right.

It’s almost a silent, humbling reaction: they realize they were the problem and don’t want to be anymore.

2. Finale

In the final image, it takes the stop to resolve the problem in Act 2.

Here’s the tricky part- the finale has to be somewhat lengthy.

Authors can achieve this by extending the journey to the solution: plan how to execute it, execute it, hit a small hurdle that makes the solution ineffective, regroup and try again differently, then execute the new plan successfully.

3. Final Image

The final image is an “after” snapshot of the main character.

It should show how far the main character(s) look like now that they have learnt what they finally have to.

It should mirror the opening image in similar settings or situations where the reader first met the main character, but better.

The Checklist

Please note: The goal isn’t to follow the beat sheet rigidly, but to use it in a way that best fits the nature of the draft.

Below are some Brody-approved ways to cross-check if the beats are on the right path.

1. Opening Image

• Does the opening image employ show, not tell?
• Can readers glimpse your character’s flaws?

2. Theme Stated

• Is your theme stated by a supporting character?
• Does your hero easily dismiss this theme?

3. Setup

• Have you introduced any A Story character?
• Do the readers understand who your main character(s) are?

4. Catalyst

• How severe is the Catalyst?
• Does the Catalyst happen to the hero?

5. Debate

• Can you shorten the debate to a question?
• Does it create a sense of hesitation in the hero?

6. Break Into 2

• Why is this the wrong way to change?
• Is your hero making this decision based on what they want?

7. B Story

• Have you introduced a new character?
• How does your B Story character push your hero towards their lesson?

8. Fun and Games

• Is your hero succeeding or failing in their new world?
• Will the Fun and Games captivate the reader’s attention?

9. Midpoint

• Can you identify a false win and a false defeat?
• Has it raised the stakes of the story?

10. Bad Guys Close In

• Is your hero facing the opposite of what they experienced in fun and games, in terms of success and failure?
• Are the “bad guys” evident?

11. Bad Guys Close In

• Does the hero lose something?
• If yes, how bad?

12. All Is Lost

• Is your hero reflecting?
• Does this thinking lead to an epiphany?

13. Break Into 3

• Does the hero finally learn the lesson here?
• Do they take steps to learn that lesson?

14. Finale

• Does the hero struggle to enact the solution?
• Have they really learned the theme?

15. Final Image

• Does the scene mirror the opening image?
• Is it descriptive?

The Beat Sheet, in Print

To exemplify the beat sheet, a suitable example is Chimamanda Ngozi Adichie’s iconic Purple Hibiscus.

The Beat Sheet Breakdown

Specialised Genres

The above structure is for general use, but Save the Cat! has specific genres, including sub-categories:

1. Whydunit: Where the primary focus is on why someone committed a crime rather than who committed it.
2. Rites of Passage: A character arc in which a protagonist undergoes a significant challenge, trial, or transition that moves them from one stage of life to another.
3. Institutionalized: A system or organization strips an individual of independence or freedom.
4. Superhero: An unusually blessed hero who finds themselves in an ordinary world and must come to terms with their uniqueness.
5. Dude with a problem: An ordinary person finds themselves in an extraordinary, life-or-death situation and must use their raw wits and grit to survive.
6. Fool Triumphant: A powerful establishment pits an underestimated underdog against it, but the underdog ultimately wins through the sheer strength of their unappreciated virtues.
7. Buddy Love: The protagonist forms a significant relationship with another non-romantic character who helps them grow, confront their flaws, or discover something missing from their life.
8. Out of the Bottle: A hero experiences wish fulfilment, magic, or a change in reality that lets them explore the story’s central premise.
9. Golden Fleece: A hero’s journey
10. Monster in the House: Characters are confined to a limited space and must confront a dangerous force.

Save the Cat! explains these genres with their custom beat sheets.

Honourable Mention: Crafting a Reader-worthy Main Character

Before any high-level drafting, it is imperative to understand the type of characters the reader wants to see.

Some Save the Cat! approved advice for creating a lovable hero is:

1. Memorable main characters need to have flaws

It may be unhealthy (and they probably is), but readers connect more with characters who don’t have their life together; otherwise, they come off as boring.

People want to see themselves in characters, so it is essential to let the reader feel enough to connect and keep engaging with the book.

These human flaws help them evolve, depending on their nature, as the book goes on.

2. Characters shouldn’t always get happily-ever-afters

It doesn’t have to be a trauma dump, but it can be realistic. And just to be clear-there should be happily ever afters, just a reasonable amount.

Kambili’s mother got rid of her abusive husband, but at the cost of her son going to jail, and disbelief over the cost of the truth about his actual death.

This is because people often get it wrong about what leads to happiness. Sometimes quick solutions cover up deeper issues.

The A and B stories explain this best.

The A story focuses on external factors, or external objectives, such as stopping a villain, resolving an issue, winning a competition, solving a crime, or surviving a crisis.

The B story covers a character’s internal journey that aligns with the A story and creates a cohesive body of work.

3. Who is the Hero?

Lastly, the “hero” may be unexpected. It’s not the person the author designs to stand out, but the person the reader resonates with the most.

And yes, this applies to multiple-person POV narratives, too.

Conclusion

Writing a novel doesn’t have to be completely tedious.

A beat sheet provides a solid enough skeleton to work with, giving the story direction and structure without taking away the freedom to explore new ideas as the writing progresses.

Instead of constantly questioning where the story is headed or rebuilding it from the ground up, writers can focus on developing their characters, refining their scenes, and bringing their ideas to life.

Happy drafting!