Why "Save the Cat" Is BAD for Screenwriters
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- Опубликовано: 31 июл 2024
- When it comes to screenwriting books, Save the Cat is one that is often mentioned, but for new screenwriters, it might actually be hindering you from learning the craft.
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🖋 N O T E S
0:00 Don't Save the Cat
0:24 The 1st problem
1:36 The method is flawed
4:30 Formulas are for...
5:17 Formulas teach you...
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// I G N O R E
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Great video. It’s nice to see someone gave an honest take on this book.
Instead of having my hero save a cat my current script has the villain kill a cat.
Now I know why I always feel that something isn't right every time I look at story structures. It's just that I don't know what exactly is the difference between story and storytelling because no one actually tried doing some in-depth explanations apart from you and I think this topic should be addressed compared to anything else because It is the bridge for the audience to connect to the story and failing it is disastrous.
Yep. Understanding what is story and what is storytelling is a vital key.
I regularly have your videos on in the background while I work on screenplays. I appreciate your content and passion for the work. Thank you, Sir!
Very good stuff once again Jason! I do use STC as a thought exercise i.e. forces me to think about why I'd divulge from that formula/beat schedule/etc. Like using a recipe but improvising with something new. I have found those 40 Cards to be helpful in formulating my outline, but they never survive the first draft because invariably there's plot holes hiding between those cards.
If you're in college and taking an Intro to Screenwriting course, and STC is the ONLY required text (unfortunately quite common), make sure you round out your education with other books, these Big Red Stripe vids, the Film Courage ones, etc.
Yeah, STC by itself is not a good option.
A very very good video.. Thanks. I like the example of the Chef or cook.. Amen..
I find all of your videos very informative. In the near future I will be reaching out to you about a screenwriting course. Thank you.
Sounds great. I'd love to help you further and get down the road faster. Let me know when you're ready: ask@bigredstripe.com
Glad to have come across your videos. I would like to say......the content seems 'very' basic (not a bad thing). I say that to lead into my comment. As a 'newby' I began my education with Save The Cat teachings and went through the series. To use your analogy, if I went into the furniture store and sat on the first comfortable chair and remained captivated by it my lack of curiosity (read creativity) would eventually put me on my ass at some point the price for not finding a more finely constructed article. That to say, I have not begun the actual writing process because being a creative I have been devouring some of Mr. Truby's videos and writings, et all, and because I do the same with videos I now find yours. I am thankful for all. They all have something of value to add. Without input from all of you I would be lost.
Glad my stuff is helping you find your way.
Thank You, I thought it was me. I couldn't get into the book. He Kept talking about longline forever. This helped vey much
It's not you. :-)
One interesting thing to do with villains. Show them doing good deeds. Heck they might even be doing good deeds and saving lives alongside the hero.
Perhaps they don't even become the villain till halfway through the story. Perhaps the conflict is one where the hero and villain have completely different approaches to saving lives that are not only incompatible but force them to oppose each other.
Both the hero and villain don't want to fight each other. They still think highly of each other. However the differences are irreconcilable.
I study all the different Plot Point Book Models only to write various starting initial Treatment Drafts amid my "Muse Pile" of ideas and set piece scenes. But I have learned the most from studying produced Screenplays. At some point of progress, that is the game. I learned so much from "Argo" (LOVED IT!), "Erin Brockovich", "Raiders of the Lost Ark", "Starman", "The Best Years of Our Lives", "The Deer Hunter", "Saving Private Ryan", and many others from each decade. I break them down into charted beat sequences as to the emotions evoked in the audience and where to take it. That knowledge of technique is my bread and butter. I am steadily getting better and better! I love this stuff!
Just stumbled across this video. Great advice. Formulas are great for beginners, but after writing a couple screenplays, you should remove the “training wheels”.
interesting video, but it would have been better with suggestions on alternative ways to learn. Where can we learn to be storytellers? Recommended books, series, lectures?
Alas, I can't pack everything into every video. I do have several videos on the topics you mentioned, so feel free to search the catalog. If you have a specific request or are looking for a specific thing, let me know. If I have a video, I'll help point you there. If not, I may end up putting in my queue of videos to make. But to start? Learn the difference between story and storytelling. That's the best starting block.
Something I heard about save the cat I've applied to many screenwriting things. Learn it,take what you need and throw away what you don't. I took this as not every story needs or has evey beat. Unless all your stories are missing the same beats. That's probably a problem. 👍
informative 8mins
Such a great video. I personally never liked the book for one reason, It presents itself as a bible.
Would you do an episode on getting characters to different scene locations. I am working on a script where a character walks a few miles to town, once in town he goes to a lot of businesses looking for a job. Can I just show scenes where he is inside various businesses asking for a job? Or do I need to show him walking between them?
Please do not show him walking between the businesses... unless there is a story reason to do so. If the point is to get a job, then just do the interviews. Perhaps consider a montage. I do have a video on montages if that would help.
Hi Jake. I’ve gained a lot from your videos and hope you keep up the good work. Film school isn’t really an option for me at this point in my life, but I’ve really found a passion for story telling and screenplays. I love films and have an obscene DVD collection (over 3000). Who knows where it might go, but I’ve been trying to get better and understand the process of screenwriting. My idea notebook has 50 titles and ideas for different screenplays I’d want to write. Some are just loose ideas and some are nearly complete stories. I will usually outline as much as I can when I come up with the idea.
I have one completed, but not perfected screenplay. I did pay for a service from one of your fellow RUclipsrs and got great feedback from her on my first screenplay (that was before I found you). I’d like to use you for my next one.
I have completed outlines on 4 other screenplays, and I’m about to start knocking out a draft for the one I’ve decided to work on next. It was a tough decision to pick which one would be best for me to do now.
I live in Charleston and in my job in the restaurant industry I might occasionally work around people in the film industry either here on location, or vacation, or even retirement (actors, producers, casting agents, and even a screenwriter that I know has sold a film that had some big name Hollywood stars).
I’ve often thought about approaching any of these people with questions or looking for advice on how to see one of my stories hit the big screen, but I usually figure they don’t want to be bothered by someone looking for “their help”.
Are there better ways or lines of questioning that you would advise for taking a shot to talk shop in these positions? I can read people well enough to know if they don’t want to be bothered or recognized and I don’t gush over celebrities. I’d just like to gain all I can to help my dream come true and you never know where a conversation or opportunity may lead.
If you want to approach someone in a public setting, it is definitely tricky. But if you know who you'll be approaching, try this. Do some research on them. Find out what hobbies and interests they have outside of film work. Start a conversation about one of those things. No one really likes talking about work, and while actors and directors typically love their jobs and movies in general, they have other hobbies and interests. For example, one writer I wanted to have a conversation with that I'd run into from time to time... I found out he loved tree houses. Like the really cool ones with multiple rooms and such. I found a way to bring that up. We talked about that for a bit... and then we talked about screenwriting. Way better approach because you're treating them like real people and not like some link in a chain to your success. That's one approach that's worked for me, so if you know who you're running into, try it.
A lot of successful movies “follow save the cat.” However, I feel that proponents of the book actually bend the outline to fit the example movie when it really doesn’t. I don’t think any great film has been made because of save the cat. The same goes for the story circle, and the hero’s journey: they’re just inherent formulas that don’t actually make anything good as much as they simply exist.
how many gurus have actually written a film that you love? I can't think of any! that's not to say they have nothing to offer, but it should make you pause and think before treating their advice like the word of god.
William Goldman
That’s the list off the top of my head
I would compare Save The Cat to the training wheels on a bicycle. If you know nothing about films, screenplays etc. Then this book will help open your eyes to structure, beats, genres etc. However after you get really good at writing and executing that structure you can take the wheels off or abandon it’s suggestions and lean on it less and less.
Wow, dude!!! F-Cheers!!!
"If you want to be a good screenwriter you have to put the recipe away…" Truth.
Yeah, it’s not bad. There’s plenty of helpful information in there.
There’s no one stop shop for screenwriting, at least that’s what I have gathered so far.
Take what works for you and leave the rest.
This book is aimed at writers who don't like to read and struggle to understand more elaborated and comprehensive books. Writers who don't like to read will never be good, no matter what you tell yourself.
It's also one of those annoying books that you find in every subject and discipline that simplifies and dumbs down everything to make the reader feel smart. It gives a false belief that everyone can write a screenplay. Well, you can, but it will be offensively terrible.
Like sort of a “Screenwriting for Dummies”
You’re right and wrong. It was one of the first books I read on screenwriting. The fact that it was dumbed down was a huge help. It gave me some basic terminology and structure info that helped when I started reading and listening to more on the subject.
If you’re just starting with writing and you try to get through something like “Story”… good luck (you won’t unless you supplement it with a whole lot of other material).