Plotting a novel can be a pain. I should know; I’ve done it half a dozen times. You want your story to hit all the right beats, but not feel formulaic. The simplest of story structures can be too bare-bones, and the most complicated too overwhelming.
I’ve experimented with a lot of different outlining methods over the years, but the Save the Cat beat sheet has become my favorite. I’ve used this story structure to plan novels and novellas, including my current work in progress, which is the most complex story I’ve ever written.
I love this story structure because it feels like the perfect balance between detail and simplicity. It gives you a clear roadmap for plotting a story, while leaving enough room to avoid rigidity.
Save the Cat has its origins in film. Screenwriter Blake Snyder originated the beat sheet, which he shared in his book of the same name. That book happened to come out the same month I was born, so maybe that’s why I have a particular affinity for it.
The book spawned a litter of sequels, including Jessica Brody’s Save the Cat! Writes a Novel. I’d recommend reading any of the books, this one in particular for novelists.
The principles of good storytelling are near universal, so while the beat sheet was originally developed for screenplays, it’s perfectly suited for writing novels.
Save the Cat consists of 15 story beats, divided between three acts. Some are single-scene beats. I’ll call these moments. Some are multi-scene, or even multi-chapter, beats. I’ll call these sequences.
I’ll take you through all 15 story beats, showing you the place and purpose of each, and pitfalls to avoid when writing them. Here, we’re focusing on plot, the events of your story. Of course, many of them are deeply woven into the internal journey of your protagonist. But keep in mind that before you start outlining your story, you should have a good idea of who that protagonist is. Their character, and especially their flaws, will be the foundation atop which practically everything else is built.
Oh, and if you’re wondering why it’s called “Save the Cat,” the name comes from a storytelling technique Blake Snyder popularized. If a character comes across as unlikable, have them save a cat, or do some comparably heroic deed, to get the reader on their side. It’s not one of the 15 story beats in the structure, but you could certainly include it in your story.
Now let’s dive in.
Act 1
1. Opening Image
Moment – 0 to 1%
I think about writing cinematically. Many of my favorite films start with a memorable image—a striking shot that establishes mood and sets expectations for what’s to follow.
So ask yourself: what do you want your story’s opening shot to be? Or more importantly: what do you want that shot to communicate?
Unlike a film, you’re not restricted to visuals. You could open your book with your protagonist’s thoughts. But unless they have a really fascinating internal monologue, I’d suggest starting with something a little more tangible.
The Opening Image should show what your protagonist’s life is like before the journey they’ll go on over the course of the book. It’s Frodo in the Shire, it’s Spider-Man before he gets bitten. Very importantly, this is an opportunity to reveal the flaw or flaws that your character will need to confront in the ensuing plot. They have some sort of weakness, and that weakness manifests in their everyday life. Something isn’t right. Even if your protagonist is content with their life, the reader should be able to see that change is needed.
The Opening Image itself is a moment, but in some cases, it can be a longer sequence establishing the status quo. Especially if your story is set in a world different from our own, you might want to give some time to immerse the reader in it. That said, lingering too long in this beat can make your opening drag. Your reader will have plenty of time to get to know your story’s world over the course of the story; you don’t need to introduce every aspect of it before the plot gets moving.
2. Theme Stated
Moment – 5 to 10%
Your story is about something, something larger than just the events happening on the page. It should have a theme or a thematic question at its heart. Toward the beginning of your story, usually in the first 5 to 10%, establish that theme. Don’t beat your readers over the head with it. This beat is short and should be subtle. Most often, it comes in the form of a secondary character posing a question or making a statement that the story will proceed to explore.
If it’s a true statement that your story will validate, your protagonist at this point doesn’t believe it, or simply ignores it. If it’s a thematic question, your protagonist doesn’t have an answer, or holds a view that will change by the story’s end. You’re setting up their false belief and how they’ll transform in the story ahead.
3. Setup
Sequence – 1 to 10%
The setup lays the groundwork for everything that’s to come. This is a sequence that technically encompasses the previous two beats; it typically lasts for the first 10% of your story. The most important things to establish are your protagonist—specifically, their goal and their primary flaw—other important characters, how your protagonist’s flaw negatively affects them and characters around them, and the general status quo for your protagonist.
The setup can often be the most boring part of a story, since the plot hasn’t fully kicked into gear yet, which is why it’s important that your protagonist have a goal they’re actively pursuing. Their goal doesn’t have to be particularly exciting—maybe they just want some peace and quiet—but it should cause them to take some action that will give your setup momentum.
4. Catalyst
Moment – 10% or earlier
You know I love this beat, because I named a book after it. (Not really.)
The catalyst is one of the defining moments of your story. It’s the first major event, when something changes that sets the main plot into motion. Something happens that forces your protagonist to change course. This isn’t an internal decision that comes out of the blue; it’s something external that takes them by surprise.
Usually, it’s bad news. Your protagonist suddenly finds they’re in a life-or-death situation, or a tragedy upends their life. Sometimes, it’s something that appears to be good, but disrupts the status quo in a challenging way. Whatever the case, this event can’t be ignored. It will change your protagonist’s life, and chances are, they’re not happy about that. So next, they need to decide what they’re going to do about it.
5. Debate
Sequence – 10 to 20%
After the shock of a Catalyst event, your protagonist is faced with several options for how to proceed. Depending on their character, they might do everything in their power to restore the status quo, to undo the effects of the Catalyst. But Pandora’s Box has been opened. You can’t put the toothpaste back in the tube. Insert third cliche here.
Even if they recognize the futility in running from change, they’ll still resist it. The debate is usually a multi-scene sequence in which your protagonist struggles with how to react, and prepares in any way they can to face the change brought on by the Catalyst. Typically, it lasts between the 10 and 20% mark of your story.
All right, enough debate. Time for the real fun to begin.
Act 2
6. Break into 2
Moment – 20%
This moment is the bridge between the normal world of Act 1 and the changed world of Act 2. Your protagonist has decided how to respond to the Catalyst. They’ve got a plan. Only problem is, it’s not a very good one, because it’s rooted in their internal flaw.
Their goal from the beginning of the story is likely the same, but it’s expanded to adjust for the change brought on by the Catalyst. Their new plan is how they plan to achieve that goal.
The Break into 2 is an intentional break from the status quo. Your protagonist makes a decision that sets them on a new path. This can often result in a change of surroundings, the introduction of new characters, a new feel to the story. Your protagonist has moved into unfamiliar territory. They’re still pursuing their goal, but they’ve been forced to change how they go about that thanks to the Catalyst.
7. B Story
Sequence – starting around 22%
The B Story is the main subplot of your novel. You can have multiple subplots, but this is the most important one. Often, it revolves around a secondary character who’s introduced at the beginning of Act 2. The point of the B Story is to complement your A Story and add depth to the overall narrative. Often, it provides an alternative viewpoint of the central theme. It might be about a character who challenges your protagonist’s false belief, or encourages them to believe it. The B Story should have a meaningful effect on the overall trajectory of the plot; your protagonist learns a lesson from the B Story character that influences their actions.
The B Story will unfold over the course of your novel, but it’s introduced in a moment toward the start of Act 2. Again, usually, this is in the form of a new character.
8. Fun and Games
Sequence – 20 to 50%
Depending on your story, this can be either be literal fun and games, or very much not. This significant chunk of your book is essentially the fulfillment of your story’s premise. It’s the journey, the ups and downs, the overcoming of obstacles. In pursuit of their goal, your protagonist is making strides and experiencing setbacks.
Here, you have a choice. This is a long section of your book, so it should have some direction to it. Either your protagonist is on an upward path, where they’re making positive progress overall, or they’re on a downward path, where their losses are greater than their gains.
Decide which direction you’re heading, but don’t create a straight line up or down. Your protagonist should have wins and losses. Keeping things unpredictable makes for a more engaging read.
9. Midpoint
Moment – 50%
The Midpoint is a game-changer. This is a single moment, an event that the entire Fun and Games sequence has been building up to. If your protagonist has been on an upward path, the Midpoint is a false victory. They seem to have won, or be close to winning, but since they’re only pursuing their flawed desire and not their deeper need, it’s a hollow victory that doesn’t set things right.
If your protagonist has been on a downward path, the Midpoint is a false defeat. They’ve been beaten down to their lowest point yet. Their internal flaw has led them to suffer and lose.
Whichever way you go, the Midpoint raises the stakes and proves that your character hasn’t overcome their flaw. Something needs to change, soon.
Your protagonist hasn’t fully changed for the better yet, but they’ve started to realize that their original plan, and maybe even their original goal, was flawed.
To emphasize this, you can have the B Story cross over with the primary plot line. Whatever lesson your B Story character has been teaching your protagonist is starting to become clearer.
Also, since a novel can be kinda long, this is a great opportunity to change things up with a twist. Think of the Midpoint like a second Catalyst, this time raising the stakes for the journey your protagonist is already on.
10. Bad Guys Close In
Sequence – 50 to 70%
This sequence is the inverse of the Fun and Games sequence. More obstacles, rising stakes, ups and downs. Just like in Fun and Games, there should be an overall trajectory, the opposite of what the previous one was. If your midpoint was an apparent victory, your protagonist will quickly suffer a defeat and start on a downward path. If your midpoint was an apparent defeat, things start to look up for your protagonist as they learn from their mistakes.
And again, keep things interesting. Your protagonist shouldn’t be just winning or just losing all the time.
11. All is Lost
Moment – 75%
Whether your protagonist has been on an upward or a downward path for the last section of the book, it doesn’t matter. Now, they lose.
The All is Lost beat is a moment that brings your protagonist to their knees. They’re hit by some terrible defeat, usually as a result of their unaddressed internal flaw.
This should be bad. Like, really bad. In a lot of stories, this means death. After the Catalyst and the Midpoint, this is the third truly cataclysmic event. Nothing will be the same after this. Now more than ever before, the error of your protagonist’s ways is on full display. They’ve hit rock bottom.
12. Dark Night of the Soul
Sequence – 75 to 80%
So understandably, they’re kinda sad about that.
After the very bad, no fun All is Lost moment, your protagonist needs some time to react. The Dark Night of the Soul is the depressed twin of the Debate story beat.
How your protagonist reacts depends on their character. They might respond with anger, grief, denial, or all three. Sometimes, they attempt to return to the status quo world of Act 1, but find it’s impossible to go back to the way things were.
Amid all this darkness, your protagonist finds a sliver of light. They have an epiphany, seeing how they need to change or realizing the answer to an important question.
They’ve hit rock bottom, and then they find a ladder.
Act 3
13. Break into 3
Moment – 80%
As you may have noticed by now, there are a lot of mirrored beats in story structure. The Break into 3, just like the Break into 2, is when your protagonist makes a defining choice based on their realization. They take action to change the path they’re on.
And just like that, we’re on to the end of things. Time to see if your protagonist has really learned their lesson.
14. Finale
Sequence – 80% to 90%
Your protagonist is going to face their flaws head-on and attempt to win the fight, both internal and external, once and for all. Buckle up.
The finale is a sequence divided into 5 parts, and weaves the B Story into the main plot. Everything comes together for the climax of the story. Your protagonist knows what they need to do, and they’ve got a plan to do it.
Finale, Part 1: Gathering the Team. Your protagonist brings together anything or anyone they need to execute their plan.
Finale, Part 2: Executing the Plan. Pretty self-explanatory. Usually, things look like they’re going well. Victory is within reach.
Finale, Part 3: The High Tower Surprise. What do you know, victory isn’t as easily won as it seemed. Your protagonist has to face an unexpected obstacle or deal with a twist that ruins their plan.
Finale, Part 4: Dig Deep Down. Here’s another rock bottom moment. If you thought things were bad before, well, they might just be worse now. The plan has failed catastrophically. Defeat is imminent. It looks like the end. And it could be! But assuming you want to go a more traditional route, this is when your protagonist uses what they’ve learned over the course of the story to overcome their flaw and rise from the ashes. Their actions are now informed by a true understanding of the theme.
Finale, Part 5: The Execution of the New Plan. Your protagonist has transformed, which allows them to finally succeed. Or, again, if you’re writing a less traditional story, they might lose, whether because they didn’t truly transform or because the universe is cruel and you want to make a point about it. Totally valid. Whatever the case, this is the finale of the finale, the conclusive validation or refutation of your central theme.
Because of how specific these sub-beats are, there’s more danger of your finale coming across as formulaic than any other part of the story. This 5-part finale structure works, and you’ll find it in a lot of successful stories, but it’s not the only way to write a finale. And you can add a twist or two to make it less predictable. For instance, maybe the High Tower Surprise that appears to be a defeat for your protagonist is actually part of their plan.
Everybody take a deep breath—we’ve done it. The hero’s won. Or maybe they lost, maybe they even died. The point is, it’s over. Almost.
15. Final Image
Moment – 99 to 100%
The Final Image is the inverse of the Opening Image. These two beats are inextricably linked. If your character has changed over the course of the story, the Final Image will be something like the Opening Image in negative. The greater the character change, the starker the difference. In some cases, if you’re intentionally writing a cyclical story where your protagonist ends up back where they started, the similarities will be the most striking connection. But that’s rare.
Like I said, I think about writing cinematically, so I try to imagine the most visual representation of change that I can. The Final Image is the shot before the credits roll, the visual I want remaining in readers’ minds well after they put the book down. But since this is writing, it doesn’t have to be purely visual. There’s a lot you can do with words to emphasize parallels and contrast. Perhaps a line from the beginning of the book is repeated at the end, now imbued with entirely new meaning.
This is the concluding moment of your story. Use it well, and you can leave a lasting impression in your reader’s mind, an afterglow that remains long after the final page has been turned.
There’s a lot more that goes into planning and writing a great book than constructing a solid plot. You need well-rounded characters, familiarity with genre conventions and how you want to follow or break them, and a thematic core. But even if you don’t have all those pieces yet, crafting a preliminary outline of your story with the Save the Cat beat sheet can actually help you find them. There’s no single correct order of operations when preparing to write a book. You can start with a protagonist, or a thematic question, or a plot point, or even a single image, and build out from there. Don’t worry if your ideas feel half-baked at this stage in the process. The very act of attempting to plot your story can produce new ideas and epiphanies.
Story structures can sometimes feel restrictive, but they can also unlock new possibilities and serve as a useful roadmap. They’re tools to be used however you see fit, not strict prescriptions. I hope I’ve helped you get to know one such structure. Honestly, this is just an overview—there’s a reason whole books have been written about the Save the Cat beat sheet. I’d recommend checking them out.
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– Grayson Taylor
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