1. Zee Zee

    You’re blueprint is easy to grasp and understandable. Thanks for sharing your knowledge. I’ve taken classes that spent eight weeks getting to the points that you lay out in a few pages. Most excellent.

  2. Wow! Perfect. I love things broken down and easy to assimilate. I will use this for sure when writing my next script. Thank you for your kindness.

  3. Scott Gunn

    This helps a lot, Erik. Thanks for providing this.

  4. Alan Tilley

    As always, very useful Erik. Thanks for posting this.

  5. Ileana

    This now makes more sense. Thank you, Erik!

  6. Bill Hartin

    Erik – Like your other fans, your tips and observations invariably provide valuable insights I can apply to my writing, so I’m hopeful that might have suggestion for my current dilemma – all the parts are there and in the right sequence, yet it isn’t as compelling as it should be. Any thoughts…?

  7. Mike McKool

    thank you for the helpful comments on Beats. May I ask: in a Monster In the House tale, where SIN is needful, like GREED in Alien, can the Call to adventure be an offer which is a Temptation, like working with a sleeze because you need the $?

  8. Thanks for the kind comments, everyone — I’m glad you’re finding it useful! :-)

  9. Susie

    Thanks for all the great advice and sharing your knowledge, Eric. It’s made all the difference. I’ve felt like I’ve been ‘outside the room, looking in’(re: understanding screenwriting), but your STC references have welcomed me through the door. I get it now! Thanks again~

  10. Wow! Great! I also teach a screenwriting class. Your E address and website will be given to all students. Blessings to you.

    Robert Carl Johnson
    Producer / feature film writer

  11. thanks for this again Erik, I love your articles and newsletters, question: How loose can the pages be ? for example? does the all is lost HAVE to land on page 75- can it be around 77 or 78 or 68-69 or is that messing up the map completely

    • I don’t think one has to be that rigid with the page counts, especially if you’re within six or seven pages like you’re saying here. I think it’s important that the Catalyst be around p. 12, though, because too much earlier and we don’t know or care about the main character enough yet, and too much later, and we might be impatient for the story to start.

      • Bob Conder

        I spoke with Blake about this very subject. He always mentioned the page counts are merely approximate suggestions. If a script is 90 pages or 150 pages, the position of the beat will change.

  12. Thanks for this article. I am amazed of how I have accomplished this with my script of The Presidents’ Agenda. Keep on with the good work! Take care!
    Louis Michael

  13. Kevin Aldrich

    Excellent summary and exemplification, Eric!

  14. Ethan

    How can these 15 beats be applied to the minimovie method where you break down the entire story to 15 page sections, or reels, and have something happen at the end of each in order to keep the flow going and script reader/audience interested?

    • I haven’t personally studied or worked with the mini-movie method, but I would say with the beat sheet, you kind of also have big moments at regular intervals like that — for instance, Catalyst, Break into Two, Midpoint, All is Lost, Break into Three, etc. I like the STC approach in that it takes the story as one organic whole, and I think there’s less risk of it feeling episodic or disconnected. But I would assume that the two ways of looking at story could probably be overlaid on top of each other, and both be useful.

      I’m interested in hearing if anyone else has experience with this…

  15. Elvira McIntosh

    This is SO helpful, thank you! It is always good to ‘see’ what things mean. Keep them coming, please.

  16. Wilmos

    Good look, Erik. This really helps. I think you’ve just helped me discover a way to resolve this problem i’ve been struggling with — with my first feature i’m writing.

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