Tag: Blake Snyder

Kick-Ass vs. the Blake Snyder Beat Sheet

by on Aug.17, 2011, under Movies

I’ve been carrying around an idea for a feature for a long time – it’s a superhero comedy of remarriage, a/k/a “what the world needs now.” With my writing partner on vacation, I thought the dog days would be great to dive in and start drafting. Unfortunately, I haven’t really been able to suss out its bones. The hours I’ve devoted to it have put me in touch with a lot of the characters in very useful ways, but mostly I’ve been too daunted by the next level of detail – the outline – to even keep myself in the chair working.

I watched Kick-Ass last week (Big Josh: it doesn’t suck), but left it out of my Monday Movies gig because I was short on time and I had this exercise in mind. A screenwriter’s “beat sheet” is a list of significant moments – less detail than a list of scenes, more detail than three-act structure. I’ve been in screenwriting classes where we were asked to do ten-point beat sheets. Screenwriter Blake Snyder, known for Stop! Or My Mom Will Shoot but better known for his screenwriting manual Save The Cat!, compiled a fifteen-point beat sheet, believing that the exact same beats should fall not only in the same order but arriving at roughly predictable page numbers of a screenplay. (For better or worse, his work has moved from observation to prescription.)

Below the fold, I’ll read the Kick-Ass screenplay by Jane Goldman and Matthew Vaughn (downloadable via Simply Scripts) and see how it matches up to the Blake Snyder Beat Sheet, a/k/a the BS2. Each beat says what page Snyder believes you should find it on in parentheses next to it, and I’ll indicate in my discussion where it actually falls. The rule of thumb for translating screenplay pages to screen minutes is 1 page = 1 minute and I’ll indicate how far apart the film and the screenplay get.

(I’m not going on record saying that this or all movies should follow the BS2 exactly — I’ve been trying to internalize the lessons of Scott Myers’s Narrative Throughline and Christopher Vogler’s Writer’s Journey as well, both of which could be used to look at the structure of this and many other movies. I have not been trying to internalize this horse pill. Also if you have my copy of The Writer’s Journey I’d like it back.)

(continue reading…)

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