We’ve been talking story structure in this how-to series, using the Save The Cat beats because this particular structure works well for the disorganized mind. My disorganized mind. In case you missed it, the previous beat can be found here. And in case you forgot, “a story beat is a shift in the narrative. Story beats can be emotional turns, incidents or events, actions, and reactions, or realizations. They can even be small shifts in narrative tone or a character’s emotional arc. Essentially, beats are small moments that move the story forward” (ScreenCraft).

This week we are covering beats two and three: Theme Stated and the Set-Up. Let’s get into it!

This is Not Your Grandmothers Theme

Right after you write your opening scene that reveals the main characters world, it’s time to have one of your characters (often the main character) state the theme.

Forget what your English teachers told you about finding a stories theme (the underlying message or big idea presented in a narrative). This one is different. When you are the author, the theme you give the audience is what your hero needs to learn to complete their character arc in this story.

Remember, the character’s arc is more than the journey they take, it’s how the journey changes them. A character can have a positive arc, where they learn their lesson and pass their ultimate test. Or, their arc can be negative. Most stories use the positive arc, but the negative arc is also very entertaining. Here’s a quick video from StudioBinder that explains it all very well:

What does your hero need?

This is a question that can only be answered when you know your characters to their core. When you’ve done the work and developed a backstory. When they feel like real people. For me, it’s when I can hear their voice inside my head. I know their inflections, their sarcastic tendencies and even their pet peeves. I know what their relationships with their parents is like, if they have any abandonment issues, etc.

You should know who your protagonist is. Know their values and opinions. Most importantly, you should know their flaw (the manifestation of and their deepest need). Knowing them is the key to being able to state the theme of their journey. It also helps (tremendously!) if you know how their story will end before putting pen to paper. If you know where they need to be in the end, then you can start them off in the extreme opposite position. For example, if a character needs to overcome shyness, based in insecurity, feelings of not being good enough, then the end of their journey could be a position or lifestyle in the limelight.

Author and Save the Cat expert, Jessica Brody, believes that the flaw is the very reason the hero is in this story. The flaw is the reason you are writing this book (or movie). If you know the flaw, then you can plan their journey around overcoming that specific trait (or succumbing to it, if you go negative). So have your main character (or another character) speak the them aloud.

The Set-Up

The third beat in the Save the Cat beat sheet mapper is the Set-Up. This beat, like the opening image, gives your audience a glimpse of the hero’s normal world. “The Set-Up reveals your main character’s “ordinary life” or status quo; takes time to demonstrate a character’s flaws that negatively impact the hero’s life; describes the character’s familiar world when it comes to home, work, and play; and introduces the main characters who inhabit the hero’s life” (Save The Cat).

The Set-Up expands upon the world revealed in the opening image by showing who the hero is, what their world is like, what the hero needs, what they want, what their problems are, etc. This is a beat that needs time to reveal. You’ll always need multiple scenes to set-up the important aspects of your main characters life. This is perfectly done in the first ten minutes of Back to the Future:

There are no arbitrary choices in screenwriting, which is why I love Save the Cat structure. Everything we need to know is shown to us in the first ten minutes of the movie. We get how familiar Marty is with Doc, how close they are, by Marty entering Doc’s house, discovering he’s still gone, and staying to mess around. He answers Doc’s phone, and it is Doc himself, calling his own house because he hopes Marty is there.

This shows us who Marty is by giving us what he loves: mostly his girlfriend, but also rock-and-roll and skateboarding. His flaw? He cares too much about what people think. Their negative opinions make him want to quit. In his journey, he is forced into a situation where he has no choice but to succeed, if her ever want to see his family or beloved girlfriend again.

So far, we have the Opening Image, which is 0-1% of your story, the Theme Stated is another 5% maximum, and then the Set-Up which should be no more than 10% of your story. I find these numbers comforting when it’s time to edit.

To summarize, in the Set-Up you’re establishing:

1. The hero’s goal (wants). Tangible things the hero is after.
2. The hero’s problems; what is wrong in their world.
3. The hero’s world and how they navigate through it.

You’ll need multiple scenes to establish all of this but be succinct whenever possible. Long set-ups can make the story drag. And slow parts are where many readers put the book down.

Remember, this is just a guideline. So don’t worry about keeping the steps in order. It’s perfectly alright to have your theme stated in the opening, or to even move deep into the set-up before it occurs. These steps are simply outlining the necessary storytelling elements and you can place them in the order that suits your storytelling preference.

I’ll be back next week to discuss the Catalyst (or inciting incident).