#beat sheet

[spnscripthunt-inactive]

Update:

[casboobs]

beat sheet dean my beloved

[witchyam]

be- beat sheet cas.....

[beatsheetromanroy]

extremely underrated moment

[cinnamontails-ff]

"The Accountant's Guide to Taking Down an Evil Vampire Lord" in 15 beats

All right, here's a little insight into the way I outline my stories!

I really like the Beat Sheet method by "Save the Cat" (not sponsored; bought it with my own money years ago and have kept it in my desk ever since, so it's always handy while I write). This is not to say that this is the "best" outlining method out there! Everyone's different, everyone has their own approach, and my intention in sharing this is not to say that all stories that do not follow this particular structure are bad. To the contrary, I know several absolutely incredible stories that deviate from it and are all the more wonderful for it ("Sword of Kaigen" by M.L. Wang, for example).

But: Everyone has to start somewhere. And for someone who is relatively new to writing in a longer format, it can be super helpful to have a scheme that breaks down the overall structure of a story, which parts take up so-and-so-much space etc. And I'm hoping that in sharing this, I can maybe shed some light on one(!) way of thinking about the building blocks that go into a story and how they fit together to make up a compelling narrative.

Full spoilers for Accountant's Guide ahead!

Opening Image I like to think of the very first scene not just as a scene, but as an image. The very first visual you're giving the reader, and that'll set the mood for the entire story. In the prologue of Accountant's Guide, we have Scarlett in the tavern, watching as her sister is being led away by the man she believes to be her killer. Scarlett is entirely passive in the scene, nothing more than a face in the crowd -- which is exactly how she's seen herself her whole entire life. The one who's on the sidelines, happy to support her younger, beautiful sister, so she can have her time in the spotlight.

Set-up This beat is all about doing the groundwork for the actual plot, preparing for what's called the "inciting incident" or "catalyst" (i.e. Scarlett and Astarion's first proper meeting). This would be Scarlett's murder investigation during chapter 2 and 3. Her learning about Astarion's vampiric nature, training with Lae'zel, and ultimately infiltrating the Szarr mansion. Importantly, she believes Astarion to be the bad guy, right until...

Catalyst Ba-da-dam! Scarlett finds Astarion in the scullery with the dead rat and learns the truth about what happened to her sister. This is the event that changes everything and really kicks off the main plot of the story (i.e. taking down the evil vampire lord through the power of tax fraud) because now we know that Cazador was the actual bad guy all along. Also, we're getting the first crumbs of sympathy between Scarlett and Astarion, indicating that he might be a worthwhile ally.

Debate Whereas the catalyst is an action beat, the debate is a more introspective reaction-type beat, where the characters get to discuss all that has happened so far and what they want to do, moving forward. This is the park bench scene in chapter 4, where Scarlett tells Astarion about her plan and he ultimately agrees to help her -- if only to keep himself entertained, but we all know how that ends up working out for him :D

Theme Stated This is typically the point where the overarching theme of the story is stated. Now, AG has several themes, and I'm a big proponent of letting readers interpret my stories whichever way they want to, but here's the line that I believe summarizes the main theme that I saw in the story. It's in chapter 4, still on the park bench, when Scarlett says: “You want to be rid of him, too, don’t you?” In that moment, she is offering him an out, but the decision whether or not he’ll risk it is up to him. It makes it so that Astarion's rescue is tied to his own agency from the very beginning. He is not some damsel in distress; he is choosing to participate in her plan and actively shaping it throughout the story, thus reclaiming his life long before he turns mortal again.

Break into (Act) 2 This is where we enter act 2, i.e. the main part of the story. This would be chapter 5, where Scarlett and Astarion start working together on the tax fraud scheme. It's quite common to have the act switch reflected in a change of scenery (although not at all necessary!). In AG, this works out pretty well because act 2 takes place almost exclusively in the Szarr mansion.

Fun and Games This part is also called “The Promise of the Premise”, so this is where the story delivers the things it promised to its readers. I promised tax fraud schemes against evil vampire lords, so in chapter 5-12, we see Astarion and Scarlett working on her case, occasionally run into Cazador, and of course, get to know each other! Despite some ups and downs, the general direction of things is positive here, meaning they make good progress on the tax fraud scheme and slowly start to develop feelings for each other. The direction of this part here will shape what the midpoint looks like (positive direction ends in a "false victory", negative direction ends in a "false defeat", see beat 9).

B Story The B Story is about the internal story or the character progression. Since the main theme I was going for is agency, Astarion’s B story is about reclaiming his agency and actually believing that he (and Scarlett) can pull this thing off and successfully free him. This is clearest in chapter 10, where Scarlett confronts him about whether or not he believes they’ll succeed, and after a brief argument, Astarion chooses to believe in her (although not in himself quite yet). This is a turning point, after which he is fully committed to the tax fraud scheme and no longer views it as a game.

Midpoint If the direction of things so far has been positive, the midpoint is a “False Victory”, a moment where the protagonists think they’ve won. This happens in chapter 12, when Scarlett finishes her tax report, and our heroes are ready to hand it in. Victory seems to be at their fingertips (as are the retirement plans), when suddenly, Cazador swoops in and they have to scramble to come up with a plan B.

Bad Guys Close in Chapter 13-20: After the midpoint, things turn way more tense. Stakes get exponentially higher, both with Scarlett living under Cazador’s nose and with their relationship finally getting serious. Thus, the general mood here is far less optimistic and more “WTF are we supposed to do” (in contrast to the “Fun & Games” part). This is also where their personal demons (the figurative “bad guys”) come out to play, e.g. the fight over Astarion killing the maid, his jealousy issues, and the debate over turning into a vampire. Despite the mounting tension, there are of course still plenty of sweet and hopeful moments, such as Scarlett learning about her magic powers and the infamous Chair Scene. But if the overall trajectory of "Fun & Games" was upward, you generally want the trajectory here to be downward (and vice versa). Wheres things seemed slightly crazy before, they now look absolutely impossible, the obstacles in their way as insurmountable as Scarlett's dwindling life span.

All is Lost The lowest point of the story where things seem utterly hopeless. This is probably in chapter 21, when Scarlett tells Astarion that she does not want to become a vampire, thus destroying his hopes for the life he’s been imagining for them. While he accepts her decision, this is rock bottom for him because it means even if he manages to break free from Cazador, he’ll lose her in just a few short years.

Dark Night of the Soul Chapter 22 is a very unconventional example of this, but although it’s almost only smut, it does actually tick all the boxes. This is the point of the story where the protagonists sort of regroup after their low point, dig down deep, and regain hope for their final confrontation. In Astarion’s case, he lets out all his angst and insecurity by banging his girlfriend really hard, and ends up wearing her down so much that she says “I love you” before falling asleep. Her confession of love (which he confirms by asking her to touch his scars) is the push that makes him see that he doesn’t need to be a vampire lord (rich, powerful etc.) to keep her by his side. He is enough as he is.

Break into (Act) 3 Powered by this revelation, Astarion goes to get the necromancy book early on in chapter 23. He is determined to make himself mortal, see Cazador brought behind bars, and live happily ever after with Scarlett. Act 3 is all about the final confrontation in the crypt (another minor change of scenery).

Finale We've made it to the finale! Very common here is a so-called “High Tower Surprise”, where the villain throws a last-minute wrench into everybody’s plans. You know, to keep everyone on their toes :D This is when Cazador reveals he knew about their plans; he takes out the poor safety inspectors, and then captures both Astarion and Scarlett. Things look super dire (especially because we’re in Astarion’s POV here), but then Scarlett shows off her amazing math-magic powers, and together with the rest of the crew, they manage to take out Cazador. What's also commonly employed here is another “dig down deep” moment where Astarion refuses the ascension and instead chooses mortality, thus reaffirming the change he's undergone throughout the story.

Closing Image Again, I like to think of this as a visual as well as a scene. The very last time we see Scarlett and Astarion is at the house of his parents (indicating he's finally worked up the courage to confront his past). They're married, pregnant, and filthily happy -- just as they deserve :)

That's it! I hope this was helpful, getting to compare the story with the underlying building blocks and the thoughts that went into it. Here is a super cool list of beat sheets for movies, TV shows etc., if you'd like to see more of this particular outlining method. It's really helped me a lot when I first started writing in novel format and would always get lost after the first 30% :D I love chatting about this stuff, so if you have questions or would like to share about your process, I'd love to hear about it!

Going to upload my beat sheet for Magistrate's Advocate soon, so stay tuned ❤

[emerson-writes]

Struggling to find a plotting template for genre romance (romantasy, etc)?

I read Save the Cat Writes a Novel and Romancing the Beat and combined the two so you don't have to! Save the Cat beats are numbered (with the average percentages listed) and Romancing the Beat beats are in bullet points. RTB Phases (I-IV) and STC Acts (I-III) are also listed as section headers.

Phase I: The setup (1-20%) 

ACT I (Save the Cat)——————————————————————

1. Opening Image (0-1%)

Snapshot of the protagonist’s emotional “before” life. Do not start with your character alone and thinking! They need to be doing something and going somewhere. Start with action!! (can meander into backstory as you go)

2. Theme Stated (5%)

A hint at the story’s emotional truth — what the protagonist needs to learn (often linked to love and vulnerability).

3. Set-Up (1-10%)

Introduce the status quo world, the supporting cast, and the hero’s flaws and goals. Show what the hero thinks they want, and what they really need.

Intro H1 – Establish Love Interest 1’s wound, goal, or belief.

4. Catalyst (by 10%)

Inciting incident that knocks the hero off balance (often coincides with the meet cute, but not mandatory)

Meet Cute – The love interests meet (or reunite). Sparks fly — chemistry, conflict, or both. The POV character will have a moment where they say or think: not for me

5. Debate (10-20%)

The hero wrestles with fear, doubt, or resistance to change. Can include the decision to engage with the love interest or avoid them.

Intro H2 – Establish Love Interest 2’s wound, goal, or belief. (this can be moved earlier or later, depending on when character 2 appears in the plot)

No Way – Emotional or situational reason they shouldn’t be together.

ACT II (Save the Cat)———————————————————————

6. Break into Two (20%)

The hero enters a new world — emotionally or situationally.

Adhesion – They’re stuck together (work together, travel, forced proximity, etc).

This is where tropes come in: marriage-of-convenience, going on the run, fake relationships, hiding from bad guys, forced into a partnership, etc.

Phase II: Falling in love (20-50%)

Each scene in this phase needs to build on the sexual and emotional tension, regardless of whether it’s acted upon by the characters. Characters will be in a one step forward, two steps back dance. Brainstorm some scenes that show them getting closer and then backing away. Even if they are enemies, it’s here where they find things to like and respect about one another 

7. B Story (22%)

New characters are introduced that will help teach the hero(es) a life lesson. This can include side characters, as well as the main love interest (who has likely already been introduced, but is now playing a larger role due to forced proximity!) → The B story is the romance arc itself.

8. Fun and Games (20-50%)

The “promise of the premise.” Moments of bonding, banter, conflict, growth, and desire. 

No way #2  – Repeat the emotional or situational reason they shouldn’t or can’t be together.

Inkling of Attraction – First signs of softening or noticing each other.

Possible ways to include: witnessing the other act in a way that doesn’t match your character’s preconceived notions (ex. a moment of vulnerability), a physical escalation (a kiss, or more), defending the other physically or emotionally, a fun/silly moment, a tender moment, a kind or selfless gesture

Deepening Desire – Physical AND emotional intimacy develops. They can no longer deny their attraction to each other, even if they don’t act on it (queue long, lingering stares)

9. Midpoint (50%) –A False High

Maybe This Time  – They start to believe in the possibility of a relationship. If your book has sex, this is typically when the characters have sex for the first time (if they haven’t already)

for a duology or a trilogy, same pacing–approx. 50% through the whole series

this beat is called ‘maybe’ because your characters are beginning to wonder what life would be like if they stopped letting fear hold them back

Midpoint of love – Everything they want is in reach, bring the characters really, really high here. Everything is better than they could have imagined (hint: it’s a false high!)

Example: a sweet, tender morning after sex, an unexpectedly emotional conversation. or moment of true honest

Phase III: Retreating from love (50-75%)

10. Bad Guys Close In (50-75%)

External pressures and internal doubts build. Time to exploit their weaknesses and insecurities. 

Inkling of Doubt – Insecurities or past wounds begin to resurface.

Deepening Doubt – Characters are trying to act normal on the outside, but they are having internal conflict on the inside. (opportunity for external conflict to keep characters from addressing this doubt)

Retreat! Retreat – Character expresses internally or externally–not necessarily to the other MC–their need to retreat in order to not get hurt. Play on their insecurities (of being abandoned, being cheated on, being unlovable, etc.)

Perhaps one MC is keeping a secret from the other, related to the external plot, that is forcing them to retreat/shut down.

Shields up – Whatever they foretold in their No Way beat comes true

No-way: I don't believe in love/don’t deserve love/can’t love because  ___X___

Shields up beat: I knew better than to believe in love/that I deserve love/that I can love because when I let my guard down  ___X___

11. All Is Lost (75%)

Worst moment. It all falls apart. “Whiff of death.” 

Break Up – Separation or rejection. The moment when your hero chooses to hold onto their fears/flaws/wounds/misconceptions instead of opening their heart completely. A break-up/break/physical separation is in order. 

Phase IV: Fighting for love (75-100%)

12. Dark Night of the Soul (75-80%)

*This beat is the same in both Romancing the Beat and Save the Cat*

Dark Night of the Soul – Emotional collapse. Time of reflection, regret, or realization. Love is lost. Characters are often physically separated at this point.

The hero hits rock bottom. Queue wallowing/feeling lovesick/staring out windows dramatically. 

Sometimes, this is a time for a mentor or friend to give your character advice.

ACT III (Save the Cat) ——————————————————————

13. Break into Three (80%)

Wake-Up Call – Realize what truly matters. Growth moment.

The character wakes up and realizes that they are miserable because of their own decisions, and they want to win back the love they lost. It’s time for them to smash the walls around their heart, and they know it. 

This is the beat when the character says: this time I choose love over fear 

14. Finale (80-99%)

Grand Gesture – At least one of the characters needs to go out on a limb to woo the other character back–it’s time to grovel. Your character is ready to put it all on the line or risk losing the one they love.

There must be risk involved–risk of rejection, humiliation, overcoming a specific fear (ex. heights, must be a plot point earlier or it falls flat), literal risk of life, sacrificing a dream or goal, etc.

This is the moment your novel has been building to! Make it grand, make it angsty, make it funny–whatever you want, as long as you go big!

15. Final Image (99-100%)

Whole-hearted – the closing image that contrasts your characters before, to who they are now (can contrast the opening image, the meet cute, etc.)

Epilogue (Optional) – Flash-forward or romantic closure.

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@theenemiestoloversclub // DO NOT REPOST WITHOUT CREDIT

SOURCES

1)https://www.campfirewriting.com/learn/romancing-the-beat

2) https://www.jessicabrody.com/2020/11/how-to-write-your-novel-using-the-save-the-cat-beat-sheet/

[charactervsplot]

Where you do you fall on the pantser to plotter spectrum?

One spark of an idea is all you need to start a first draft

You plan out some of the book's plot but leave holes to figure out later

You have a complete outline of the plot. Every major scene is accounted for

Your outline mentions every scene, not just the major ones

Every scene has a fully detailed plan. Your outline could be a book itself

Voting ended onSep 10, 2025

[fivefeetfangirl]

rereading beat sheet and i forgot how hilarious it is