Save the Cat! Writes a Novel

by Jessica Brody

A problem (or flaw that needs fixing) A want (or goal that the hero is pursuing) A need (or life lesson to be learned)

Don’t let the problem stay contained to just one area of your hero’s life. Let the problem(s) manifest and spread and infect!

what does your hero think will fix those problems, or what does your hero think will better their life?

Giving your hero a goal and having them proactively pursue that goal is the fastest way to get your reader to root for your hero and latch onto your story.

Almost every want or goal has an equal and opposite force holding the hero back from achieving it. This force is often presented as a “conflict” or “nemesis.”

(or goals). First, they can change as the novel goes on. And they often

not all characters actually get what they want.

We call that real problem the shard of glass.

the exciting stuff. The “cool” stuff. Or what’s also referred to as the premise.

the B Story is the internal story. It’s the story that’s intricately linked to what your hero needs to learn in order to change their life, complete their transformation, and enter the hall of fame of story-worthiness.

the hero wants—is only half the story. The true soul of a novel lies in the hero’s need, which can also be called the internal goal,

This life lesson should be something universal. Something inherently human.

an internal goal or need that is in some way a derivative of one of the following ten universal lessons: Forgiveness: of self or of others Love: includes self-love, family love, romantic love Acceptance: of self, of circumstances, of reality Faith: in oneself, in others, in the world, in God Fear: overcoming it, conquering it, finding courage Trust: in oneself, in others, in the unknown Survival: including the will to live Selflessness: including sacrifice, altruism, heroism, and overcoming greed Responsibility: including duty, standing up for a cause, accepting one’s destiny Redemption: including atonement, accepting blame, remorse, and salvation

Which of my main characters is most like my reader?

EXERCISE: IS MY HERO STORY-WORTHY? Who is the hero of your story? What is their big problem or flaw (bonus points if they have more than one!). Remember, flaws start internally (from that metaphorical shard of glass) and manifest into external problems in your hero’s life. How is this problem or flaw affecting your hero’s life/world? What is causing this problem or flaw? What is the shard of glass? (Time to psychoanalyze, Dr. Author!) At the start of the novel, what does your hero want? What is their goal? (What do they think will fix their life?) How has your hero been actively pursuing this goal? Why haven’t they achieved this goal yet? (This roadblock can be internal, external, or both!) What does your hero actually need? What is their life lesson? (What will really fix their life?)

CHECK YOURSELF! ❏ Does your chosen hero change more than any other character in the novel? ❏ Is your hero’s problem or flaw specific? ❏ Does the hero’s problem or flaw create a desperate need for change? ❏ Is your hero’s goal tangible and concrete? (Will we, as readers, know when or if they achieve it?) ❏ Is there something standing in the way of your hero achieving that goal? (If not, the goal is too easy!) ❏ Is your hero’s need (or life lesson) universal? Would a random person on the street understand it?

ACT 1

An exploration of the hero’s status quo life and all its flaws, where we learn what the hero’s life looks like before its epic transformation. Here we also introduce other supporting characters and the hero’s primary goal. But most important, we show the hero’s reluctance to change (aka learn the theme) while also hinting at the stakes at risk should the hero not change.

The moment the hero decides to accept the call to action, leave their comfort zone, try something new, or venture into a new world or new way of thinking. It’s a decisive action beat that separates the status quo world of Act 1 from the new “upside-down” world of Act 2.

helper character, this can be a love interest, a nemesis, a mentor, a family member, or a friend.

promise of the premise,

middle of the novel, where the Fun and Games culminates in either a false victory (the hero has thus far been succeeding) or a false defeat

The Opening Image also sets the book’s tone, style, and mood.

If it’s a suspenseful book, this beat should be—surprise!—suspenseful.

show us how those flaws are screwing up your hero’s life.

the Opening Image is a single scene or chapter. It’s one piece of information.

up your hero. What kind of person are they? What kind of character tics do they have? What do they want? It’s very important that your hero have a goal.

the Setup is where you’ll introduce everyone who exists within your hero’s Act 1, status quo world.

A Story characters,

the Setup is where you show your hero’s flaws

take time in your Setup to show your hero at home (with family, with spouse, with kids, or maybe alone in their apartment), at work (in the workplace, at their job, or at school), and at play (how your hero unwinds with friends or by themselves).

The things that need fixing all will reappear throughout the rest of the story. They will serve as checkpoints along the journey to demarcate change.

the stasis = death moment. It’s the moment that comes somewhere in the Setup beat that shows the reader that change is imperative

Catalysts often come in the form of bad news

something happens to the hero to send their life in an entirely new direction.

So how do you know if your Catalyst is big enough? Ask yourself the following question: Can my hero easily return to their normal life and continue doing what they were doing after this happens? If your answer is yes, your Catalyst isn’t big enough.

for every Catalyst, there is a Debate.

It is a reaction beat, and it usually comes in the form of a question. Like What do I do? Should I go?

It’s a multi-scene beat in which you visibly show us how resistant your hero is to accept the change that’s been thrown at them. An effective way to do this is to take your hero back to home, work, and play. Show them struggling to decide what to do next in all aspects of their life.

They prepare for the big journey. They gather supplies. They train. They prep mentally, physically, and emotionally. The question in this type of Debate is usually something like, I know I’m going, but am I ready?

Act 2 needs to be as different as possible from Act 1.

BREAK INTO 2 WHAT DOES IT DO? Brings the hero into the upside-down world of Act 2, where they will fix things the wrong way.

If you’ve designed your Act 2 world well (that is, different from Act 1!), then the transition should seem very obvious to the reader.

heroes don’t have to physically go anywhere in order to Break Into 2. But they do have to try something new.

Break Into 2 is the moment when we leave the old world and old way of thinking behind and step into a new world and new way of thinking. It’s a single-scene beat.

the choice to Break Into 2 belongs to your hero. They must be proactive

you’ve set up your wants and needs correctly, your hero’s external goal (want) is not what will inevitably fix their life. They think it is. They’d bet their life on it! But in the end, it’s their internal or spiritual goal (need) that will make them a better person.

as our hero is making their proactive decision to Break Into 2, they are still being motivated by what they want. They’re still chasing after that external goal.

Introduces the character who will somehow represent the B Story/spiritual story/theme and help your hero learn it.

everything in Act 2 should be upside-down versions of everything in Act 1. Even the people.