PRAISE FOR BEAT BY BEAT
“Todd Klick’s brilliance shines through his masterfully conceived and beautifully executed Beat by Beat, a must read for screenwriters whether you’re a total novice or an Oscar-winner—this book is a case study in smarts. I’ve never been one to suggest that screenwriting (or acting, or wardrobe, or set design, etc.) can be ‘learned’ by someone without the ‘born gift’—but in the case of Beat by Beat I suggest this gift can be, and will be beautifully enhanced. Of equal or greater value, Beat by Beat will make your screenplay marketable, bankable, producible—and it won’t take long before they are calling you and your work ‘genius.’”
—John Philip Dayton, CBS executive producer, director, writer; The Waltons, Eight Is Enough, Matlock, The Ray Bradbury Theatre
“When intuition and verve stall, and your story stops ‘writing itself,’ Todd Klick’s Beat by Beat will be your new best friend.”
—John L. Geiger, coauthor, Creativity & Copyright
“There have been other books that have dissected films before, but none to the detail of Todd Klick’s Beat by Beat. Discover the amazing intricacy of film(s) one minute at a time.”
—Matthew Terry, filmmaker, screenwriter, teacher
“Screenwriters . . . Beat by Beat is a book you’ll find most invaluable in your quest to write the next “Monumental Movie of the Millennium”! This book is your pass to the head of the line.”
—Forris Day Jr., reviewer and writer, scaredstiffreviews.com
“Beat by Beat takes screenplay story structure down to its smallest elemental level, guiding you on a minute-by-minute journey through what makes some of the most popular films resonate so strongly with filmgoers. Klick delivers a book that’s specific enough to get you placing all the right moments in exactly the right places, while also being broad enough to allow your creativity to explore and discover.”
—Tom Farr, writer, teacher, storyteller (whisperproject.net)
“Beat by Beat presents a refreshing new take on the age-old challenge of writing a book that will aid and inspire screenwriters. It is a useful tool for jumpstarting the script-writing process, but can also be applied as a way of double-checking story beats on a script well under way. One of its key strengths is it can be adapted to most any visual narrative medium from feature films, short films, and television episodes to webisodes and beyond.”
—Roy Finch, assistant professor, Chapman University
“A beat sheet that covers fundamentals and genres. Todd Klick has uncovered what makes great cinematic storytelling. A must for anyone in the business to make their film important and lasting.”
—Dave Watson, editor, Movies Matter
(davesaysmoviesmatter.com)
TODD KLICK
Beat by Beat
A Cheat Sheet for Screenwriters
Published by Michael Wiese Productions
12400 Ventura Blvd. #1111
Studio City, CA 91604
(818) 379-8799, (818) 986-3408 (Fax)
mw@mwp.com
www.mwp.com
Manufactured in the United States of America
Cover design by Johnny Ink. johnnyink.com
Interior design by Debbie Berne
Copyediting by David Wright
Copyright © 2016 Todd Klick
This book was set in Minion Pro and Gotham.
All rights reserved. No part of this book may be reproduced in any form or by any means without permission in writing from the publisher, except for the inclusion of brief quotations in a review.
Library of Congress Cataloging-in-Publication Data
Klick, Todd, author.
Beat by beat : a cheat sheet for screenwriters / by Todd Klick.
Studio City, CA : Michael Wiese Productions, 2016. | Includes filmography.
LCCN 2015043174 | ISBN 9781615932467
LCSH: Motion picture authorship—Handbooks, manuals, etc.
LCC PN1996 .K618 2016 | DDC 808.2/3—dc23
LC record available at http://lccn.loc.gov/2015043174
The author acknowledges the copyright owners of the following motion pictures from which single frames have been used in this book for purposes of commentary, criticism, and scholarship under the Fair Use Doctrine.
Skyfall ©2012 Metro-Goldwyn-Mayer Pictures, Columbia
Pictures, All Rights Reserved.
The Avengers ©2012 Marvel Studios, All Rights Reserved.
The Hangover ©2009 Warner Bros., All Rights Reserved.
A Beautiful Mind ©2001 Universal Pictures, DreamWorks Pictures, All Rights Reserved.
The Conjuring ©2103 Warner Bros., All Rights Reserved.
Gone Girl ©2014 20th Century Fox, All Rights Reserved.
Hitchcock quote, page 22, from Hitchcock by Francois
Truffaut, 1967, Simon & Schuster.
To Ray
CONTENTS
Foreword
Preface
Don’t Skip This Part!
Four Things You Need to Know (Before Reading This Book)
Frequently Asked Questions
1 Minute = 1 Screenplay Page
Top 10 Movie Archetypes
Essential Elements
4-Act Structure
Turning Points
ACT 1
1Attension!
2The Build
3The Ratchet
4Another Notch
5Jaw Dropper
6Friend or Fist
7Friend or Fist 2
8Something Startling Happens
9The Pursuit
10The Discussion
11The Warning
Inciting Incident
12Harsher Warning
13The Submission
14Danger Watch
15Whew, That Was Close!
16The Big Concern
17World Upside Down
Turning Point 17
18Trouble Turn
19The Threat
20Push Back
21The Great Effect
22Truth Declared
23Scary Stuff
24Scary Stuff 2
25Scary Stuff 3
26The Big Unexpected
27The Mini-Quest
28Big Quest Prep
29Big Quest Prep 2
30The Need
Act 1 Checklist
The Quest
ACT 2
31Distress Signal
32Anxiety Amp
33Ominous Oh No
34Friend Effect
35Bait and Switch
36Hide and Seek
37Over His Head
38Positive Reconnect
39New Journey Bond
40Ally’s World
41Thorny Rose
42Surprise Reveal
43Surprise Reveal 2
44New News
45Out of the Ordinary
Turning Point 45
46The Revelation
47The Escort
48Needed Knowledge
49Foreboding Fact
50The Portent
51The Engage
52Say Uncle
53The Intimidation
54The Lightbulb
55Sideswipe
56Dark Twist Chat
57Difficult Words
58Vital Event
59The Deception
60The Shocker
Act 2 Checklist
The Midpoint
Things to Keep in Mind for Act 3
ACT 3
61Plus Minus
62Flirtin’ with Disaster
63Ally Attack
64Bad Guy Threat
65The Resistance
66Positive Step
67Hero Effect
68Ally Aid
69Captivating Concern
70New Journey
71Bad to the Bone
72Badder to the Bone
73Baddest to the Bone
74Put into Peril
75Skull and Crossbones
Turning Point 75
76Death Tap
77The Rumble
78Mystery Mission
79Mystery Mission 2
80Tick Tick Boom
81Surprised Hero
82Surprise-Surprise
83Gotta Go!
84Gap Subtract
85Bad Guy Boo-Boo
Act 3 Checklist
The Final Quest
ACT 4
86Worry Wound
87Damage Done
88Double Damage Done
89Red Alert!
90Rescuing Ally
Turning Point 90
91Suffer the Weak
92Hugs ’n’ Kisses
93Hugs and Kisses 2
94The Aggressor
95The Separation
96Death and Dying
97Taping the Knuckles
98Kiss or Spit
99Kiss or Spit 2
100Kiss or Spit 3
101Deeper Deeper
103The Blow
104The Upper Hand
105The Deceit
Turning Point 105
106The Dodge
107Good Does Bad
108Sense of Finality
109The Extraordinary
110Strong Statement
111Turn for the Worse
112Charging Shark
113The Cage Slam
114Gets the Better
115Bleak Meek
116Kick ’Em While They’re Down
117Reprieve
118Hope Might Be Lost
119One Bullet Left
120Powder Keg
Act 4 Checklist
What if My Screenplay Is Longer Than 120 Pages?
Sacrificing the Flaw
That’s a Wrap!
Glossary
Beat by Beat Timeline
Filmography
About the Author
FOREWORD
“I have an idea for your next book,” my publisher, Michael Wiese, said over the phone. We somehow synched our busy schedules and wildly different time zones — he in England, I in Los Angeles. I was deep in the midst of five active writing and film-making projects and the thought of adding a sixth to the pile was unappealing. But Michael grabbed my attention by saying the following: “I’d like to do something with your Something Startling Happens story beats; something more streamlined; a kind of cheat sheet for screenwriters.”
I raised an eyebrow, like Spock does when an idea appeals to him: Hmm, a cheat sheet for screenwriters . . . fascinating.
I loved writing this book! It gave me the opportunity to create the kind of visual screenwriting guide I jonesed for when I first started penning scripts back in Pennsylvania, but could never find on the shelves. It also gave me the chance to develop a power-packed pictorial aide that summed up what I had learned from studying over (currently) 400 successful films in my quest to better myself as a writer. In short, I got to produce my fantasy screenwriting book: a go-to guide that features all the minute-by-minute storytelling secrets I’ve utilized (and tips I’ve learned from pros) to pen a bestselling book, option scripts, and sell numerous writing projects for the stage and screen.
It is my hope that this book helps you do the same.
Todd Klick
PREFACE
This book features a blockbuster movie from each of the top-selling genres: Action, Adventure, Comedy, Drama, Horror, and Thriller. The six movies I chose to represent their genres had to meet three criteria, or what I call “The Holy Trinity”: 1) Rated 75% or higher by critics on rottentomatoes.com; 2) Rated 80% or higher by audiences on rottentomatoes.com; 3) Earned a minimum worldwide gross of $300 million. In other words, audiences and critics not only loved these movies, but the films also made stacks of cash for their happy producers. Two of these films even grossed over an unbelievable billion dollars. These six movies are:
ACTION
ADVENTURE
COMEDY
DRAMA
HORROR
THRILLER
DON’T SKIP THIS PART!
These next sections explain the secret recipe. If you ignore this part and go right into cooking your story, the recipe won’t work. Take five minutes to read the next few sections and the minute-by-minute beats will be fully illuminated.
The best way to use Beat by Beat depends on what type of writer you are. Are you a Stephen King type, or a John Irving type? King said his writing process is “like walking through a desert and all at once, poking up through the hardpan, I see the top of a chimney. I know there’s a house down there, and I’m pretty sure that I can dig it up if I want.” Without a complete idea of where his story is headed, King starts writing the book, making the discoveries as he plows forward. John Irving, on the other hand, outlines extensively, knowing the fine details of each scene and chapter before he even begins writing his novel.
Whether you are a King or Irving type of writer, or you approach story from a completely different place altogether, you can use Beat by Beat as a page-by-page metaphor or checklist whenever you’re ready for it, or as an idea booster if you get stuck.
If you’re an Irving type of writer, you may want to do your research first, develop your extensive outline, write your first draft, then reference this book toward the end to see if you’re addressing each minute-by-minute guideline. Or maybe you want to find your story on your own and write a voluminous 300-page first draft to get it all out of your head. Cool, go do it. That’s fantastic. But eventually you may want to visit this book to see if your script addresses the successful minute-by-minute beats that all great films use.
When in need, this book can also assist while developing your overall structure or filling in second act weak spots. Use this book to brainstorm with other writers on how your story should advance or conclude, or to think up fresh ways to surprise the audience that is consistent with the minute beats and genre. You can also use this book to fill the gaps in your existing outlines or treatments.
When it comes to my own process, I hone a 12- to 17-page outline until the story is structurally sound, then when I write the script I reference the beat descriptions as found in Beat by Beat as I enter each page.
When I first applied the minute-by-minute beats, that’s when I attracted my first manager and advanced quickly to the Nicholl Fellowship quarterfinals. Soon after I had to hustle to meet another contest deadline with a new script. I didn’t have two months to outline like I usually did, so I decided to jump right in and “bang it out blind.” Starting at page one with only a grabber opening in mind, I wrote like Stephen King — discovering the story as I went along. As I approached each script page, I referenced each beat to keep me on track so I didn’t waste time. I wrote the script in two weeks (a personal record), and sent it off immediately to the PAGE International Screenwriting Contest where I made the finals. Since then, I’ve optioned and sold numerous scripts. My latest screenplays, using the beats as my guide, have recently attracted A-list production companies which have worked on numerous blockbuster movies like Star Wars: The Force Awakens, Super 8, and Mission Impossible: Rogue Nation. I owe all this attention to the minute-by-minute insights revealed in this book.
FOUR THINGS YOU NEED TO KNOW (BEFORE READING THIS BOOK)
1. I want to make something clear: The minute-by-minute beats you are about to read are not taken from the original screenplays or shooting scripts. They are drawn from far superior material: The final stories you see on the big screen after they were filtered through the studios’ vigorous distilling process.
2. You need to understand that the terms used in this book (like Main Hero, Ally, Bad Guy, Enemy, Villain, Sidekick) are flexible and interchangeable from page to page, depending on what’s happening in the scene.
Sometimes the enemy becomes the he
ro for a page (in The Avengers, Loki becomes the hero for a scene when he faces the intimidating leader of the Chitauri); or the ally becomes the enemy (in Gone Girl, Amy’s ex-boyfriend, Desi Collings — who saves her when she loses all her money — becomes her enemy).
Sometimes the ally can be an inanimate object (in The Avengers, a computer named Jarvis is Tony Stark’s ally, revealing information he needs to know), or the hero’s conscience can become the bad guy (in The Hangover, Stu’s guilt becomes his enemy). You must be flexible with these terms from scene to scene or the beats won’t work for you.
I also use words like explosion, damage, warning, or threat. Most times an “explosion” will be a literal explosion, or the explosion could be more figurative, like an explosion of emotion . . . A warning can be very dramatic or it can be something said subtly through clenched teeth. The dramatic level of these words can change from page to page, too, or story to story. But what’s important to realize is that they are there. These beats should be represented on every page, grand or small, or your screenplay may fall short. The reader or audience subconsciously expects these universal patterns. If you neglect to include them, the audience may feel gypped.
3. Try using the minute-by-minute catch phrases. I spent months paring down the phrases so they are descriptive and precise. The phrases were initially one sentence long, but after using them while wrestling with my own scripts, I found myself paraphrasing: “This is Minute 63, I need an Ally Attack.” Or, “This is Minute 77, I gotta have The Rumble.” These fun phrases get to the point of what needs to happen in the script — a tremendous time-saver. Writing partners and I use the catchphrases as shorthand. We even use the phrases while developing stories with clients, with other screenwriters, and during pitch meetings. The phrases work for us, and they’ll work for you too.
4. If you’re fond of using index cards while developing your story, this is a technique you’ll find helpful. After you’ve outlined your movie, scribble the minute-by-minute catch phrases onto 120 individual index cards, each card representing one minute. Then brainstorm on the card original ways you can demonstrate that minute in your story. For example, jot down as many Friend or Fist moments you can think of on card 6 (Minute 6 or Page 6 of your screenplay), or write as many Whew, That Was Close! moments as you can on card 15 (Minute 15). This’ll help you zero in your creativity and force originality.