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'''<font size=6>注意：本页面的主题<font color=#FF0000>不是救助流浪猫！</font></font>'''

[https://savethecat.com/get-started 原网站]内容为英文
中文内容为编者以GPTChat辅助翻译，保留原文供对照阅读

== 什么是Save the Cat!？==
WHAT IS SAVE THE CAT!? 

''Save the Cat!'' provides writers the resources they need to develop their screenplays and novels based on a series of best-selling books, primarily written by Blake Snyder (1957- 2009). Blake's method is based on '''10 distinctive genres''' and his '''15 story beats''' (the Blake Snyder Beat Sheet).

Our books, workshops, story structure software, apps, and story coaching teach you everything you need to unlock the fundamentals and mechanics of plot and character transformation. Our website offers beat sheets, tips and tactics, informative blogs, and guidance for writers — along with sharing the successes of both our teachers and students.

Welcome to the introduction to ''Save the Cat!''

《Save the Cat!》基于布莱克·斯奈德（Blake Snyder，1957-2009）所编写的一系列畅销书，旨在为作家提供创作剧本和小说所需的各种资源。布莱克的方法是通过10种独特的故事类型和15个关键节奏点（即布莱克·斯奈德节奏表）来帮助作家构建情节和人物发展。

我们的书籍、工作坊、故事结构软件、应用程序以及故事辅导课程将教授你如何掌握情节构建和人物转变的基本原理与技巧。我们的网站提供情节表、写作技巧与策略、丰富的博客内容，以及专为作家提供的指导，还分享了我们教师和学员的成功案例。

欢迎来到《Save the Cat!》的世界！

== 转机（双关） ==
THE TRANSFORMATION MACHINE

As storytellers, we need to meet only one demand: Tell us a story about transformation.

Every story is "The Caterpillar and the Butterfly." We start with a caterpillar living among the tall branches, eating green leaves, waving "hi!" to his caterpillar pals, little knowing that his is a life of profound deficiency. And then one day, an odd feeling comes over him that's so scary, it's like a freefall. Something strange is happening. And that something… is death. That's what the cocoon stage is. As caterpillar becomes chrysalis, he dies. He, and everything he knows, is no more. Can you imagine?

But when it seems like this purgatory will never end, when things look the most bleak, there's another stirring. Our hero sees light, and now he breaks through a weak spot in his prison, to sunlight… and freedom. And what emerges is something he never dreamed of when this all began, something… ''amazing!''

Our principles were developed to help you write stories about change — from short films on YouTube to studio blockbusters to best-selling novels. You don't need anything more than a good idea to get going on your script.

Where do you start? With the Logline.

作为讲故事的人，我们只需要满足一个要求：讲一个关于转变的故事。

每个故事都像是“毛毛虫与蝴蝶”的过程。故事从一只毛毛虫开始，它生活在高大的树枝间，吃着嫩绿的叶子，向毛毛虫朋友们挥手打招呼，毫不知情地过着日复一日的生活，完全没有意识到它的生命中其实隐藏着某种深刻的缺陷。直到有一天，一种奇怪的感觉袭来，像自由落体般让它感到恐惧。它意识到，某些奇怪的事情正在发生。而这件事……就是死亡。这是它进入蛹阶段的标志。毛毛虫变成茧，它死去了。它，和它熟知的一切，都不复存在。你能想象吗？

然而，就在这段炼狱看似永无止境、暗无天日的时候，另一个转折出现了。我们的英雄看见了光明，现在它突破了监禁中的薄弱点，迎向阳光……迎接自由。最重要的是，它从茧中蜕变出来的，竟然是它从未预料到的模样——是一个全新的、令人惊讶的自己！

我们的原则是，帮助你创作关于变化的故事——无论是YouTube上的短片、好莱坞的大片，还是畅销小说。你只需要一个好点子，就可以开始你的剧本创作。

那该从哪里开始呢？从剧情梗概开始。

== 剧情梗概==
THE LOGLINE

It's simple: the logline is one or two sentences that say everything about your story, and can be used as a double-check throughout the screenwriting process. From these few lines, you should be able to break out every element in a successful screenplay!

A good logline has 4 key elements:
# a type of protagonist (your hero)
# a type of antagonist (the bad guy or obstacle)
# a conflict (what's stopping the hero?)
# an "open-ended question" (what will happen?)

其实，这很简单：剧情梗概就是用一两句话概括整个故事的核心内容，它不仅能帮助你清晰地呈现故事，还能在剧本创作过程中作为一个检查工具。从这几句话中，你应该能提炼出成功剧本的所有关键元素！

一个好的剧情梗概包含4个关键要素：

#主人公的类型（也就是你的英雄）
#反派的类型（无论是坏人还是障碍）
#冲突（是什么阻碍了英雄的前进？）
#“悬念问题”（接下来会发生什么？）

== 故事的10种类型及其结构 ==
THE 10 GENRES

Genre and structure. These are the two organizing principles around all successful movies — and the STC! method.

A writer's job is to master the basics of each story type, and learn to give them your own twist that make them ring true for your generation! If you have a story you're struggling with, and can't figure out what it's about, or what kind of story it is, you can check it against these genres to find clues to make your story better, and more meaningful.

The 10 movie genres help writers tell what story they're writing.

'''Each genre has 3 components:'''

'''类型与结构'''是所有成功电影的核心组织原则——也是《STC!》方法的基础。

作为作家，你的任务是掌握每种故事类型的基本结构，并在此基础上加入你自己的创意，使故事能够与当代观众产生共鸣！如果你在创作过程中遇到困惑，不确定自己的故事究竟讲了什么，或者它属于哪种类型，你可以通过这些类型作为对照，找到线索，帮助你使故事更加清晰、有意义。

这10种电影类型能帮助作家明确自己正在创作的故事类别。

每种类型都有三个组成部分：

=== 伙伴之爱 ===
BUDDY LOVE

The 3 elements of a Buddy Love are:
1) An '''incomplete hero''' who is missing something physical, ethical, or spiritual; (s)he needs another to be whole.
2) A '''counterpart''' who makes that completion come about or has qualities the hero needs.
3) A '''complication''', be it a misunderstanding, personal or ethical viewpoint, epic historical event, or the prudish disapproval of society.

伙伴之爱的三个关键元素是：

1. 一个'''不完整的英雄'''，他在身体、伦理或精神上有所缺失，需要另一个人来帮助他变得完整。
2. 一个'''应对者'''，能够促使这种完整性的实现，或者拥有英雄所缺乏的特质。
3. 一个'''复杂因素'''，可能是误解、个人或伦理观点的差异、史诗般的历史事件，或是社会的保守态度与反对力量。

=== 遇到麻烦的人 ===
DUDE WITH A PROBLEM

The 3 elements of a Dude With A Problem are:
1) An '''innocent hero''' who is dragged into a mess without asking for it — or even aware of how he got involved.
2) A '''sudden event''' that thrusts our innocent(s) into the world of hurt — and it comes without warning.
3) A '''life or death''' battle is at stake — and the continued existence of an individual, family, group, or society is in question.

“遇到麻烦的人”类型的故事包含以下三个要素：

1. 一个'''无辜的英雄'''，他被卷入一场混乱，而他不仅没有主动参与，甚至没有意识到自己是如何被牵扯其中的。
2. 一场'''突如其来的事件'''，将这个无辜的角色推入了一个充满痛苦的世界——一切来得毫无预警。
3. 这场冲突关系到'''生死存亡'''——个人、家庭、团体，抑或是整个社会的继续存在，都面临严峻的威胁。

=== 愚者胜利 ===
FOOL TRIUMPHANT

The 3 elements of a Fool Triumphant are:
1) A '''fool''' whose innocence is his strength and whose gentle manner makes him likely to be ignored — by all but a jealous "Insider" who knows too well.
2) An '''establishment''', the people or group a fool comes up against, either within his midst, or after being sent to a new place in which he does not fit — at first.
3) A '''transmutation''' in which the fool becomes someone or something new, often including a "name change" that's taken on either by accident or as a disguise.

“愚者胜利”类型的故事包含以下三个要素：

1. 一个'''愚者'''，他的天真无邪反而成了他的力量，而他的温和性格却使得他容易被忽视——唯一能看透他的一切的，通常是那个嫉妒的“内行人”。
2. 一个'''体制'''，愚者必须面对的群体或个体，可能是他原本所属的群体，或者是被送到一个他一开始完全不适应的新环境。
3. 一次'''转变'''，愚者经历了蜕变，成为一个全新的角色或身份，这通常伴随着某种“名字的改变”，可能是偶然的，或者是一种伪装。

=== 金羊毛 ===
GOLDEN FLEECE

The 3 elements of a Golden Fleece are:
1) A '''road''' spanning oceans, time — or across the street — so long as it demarcates growth. It often includes a "Road Apple" that stops the trip cold.
2) A '''team''' or a buddy the hero needs to be guided along the way. Usually, it's those who represent the things the hero doesn't have: skill, experience, or attitude.
3) A '''prize''' that's sought and is something primal: going home, securing a treasure, or re-gaining a birthright.

“金羊毛”类型的故事包含以下三个要素：

1. 一条跨越海洋、时间，或者仅仅是街道的'''道路'''——只要它标志着成长的过程。途中通常会有一个“路障”，将旅程暂时阻断。
2. 一支'''团队'''或一个伙伴，英雄需要他们来引导自己走过这段旅程。通常，这些人代表了英雄所缺乏的东西：技能、经验或态度。
3. 一个被追求的'''奖赏'''，通常是一些原始的东西：回家、获得宝藏或重新夺回继承权。

=== 体制化 ===
INSTITUTIONALIZED

The 3 elements of Institutionalized are:
1) Every story in this category is about a '''group''' — a family, an organization, or a business that is unique.
2) The story is a '''choice''', the ongoing conflict pitting a "Brando" or "Naif" vs. the system's "Company Man."
3) Finally, a '''sacrifice''' must be made and you get three endings: join, burn it down… or commit "suicide."

“体制化”类型的故事包含以下三个要素：

1. 这一类型的每个故事都围绕一个'''群体'''展开——一个家庭、一个组织或一个独特的商业机构。
2. 故事中的冲突是'''选择性'''的，通常是“布兰度式”人物或“天真者”与体制中的“公司人”之间的对立。
3. 最终，必须做出一种'''牺牲'''，故事会有三种结局：加入体制、摧毁它……或者选择“自我牺牲”。

=== 屋中的怪物 ===
MONSTER IN THE HOUSE

The 3 elements of a Monster In The House are:
1) A '''monster''' that is supernatural in its powers — even if its strength derives from insanity — and "evil" at its core.
2) A '''house''', meaning an enclosed space that can include a family unit, an entire town, or even "the world."
3) A '''sin'''. Someone is guilty of bringing the monster in the house… a transgression that can include ignorance.

“屋中的怪物”类型的故事包含以下三个要素：

1. 一个'''怪物'''，具有超自然的力量——即使它的力量来源于疯狂——并且本质上是“邪恶”的。
2. 一座'''房子'''，意味着一个封闭的空间，可以是一个家庭单位、整个小镇，甚至是“整个世界”。
3. 一种'''罪行'''。某人对怪物进入屋内负责……这种过错可能包括无知。

=== 脱离瓶子 ===
OUT OF THE BOTTLE

The 3 elements of Out Of The Bottle are:
1) A '''wish''' asked for by the hero or another, and the clearly seen need to be delivered from the ordinary.
2) A '''spell''', which we must make logical by upholding "The Rules."
3) A '''lesson''': Be careful what you wish for! It's the running theme in all OOTB's. Life is good as it is.

“脱离瓶子”类型的故事包含以下三个要素：

1. 一个由英雄或他人提出的'''愿望'''，明确展示了脱离平凡生活的需求。
2. 一个'''魔法或咒语'''，我们必须通过遵守“规则”来使其合乎逻辑。
3. 一个'''教训'''：小心你许下的愿望！这是所有“脱离瓶子”故事中的主线主题。生活本身已经很好。

=== 成年礼 ===
RITES OF PASSAGE

The 3 elements of Rites Of Passage are:
1) A '''life problem''': from puberty to midlife to death — these are the universal passages we all understand.
2) A '''wrong way''' to attack the mysterious problem, usually a diversion from confronting the pain.
3) A solution that involves '''acceptance''' of a hard truth the hero has been fighting, and the knowledge it's the hero that must change, not the world around him.

“成年礼”类型的故事包含以下三个要素：

1. 一个'''生命中的问题'''：从青春期到中年，再到死亡——这些是我们都能理解的普遍的成长历程。
2. 一种'''错误的方式'''来应对神秘的问题，通常是一种回避痛苦的分心行为。
3. 一个解决方案，涉及'''接受'''英雄一直在抗拒的残酷真相，并意识到是英雄本身必须改变，而不是周围的世界。

=== 超级英雄 ===
SUPERHERO

The 3 elements of a Superhero are:
1) The hero of your tale must have a special '''power''' — even if it's just a mission to be great or do good.
2) The hero must be opposed by a '''nemesis''' of equal or greater force, who is the "self-made" version of the hero.
3) There must be a '''curse''' for the hero that he either surmounts or succumbs to as the price for who he is.

“超级英雄”类型的故事包含以下三个要素：

1. 你的故事中的英雄必须拥有一种特殊的'''能力'''——哪怕它仅仅是一个成为伟大人物或行善的使命。
2. 英雄必须面对一个强大的'''对手'''，这个对手的力量与英雄相当，甚至更强，是英雄的“自力更生”版本。
3. 英雄必须承受一种'''诅咒'''，作为他身份的代价，他要么克服它，要么屈服于它。

=== 为何犯罪 ===
WHYDUNIT

The 3 elements of a Whydunit are:
1) The '''detective''' does not change, we do; yet he can be any kind of gumshoe — from pro to amateur to imaginary.
2) The '''secret''' of the case is so strong it overwhelms the worldly lures of money, sex, power, or fame. We ''gots'' to know! And so does the Whydunit hero.
3) Finally, the '''dark turn''' shows that in pursuit of the secret, the detective will break the rules, even his own — often ones he has relied on for years to keep him safe. The pull of the secret is too great.

“为何犯罪”类型的故事包含以下三个要素：

1. 一个贯彻始终的'''侦探'''：我们才会改变，而他可以是任何类型的侦探——从专业的到业余的，甚至是虚构的。
2. 案件的'''秘密'''如此强大，以至于它超越了金钱、性、权力或名声的世俗诱惑。我们必须知道！侦探也同样如此。
3. 最后，故事的'''黑暗转折'''被揭开，侦探在追寻秘密的过程中，会打破规则，甚至是他自己长期依赖的规则——这些规则曾帮助他保持安全。秘密的诱惑实在太强大。

== 布莱克·斯奈德情节表 ==
THE BLAKE SNYDER BEAT SHEET

Blake's Genres tell us how movies can be different. But how can they be the same?

Blake codified a common '''structure''', a universal key to unlock every successful story: the '''15 story beats''' of the Blake Snyder Beat Sheet (the pages of your screenplay or novel are noted by the percentage marker that follows each beat name):

布莱克的类型告诉我们电影可以有多种不同的方式。但它们又是如何相似的呢？

布莱克总结了一个共同的结构，一个通用的钥匙，可以解锁每个成功的故事：布莱克·斯奈德情节表的15个故事情节（剧本或小说的每一页都由后续的百分比标记来标示每个情节名称）：

=== 第一幕：普通的世界 – 命题 ===
ACT 1: The Ordinary World – Thesis

==== 情节1 – 开场画面 (0-1%) ====
BEAT 1 – OPENING IMAGE (0–1%)

A thematic or grabbing visual image, scene, or short sequence which sets the tone of your movie. It often serves as the "before" picture of your hero (or world) that will transform throughout the story.

一种具有主题性或吸引力的视觉画面、场景或短小序列，用来设定电影的基调。它通常作为英雄（或世界）的“之前”画面，展示故事开始时的状态，这一切将在故事中发生转变。

==== 情节2 – 主题陈述 (5%) ====
BEAT 2 – THEME STATED (5%)

A line of dialogue that organically states what your story is all about. The theme is typically voiced by another character to your hero, calling out the hero's deeper flaw or spiritual need for change.

一段对话，通过自然的方式表明你的故事核心内容。这个主题通常由其他角色对英雄说出，指出英雄的深层缺陷或精神上的改变需求。

==== 情节3 – 设置 (1%-10%) ====
BEAT 3 – SET-UP (1%-10%)

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.

展示你主角的“普通生活”或现状。通过展示角色的缺陷，负面影响英雄的生活，进而帮助观众了解角色的生活。描述角色熟悉的世界，包括家庭、工作和娱乐，并介绍影响英雄生活的主要角色。

==== 情节4 – 催化剂 (10%) ====
BEAT 4 – CATALYST (10%)

The life-changing moment that happens to the hero and sets the story in motion. Provides that initial shove onto the story roller coaster.

发生在英雄身上的改变生命的时刻，推动故事的发展。它为故事的“过山车”提供了初始的推动力。

==== 情节5 – 辩论 (10%-20%) ====
BEAT 5 – DEBATE (10%-20%)

The reaction to the Catalyst, usually presented in the form of a question ("Do I really have to go on this dangerous quest?"). Can be a sequence of doubt, denial, evasion, or even preparation. It lends weight to the life-changing bigger journey yet to come and foreshadows the new world as one that you do not enter lightly.

对催化剂的反应，通常以一个问题的形式呈现（“我真的必须去参加这个危险的任务吗？”）。这可以是怀疑、否认、回避，甚至准备的过程。它为未来的更大冒险增加了分量，并预示着新世界将是一个不容小觑的地方。

=== 第二幕：颠倒的世界 – 反命题 ===
ACT 2: The Upside-Down World – Antithesis

==== 情节6 – 进入第二幕(20%) ====
BEAT 6 – BREAK INTO 2 (20%)

The hero decides to take action and locks in to accomplish a goal, venturing into a new world, or choosing a new way of  thinking. This is a no-turning-back decision that separates the old, ordinary world from the new world.

英雄决定采取行动，锁定目标，进入一个新世界，或选择一种新的思维方式。这是一个无法回头的决定，标志着旧的普通世界与新世界的分界线。

==== 情节7 – B故事(22%) ====
BEAT 7 – B STORY (22%)

A thematic secondary story is kicked off. Often, this is a story about love or friendship or mentorship.

一个具有主题性的次要故事启动了。通常，这是一个关于爱情、友谊或导师关系的故事。

==== 情节8 – 娱乐与游戏(20%-50%) ====
BEAT 8 – FUN & GAMES (20%-50%)

The hero is in the new world. This beat delivers on the ''promise of the premise''. It's a large section of the story that essentially presents "the movie you came to see." Contains scenes and sequences that are shown in the trailer of movies or hinted at in the blurb on the back of the book or on that "Coming Next Week" teaser at the end of a TV show.

英雄进入了新世界。这个情节兑现了''故事设定的承诺''。它是故事中的一大部分，基本上呈现了“你来观看的电影”。其中包含了电影预告片中展示的场景和情节，或者书籍封底的简介，或者电视节目结束时的“下周预告”。

==== 情节9 – 中点(50%) ====
BEAT 9 – MIDPOINT (50%)

The middle of the story and culmination of the Fun & Games. Usually, this beat is a ''false victory'' or a ''false defeat''. The Midpoint raises the stakes on the hero, forcing them to narrow their focus on winning the day or surviving. Often, a ''ticking clock'' is introduced here, ratcheting up tension and boosting the urgency.

故事的中间，也是娱乐与游戏部分的高潮。通常，这个情节是一次''虚假的胜利''或''虚假的失败''。中点提升了英雄的赌注，迫使他们集中精力要么赢得胜利，要么生还。一般会在这里引入某种''倒计时''，增加紧张感和紧迫感。

==== 情节10 – 坏人逼近(50%-75%) ====
BEAT 10 – BAD GUYS CLOSE IN (50%-75%)

Stakes have raised and tension is higher. External Bad Guys may be literally closing in or psychological, internal Bad Guys may be causing more problems.

赌注已经提高，紧张感更强。外部的坏人可能字面意思的正在逼近，或者是心理上、内在的坏人造成了更多问题。

==== 情节11 – 失去一切(75%) ====
BEAT 11 – ALL IS LOST (75%)

The moment the hero most feared actually happens. Now it looks like the hero will lose. Usually contains a ''whiff of death'' where someone has died or the threat of real death is in the air. This is the hero's rock-bottom moment.

英雄最害怕的时刻终于发生了。现在看起来英雄将会失败。通常包含''死亡的气息''，要么某人已经死去，要么真实死亡的威胁在空气中弥漫。这是英雄的低谷时刻。

==== 情节12 – 灵魂的黑夜(75%-80%) ====
BEAT 12 – DARK NIGHT OF THE SOUL (75%-80%)

A reaction to the All Is Lost where the hero wallows in sadness, mourning what was lost and lamenting that they are now worse off than before the story began. This is an opportunity to take stock, where meaningful learning happens on the way to transformation.

对“失去一切”时刻的反应，英雄沉浸在悲伤中，哀悼失去的东西，感叹自己现在比故事开始前更糟糕。这是一个反思的机会，也是英雄在转变过程中进行有意义学习的时刻。

=== 第三幕：合并的世界 – 综合 ===
ACT 3: Merged World – Synthesis

==== 情节13 – 进入第三幕(80%) ====
BEAT 13 – BREAK INTO 3 (80%)

A new piece of information is discovered and the hero realizes what they must do to solve all the problems that have been created in Act 2.

一个新的信息被发现，英雄意识到自己必须做什么才能解决第二幕中产生的所有问题。

==== 情节14 – 结局(80%-99%) ====
BEAT 14 – FINALE (80%-99%)

The big showdown where the hero finally proves they've learned the lesson that was taught via their struggles in Act 2. The quest is won, the dragon is slain, and when the smoke clears, the hero has changed. Their flaw is repaired and the world is indeed a better place.

激烈的对决时刻，英雄最终证明他们通过第二幕的挣扎学到了该学的教训。任务成功，龙被打败，当烟雾散去时，英雄已经改变。他们的缺陷得到了修复，世界变得更美好。

==== 情节15 – 最终画面(99%-100%) ====
BEAT 15 – FINAL IMAGE (99%-100%)

The "after photo" of the hero and the world. A mirror of the Opening Image. Shows how far the world and the hero have transformed.

英雄和世界的“后日谈”。是开场画面的镜像，展示世界和英雄的变化有多大。

== 布景板 ==
THE BOARD

Once you've filled in your Blake Snyder Beat Sheet, you're ready to tackle The Board.

'''The Board''' is the fabled device, seen in executive offices all over Hollywood, which allows you to "see" your movie before you begin writing by using 3 x 5 index cards, scotch taping them to a wall. It's a way to easily test different scenes, story arcs, ideas, bits of dialogue, and story rhythms — and decide whether they work.

一旦你填好了布莱克·斯奈德情节表，你就可以开始着手制作'''布景板（The Board）''' 了。

'''布景板''' 是一个神奇的工具，广泛出现在好莱坞的高管办公室中，它允许你在开始写作之前“看到”你的电影。使用3x5的索引卡，把它们用透明胶带贴到墙上。这是一种轻松测试不同场景、故事弧、创意、对话片段和故事节奏的方式——并决定它们是否有效。

And though it is not really writing, and though your perfect plan may be abandoned in the white heat of actually executing your screenplay, it is on The Board where you can work out the kinks of the story. It is your way to visualize a well-plotted movie, the one tool I know of that can help you build the perfect beast.

尽管这实际上并不是写作，尽管你完美的计划可能会在实际写剧本的过程中被抛弃，但正是在The Board上，你可以解决故事的难题。它是让你可视化一个精心设计的电影的方式，是我所知道的唯一一个能帮助你构建完美故事的工具。

The Board is broken down into four rows, 10 cards per row for a total of 40 — a good average count for the number of beats in the average movie.

The Board 被分为四行，每行10张卡片，共40张卡片——这是平均电影节奏所需的卡片数量。

Row #1 is Act One; the last card in that row, the '''Break into Two''', is your first major turn.

第一行 是第一幕，最后一张卡片，“'''进入第二幕'''”，是你第一个重要的转折点。

Row #2 is the first half of Act Two up to the Midpoint. This is where your '''B Story''' and '''Fun and Games''' cards will appear.

第二行 是第一幕至中点的第二幕上半部分。在这一行，你会看到你的'''B故事'''和'''娱乐与游戏'''的卡片。

Row #3 includes your Bad Guys Close In and All Is Lost cards leading to the final major turn, the Break into Three.

第三行 包含'''坏人逼近'''和'''一切皆失'''的卡片，直到最后一个主要转折点——'''进入第三幕'''。

Row #4 concludes your screenplay with the Finale and Final Image cards.

第四行 完成剧本，包含'''结局'''和'''最终画面'''的卡片。

And now, a shameless plug: Our software provides a "virtual" Board with cards already labelled with Scene Headings and more. In fact, because each scene is like a mini-movie with a beginning, a middle, and an end, we give you two more things to fill out on each card: the >< which indicates Conflict (who is in opposition to whom) and the +/- which indicates Emotional Change. Just like every good movie, every good scene has to have clear conflict and some emotional shift from start to finish. Filling in these symbols on every card prepares you to write quickly and confidently knowing EXACTLY what must happen in EVERY scene.

It couldn't be easier. Fill in The 40 completely and honestly, and you've got an iron-clad structure before you begin writing your novel or screenplay.

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