[1] Snyder's approach has been widely adopted throughout the film industry[2][3] and the book has remained a bestseller since publication,[1][4] though it has received criticism for sexism[3][5] and for offering what is perceived as an overly formulaic view of structure.
He defines a logline as a one- or two-sentence summary of a film that encapsulates its tone, potential, dilemma, characters, and audience.
He suggests that dividing movies into categories based on their story types is more valuable than using traditional genre (e.g. romance or action).
The ideal hero, he argues, experiences the most conflict in the story's situation, has the longest emotional journey, and has a primal goal (e.g. survival, hunger, sex, protection of loved ones).
The writer creates an index card for each scene which are also written emotional change, and conflict.
Here Snyder lists tricks and rules that he has collected over the years, including the eponymous Save the Cat rule: the hero must do something that makes the audience like them and want them to win (for example, in Disney's Aladdin, Aladdin shares his stolen food with some hungry kids).
In the final chapter, Snyder discusses strategies for selling a script and making it in the film industry.
Goes to the Indies, a 2017 book by Salva Rubio that analyzes independent films according to Snyder's principles.
[4] The Blake Snyder Beat Sheet has become "a staple in writing classes,"[6] and critics have argued (positively and negatively) that the book differs from other screenwriting books due to "the absolute specificity of Snyder's formula, as well as its widespread adoption by the film industry.
Peter Suderman, writing for Slate magazine, suggested that the book is responsible for a decline in creative storytelling in contemporary film:[3]"In Save the Cat!, [Snyder] stresses that his beat sheet is a structure, not a formula, one based in time-tested screen-story principles.
"[3]Suderman goes on to argue that many pre-Snyder blockbusters, such as Jurassic Park, do hit all of Snyder's beats, but out of order and out of proportion.
He suggests that the real issue is the film industry's current adherence to Synder's exact beats, order, and page counts, making movies feel formulaic.
Mary M. Dalton, writing in the Journal of Film and Video, described Save the Cat!