Story: Substance, Structure, Style, and the Principles of Screenwriting

Story: Substance, Structure, Style, and the Principles of Screenwriting❮Read❯ ➪ Story: Substance, Structure, Style, and the Principles of Screenwriting Author Robert McKee – Jobs-in-kingston.co.uk Robert McKee s screenwriting workshops have earned him an international reputation for inspiring novices, refining works in progress and putting major screenwriting careers back on track Quincy Jones, Robert McKee s Structure, Style, PDF/EPUB ä screenwriting workshops have earned him an international reputation for inspiring novices, refining works in progress and putting major screenwriting Story: Substance, Kindle - careers back on track Quincy Jones, Diane Keaton, Gloria Steinem, Julia Roberts, John Cleese and David Bowie are just a few of his Substance, Structure, Style, PDF/EPUB » celebrity alumni Writers, producers, development executives and agents all flock to his lecture series, praising it as a mesmerizing and intense learning experience In Story, McKee expands on the concepts he teaches in hisseminars considered a must by industry insiders , providing readers with the most comprehensive, integrated explanation of the craft of writing for the screen No one better understands how all the elements of a screenplay fit together, and no one is better qualified to explain the magic of story construction and the relationship between structure and character than Robert McKee. Click here to watch a video review of this book on my channel, From Beginning to Bookend A superb book that illuminates the purpose of writing stories and the most effective approach to penning tales that transcend the ordinary Click here to watch a video review of this book on my channel, From Beginning to Bookend A superb book that illuminates the purpose of writing stories and the most effective approach to penning tales that transcend the ordinary I think this is the first time where I read a book solely based off a scene in a movie The scene can be found here like, You cannot have a protagonist without desire It doesn t make sense ANY F NG SENSE and WHY THE F WOULD YOU WASTE MY TWO PRECIOUS HOURS WITH YOUR MOVIE I DON T HAVE ANY USE FOR IT ANY BLOODY USE FOR ITor less had me drooling For those of you who don t know anything about Robert McKee, he s the writing tea I think this is the first time where I read a book solely based off a scene in a movie The scene can be found here like, You cannot have a protagonist without desire It doesn t make sense ANY F NG SENSE and WHY THE F WOULD YOU WASTE MY TWO PRECIOUS HOURS WITH YOUR MOVIE I DON T HAVE ANY USE FOR IT ANY BLOODY USE FOR ITor less had me drooling For those of you who don t know anything about Robert McKee, he s the writing teacher you wished you had all those years when you were sitting around listening to some other flaccid asshole mumble nonsense about Freudian tropes and postmodern deconstructionism when all you wanted to know was why the hell you were reading a thirty page story about a guy counting raindrops on a window Successful playwrights, screenwriters, and novelists across the globe have made him a fascinating staple of the fiction community His premise is pretty simple storytelling has gone to hell for a number of reasons, but one of them is that we no longer teach the fundamentals of story construction We learn about books from the outside in, never the inside out There s a reason works like Hamlet, Casablanca, and Star Wars all have an endearing quality They all have something in common And that something is story But at risk of sounding like a cultist, I ll forego summarizing his whole approach and simply mention a few things If you re looking for the answer to the question of What makes good writing, keep looking, because it isn t here McKee doesn t claim he can polish a turd into Dune, but he can provide you with a very practical way to examine your own work, and a way to think about your story that puts things in perspective If you happen to be in the editing stages of a project and just can t seem to figure out what s missing, you might find some useful tools here to see your way through Whether or not you buy into McKee s system, you can t argue his passion This is a book filled to the brim with insight, heart, and common sense McKee talks Story from the heights of Shakespeare to the grit of Reservoir Dogs, discussing what works for every form of storytelling, why it works that way, and how a prospective writing talent can tap into forms, not formulas, that have worked for centuries And he loves it all, what s .I can t claim any sort of midnight conversion I haven t given my heart to McKee But I sure as hell would shake his hand and say, Thank you, sir, for being one of few people who talks about the single, unarguable, undeniable, Lord on high most important part of writing telling a story A good one.A very useful book If you give a hoot about storytelling, I d suggest you give it a glance YES It took me six months, but I finally, finished this bitch The reason it took me six months was that Story is incredibly dense, and in the best possible way If you want to understand what makes for a good story, and how and why they work, this is the book to read But you ll need to read it slow because this is the kind of dense where you ll want to stop and think about what you just read after every few pages to make sure it really sinks in.Though oriented primarily towards screenwriting, YES It took me six months, but I finally, finished this bitch The reason it took me six months was that Story is incredibly dense, and in the best possible way If you want to understand what makes for a good story, and how and why they work, this is the book to read But you ll need to read it slow because this is the kind of dense where you ll want to stop and think about what you just read after every few pages to make sure it really sinks in.Though oriented primarily towards screenwriting, the material is universal enough to address other storytelling mediums as well.In fact, I actually think it covers stagewritingeffectively than a lot of other books I ve read about writing for the stage Or maybe that s just because Mr McKee says all the same things I said back to my professors when they critiqued my plays in stupid ways.But whateva Read it Excellent Aimed at aspiring screenwriters but with a ton for everyone else too It makes a strong argument about an approach to writing that s really clear and seems possible There s a slightly dated tone that comes across as kind of art bro y, but if you can get past that there s some gold here.It s also the rare writing book where I learned something major in every chapter.I almost wish there was a companion volume of other writers talking about this book Seems like it warrants some big dis Excellent Aimed at aspiring screenwriters but with a ton for everyone else too It makes a strong argument about an approach to writing that s really clear and seems possible There s a slightly dated tone that comes across as kind of art bro y, but if you can get past that there s some gold here.It s also the rare writing book where I learned something major in every chapter.I almost wish there was a companion volume of other writers talking about this book Seems like it warrants some big discussions In a past life I did a professional writing degree for my undergraduate BA half of which was in script writing I wish we had been taught the stuff that is contained in this book This is such a good book it is hard to praise it too highly The advice is clear and all of it good From avoiding adverbs and adjectives in your treatment to the psychology of interesting characters this book has many very important things to say to anyone thinking about writing a screenplay or anything else, if yo In a past life I did a professional writing degree for my undergraduate BA half of which was in script writing I wish we had been taught the stuff that is contained in this book This is such a good book it is hard to praise it too highly The advice is clear and all of it good From avoiding adverbs and adjectives in your treatment to the psychology of interesting characters this book has many very important things to say to anyone thinking about writing a screenplay or anything else, if you ask me.The best of this is a quote from Hitchcock about his finishing writing the script for a film and then putting in the dialogue Hitchcock was fairly obsessed with this idea, saying somewhere that a good film is one where the sound could be turned off and you would still know what the film was about Film is about images Perhaps this is going a little too far although, too far is hardly far enough sometimes This book is at its best when it explains how scenes need to have beats and that these beats need to be the natural beats of emotion between characters in conflict and in change He explains this with reference to a number of films including one of my all time favourite films, China Town He also uses Kramer Vs Kramer one of the least impressive films I ve ever seen discussing the French toast scene sort of slapstick masquerading as drama and even the Use the force, Luke scene from Star Wars Beats is a really interesting way to think about drama and I will use this stuff when teaching.There is also wonderful stuff about writing films from the inside out that is, get the story right before you get the scenes or dialogue right His point being that those great scenes you have written will stop you being able to write a great film Why Because great films are so muchthan great scenes A great film is a whole and all of it works to build that whole This guy knows his Hegel even talks about the negation of the negation at one point, and qualitative and quantitative change Change is the key here, change that leads to completeness I know that is sounding vague, but his point is that you should know the end of your film before you start writing and then write the film to get to the end Everything in the film should lead, of necessity, to that end but the paradox is that the end should also come as a surprise He suggests you do this by focusing on two fantastic questions The first is, what is the worst of all possible things that could happen to my central character and yet at the same time how could this end up being the best thing that could have happened to them And the second is, what is the best thing my character could hope for and then, when achieved, how could that end up being the worst of all possible things The other fantastic advice he offers is to not have any bad guys in your films Like every character in Shakespeare except possibly Iago every character must be real must make decisions based on what is real to them and in their own best interests As he says, you have to like all of your characters By liking them you allow them to have wants and needs and if you drive the action of the film by expressions of these characters wants and needs how could you possibly go wrong He also has a wonderful metaphor of a film as solar system based on a central star and other characters being like planets around the star and minor characters revolving around the planets like moons But the best advice is if you can say it without dialogue, then do This is actually great advice for any kind of writing It is the show, don t tell advice with some substance added to it Because sometimes you can t show sometimes you do need to use dialogue but you never need to just tell , there is always a better way.This is a text well worth reading, not just if you think you have a film in you, but also if you want to enjoy filmor you just want to write better in general The advice that 90% of what you write is written to be thrown away is the best advice on writing you are ever likely to read I can t believe it s taken me so long to read this book I expectedof the same structure, story elements, character tips And those are certainly there But Story actually deserves its tremendously broad title, because that s exactly what this book is a discussion of story It s theory and practicality all wrapped up into one module McKee presents ideas I ve never seen elsewhere, backed up by solid example after solid example and all in an extremely engaging and absorbing way This is I can t believe it s taken me so long to read this book I expectedof the same structure, story elements, character tips And those are certainly there But Story actually deserves its tremendously broad title, because that s exactly what this book is a discussion of story It s theory and practicality all wrapped up into one module McKee presents ideas I ve never seen elsewhere, backed up by solid example after solid example and all in an extremely engaging and absorbing way This is deep stuff, but McKee makes it thrilling As a freelance editor of any type of writing, I am always searching for insight, wisdom, guidance, illumination about the many forms of writing that cross my desk I d heard about McKee s Story but shied away because screenwriting is so far removed from my usual work Or so I thought I bought the digital version on a whim thinking that it might prove useful someday as a reference book I was immediately hooked and read it straight through Then I went back and highlighted many passages for fu As a freelance editor of any type of writing, I am always searching for insight, wisdom, guidance, illumination about the many forms of writing that cross my desk I d heard about McKee s Story but shied away because screenwriting is so far removed from my usual work Or so I thought I bought the digital version on a whim thinking that it might prove useful someday as a reference book I was immediately hooked and read it straight through Then I went back and highlighted many passages for future pondering It s densely written You won t find this one tagged light reading Your commitment will be highly rewarded McKee sets your expectations with these section heads in the Introduction Story is about principles, not rules Story is about eternal, universal forms, not formulas Story is about archetypes, not stereotypes Story is about thoroughness, not shortcuts Story is about the realities, not the mysteries of writing Story is about mastering the art, not second guessing the marketplace Story is about respect, not disdain, for the audience Story is about originality, not duplication All true These tenants apply to screenwriting, novels, non fiction, poetry, short stories McKee explains it all with the passion of a true believer who is also an expert..I reveled in his diverse examples of movies that got it right and added some to my gotta see list I was fascinated by the line by line analysis of a pivotal scene from Chinatown I watch movies differently and enjoy my heightened awareness of why something is working Or not I m a better writer and adiscerning reader because of this book.I bought it thinking that it could be a useful reference for screenwriting specifically I now know it is a valuable reference for writing anything Putting this re read aside other priorities still an excellent book.This is the most useful book in my writing library I literally read and reread this book until I had absorbed it s messages into the marrow of my bones.An endlessly valuable resource that informs the basic structures both large and small of the stories that I write.Worth reading even if you have no ambition to write for the insights that it will give you into the nature of story and narrative.Written to support the developm Putting this re read aside other priorities still an excellent book.This is the most useful book in my writing library I literally read and reread this book until I had absorbed it s messages into the marrow of my bones.An endlessly valuable resource that informs the basic structures both large and small of the stories that I write.Worth reading even if you have no ambition to write for the insights that it will give you into the nature of story and narrative.Written to support the development of screenplays, but also completely adaptable to the Novel This is not a book This is like a school in a book A master s degree The amount of notes I took got out of hand, so I decided to just outright buy it, to have it handy The best parts are the scene analysis chapters, which are pretty much the same for novel writing and screenwriting Seeing a scene broken down into manageable bits has made it clear for me how to rewrite my scenes to make them better Because if I can t write excellent scenes, I can t write an excellent book, period So glad I This is not a book This is like a school in a book A master s degree The amount of notes I took got out of hand, so I decided to just outright buy it, to have it handy The best parts are the scene analysis chapters, which are pretty much the same for novel writing and screenwriting Seeing a scene broken down into manageable bits has made it clear for me how to rewrite my scenes to make them better Because if I can t write excellent scenes, I can t write an excellent book, period So glad I have revisited this book It was like reading a guide to self critique that doesn t sound like a guide but rather like a friend And in the end it moved me to tears the truth of it was overwhelming If you re into stuff like this, you can read the full review.Mach und Dach Story Substance, Structure, Style, and the Principles of Screenwriting by Robert McKee Original review, 1997 11 30 Aristotle s observations of drama, is very far from the early dramaturgy as 18th century Lessing for instance In the twenties when dramaturgy started to become a subject on its own in Central Europe where it started there was already in the beginning two different approaches, the Pi ce bien fait approa If you re into stuff like this, you can read the full review.Mach und Dach Story Substance, Structure, Style, and the Principles of Screenwriting by Robert McKee Original review, 1997 11 30 Aristotle s observations of drama, is very far from the early dramaturgy as 18th century Lessing for instance In the twenties when dramaturgy started to become a subject on its own in Central Europe where it started there was already in the beginning two different approaches, the Pi ce bien fait approach which mostly is today s melodrama and an agnostic approach basically used by Brecht not in the sense of V effect, but his approach to story like in Kleines Organon f r das Theater and many others where the approach follows the what he called Mach und Dach first you do something then you analyze what you have done and then build from that

Story: Substance, Structure, Style, and the Principles of
    Story: Substance, Structure, Style, and the Principles of In Story, McKee expands on the concepts he teaches in hisseminars considered a must by industry insiders , providing readers with the most comprehensive, integrated explanation of the craft of writing for the screen No one better understands how all the elements of a screenplay fit together, and no one is better qualified to explain the magic of story construction and the relationship between structure and character than Robert McKee. Click here to watch a video review of this book on my channel, From Beginning to Bookend A superb book that illuminates the purpose of writing stories and the most effective approach to penning tales that transcend the ordinary Click here to watch a video review of this book on my channel, From Beginning to Bookend A superb book that illuminates the purpose of writing stories and the most effective approach to penning tales that transcend the ordinary I think this is the first time where I read a book solely based off a scene in a movie The scene can be found here like, You cannot have a protagonist without desire It doesn t make sense ANY F NG SENSE and WHY THE F WOULD YOU WASTE MY TWO PRECIOUS HOURS WITH YOUR MOVIE I DON T HAVE ANY USE FOR IT ANY BLOODY USE FOR ITor less had me drooling For those of you who don t know anything about Robert McKee, he s the writing tea I think this is the first time where I read a book solely based off a scene in a movie The scene can be found here like, You cannot have a protagonist without desire It doesn t make sense ANY F NG SENSE and WHY THE F WOULD YOU WASTE MY TWO PRECIOUS HOURS WITH YOUR MOVIE I DON T HAVE ANY USE FOR IT ANY BLOODY USE FOR ITor less had me drooling For those of you who don t know anything about Robert McKee, he s the writing teacher you wished you had all those years when you were sitting around listening to some other flaccid asshole mumble nonsense about Freudian tropes and postmodern deconstructionism when all you wanted to know was why the hell you were reading a thirty page story about a guy counting raindrops on a window Successful playwrights, screenwriters, and novelists across the globe have made him a fascinating staple of the fiction community His premise is pretty simple storytelling has gone to hell for a number of reasons, but one of them is that we no longer teach the fundamentals of story construction We learn about books from the outside in, never the inside out There s a reason works like Hamlet, Casablanca, and Star Wars all have an endearing quality They all have something in common And that something is story But at risk of sounding like a cultist, I ll forego summarizing his whole approach and simply mention a few things If you re looking for the answer to the question of What makes good writing, keep looking, because it isn t here McKee doesn t claim he can polish a turd into Dune, but he can provide you with a very practical way to examine your own work, and a way to think about your story that puts things in perspective If you happen to be in the editing stages of a project and just can t seem to figure out what s missing, you might find some useful tools here to see your way through Whether or not you buy into McKee s system, you can t argue his passion This is a book filled to the brim with insight, heart, and common sense McKee talks Story from the heights of Shakespeare to the grit of Reservoir Dogs, discussing what works for every form of storytelling, why it works that way, and how a prospective writing talent can tap into forms, not formulas, that have worked for centuries And he loves it all, what s .I can t claim any sort of midnight conversion I haven t given my heart to McKee But I sure as hell would shake his hand and say, Thank you, sir, for being one of few people who talks about the single, unarguable, undeniable, Lord on high most important part of writing telling a story A good one.A very useful book If you give a hoot about storytelling, I d suggest you give it a glance YES It took me six months, but I finally, finished this bitch The reason it took me six months was that Story is incredibly dense, and in the best possible way If you want to understand what makes for a good story, and how and why they work, this is the book to read But you ll need to read it slow because this is the kind of dense where you ll want to stop and think about what you just read after every few pages to make sure it really sinks in.Though oriented primarily towards screenwriting, YES It took me six months, but I finally, finished this bitch The reason it took me six months was that Story is incredibly dense, and in the best possible way If you want to understand what makes for a good story, and how and why they work, this is the book to read But you ll need to read it slow because this is the kind of dense where you ll want to stop and think about what you just read after every few pages to make sure it really sinks in.Though oriented primarily towards screenwriting, the material is universal enough to address other storytelling mediums as well.In fact, I actually think it covers stagewritingeffectively than a lot of other books I ve read about writing for the stage Or maybe that s just because Mr McKee says all the same things I said back to my professors when they critiqued my plays in stupid ways.But whateva Read it Excellent Aimed at aspiring screenwriters but with a ton for everyone else too It makes a strong argument about an approach to writing that s really clear and seems possible There s a slightly dated tone that comes across as kind of art bro y, but if you can get past that there s some gold here.It s also the rare writing book where I learned something major in every chapter.I almost wish there was a companion volume of other writers talking about this book Seems like it warrants some big dis Excellent Aimed at aspiring screenwriters but with a ton for everyone else too It makes a strong argument about an approach to writing that s really clear and seems possible There s a slightly dated tone that comes across as kind of art bro y, but if you can get past that there s some gold here.It s also the rare writing book where I learned something major in every chapter.I almost wish there was a companion volume of other writers talking about this book Seems like it warrants some big discussions In a past life I did a professional writing degree for my undergraduate BA half of which was in script writing I wish we had been taught the stuff that is contained in this book This is such a good book it is hard to praise it too highly The advice is clear and all of it good From avoiding adverbs and adjectives in your treatment to the psychology of interesting characters this book has many very important things to say to anyone thinking about writing a screenplay or anything else, if yo In a past life I did a professional writing degree for my undergraduate BA half of which was in script writing I wish we had been taught the stuff that is contained in this book This is such a good book it is hard to praise it too highly The advice is clear and all of it good From avoiding adverbs and adjectives in your treatment to the psychology of interesting characters this book has many very important things to say to anyone thinking about writing a screenplay or anything else, if you ask me.The best of this is a quote from Hitchcock about his finishing writing the script for a film and then putting in the dialogue Hitchcock was fairly obsessed with this idea, saying somewhere that a good film is one where the sound could be turned off and you would still know what the film was about Film is about images Perhaps this is going a little too far although, too far is hardly far enough sometimes This book is at its best when it explains how scenes need to have beats and that these beats need to be the natural beats of emotion between characters in conflict and in change He explains this with reference to a number of films including one of my all time favourite films, China Town He also uses Kramer Vs Kramer one of the least impressive films I ve ever seen discussing the French toast scene sort of slapstick masquerading as drama and even the Use the force, Luke scene from Star Wars Beats is a really interesting way to think about drama and I will use this stuff when teaching.There is also wonderful stuff about writing films from the inside out that is, get the story right before you get the scenes or dialogue right His point being that those great scenes you have written will stop you being able to write a great film Why Because great films are so muchthan great scenes A great film is a whole and all of it works to build that whole This guy knows his Hegel even talks about the negation of the negation at one point, and qualitative and quantitative change Change is the key here, change that leads to completeness I know that is sounding vague, but his point is that you should know the end of your film before you start writing and then write the film to get to the end Everything in the film should lead, of necessity, to that end but the paradox is that the end should also come as a surprise He suggests you do this by focusing on two fantastic questions The first is, what is the worst of all possible things that could happen to my central character and yet at the same time how could this end up being the best thing that could have happened to them And the second is, what is the best thing my character could hope for and then, when achieved, how could that end up being the worst of all possible things The other fantastic advice he offers is to not have any bad guys in your films Like every character in Shakespeare except possibly Iago every character must be real must make decisions based on what is real to them and in their own best interests As he says, you have to like all of your characters By liking them you allow them to have wants and needs and if you drive the action of the film by expressions of these characters wants and needs how could you possibly go wrong He also has a wonderful metaphor of a film as solar system based on a central star and other characters being like planets around the star and minor characters revolving around the planets like moons But the best advice is if you can say it without dialogue, then do This is actually great advice for any kind of writing It is the show, don t tell advice with some substance added to it Because sometimes you can t show sometimes you do need to use dialogue but you never need to just tell , there is always a better way.This is a text well worth reading, not just if you think you have a film in you, but also if you want to enjoy filmor you just want to write better in general The advice that 90% of what you write is written to be thrown away is the best advice on writing you are ever likely to read I can t believe it s taken me so long to read this book I expectedof the same structure, story elements, character tips And those are certainly there But Story actually deserves its tremendously broad title, because that s exactly what this book is a discussion of story It s theory and practicality all wrapped up into one module McKee presents ideas I ve never seen elsewhere, backed up by solid example after solid example and all in an extremely engaging and absorbing way This is I can t believe it s taken me so long to read this book I expectedof the same structure, story elements, character tips And those are certainly there But Story actually deserves its tremendously broad title, because that s exactly what this book is a discussion of story It s theory and practicality all wrapped up into one module McKee presents ideas I ve never seen elsewhere, backed up by solid example after solid example and all in an extremely engaging and absorbing way This is deep stuff, but McKee makes it thrilling As a freelance editor of any type of writing, I am always searching for insight, wisdom, guidance, illumination about the many forms of writing that cross my desk I d heard about McKee s Story but shied away because screenwriting is so far removed from my usual work Or so I thought I bought the digital version on a whim thinking that it might prove useful someday as a reference book I was immediately hooked and read it straight through Then I went back and highlighted many passages for fu As a freelance editor of any type of writing, I am always searching for insight, wisdom, guidance, illumination about the many forms of writing that cross my desk I d heard about McKee s Story but shied away because screenwriting is so far removed from my usual work Or so I thought I bought the digital version on a whim thinking that it might prove useful someday as a reference book I was immediately hooked and read it straight through Then I went back and highlighted many passages for future pondering It s densely written You won t find this one tagged light reading Your commitment will be highly rewarded McKee sets your expectations with these section heads in the Introduction Story is about principles, not rules Story is about eternal, universal forms, not formulas Story is about archetypes, not stereotypes Story is about thoroughness, not shortcuts Story is about the realities, not the mysteries of writing Story is about mastering the art, not second guessing the marketplace Story is about respect, not disdain, for the audience Story is about originality, not duplication All true These tenants apply to screenwriting, novels, non fiction, poetry, short stories McKee explains it all with the passion of a true believer who is also an expert..I reveled in his diverse examples of movies that got it right and added some to my gotta see list I was fascinated by the line by line analysis of a pivotal scene from Chinatown I watch movies differently and enjoy my heightened awareness of why something is working Or not I m a better writer and adiscerning reader because of this book.I bought it thinking that it could be a useful reference for screenwriting specifically I now know it is a valuable reference for writing anything Putting this re read aside other priorities still an excellent book.This is the most useful book in my writing library I literally read and reread this book until I had absorbed it s messages into the marrow of my bones.An endlessly valuable resource that informs the basic structures both large and small of the stories that I write.Worth reading even if you have no ambition to write for the insights that it will give you into the nature of story and narrative.Written to support the developm Putting this re read aside other priorities still an excellent book.This is the most useful book in my writing library I literally read and reread this book until I had absorbed it s messages into the marrow of my bones.An endlessly valuable resource that informs the basic structures both large and small of the stories that I write.Worth reading even if you have no ambition to write for the insights that it will give you into the nature of story and narrative.Written to support the development of screenplays, but also completely adaptable to the Novel This is not a book This is like a school in a book A master s degree The amount of notes I took got out of hand, so I decided to just outright buy it, to have it handy The best parts are the scene analysis chapters, which are pretty much the same for novel writing and screenwriting Seeing a scene broken down into manageable bits has made it clear for me how to rewrite my scenes to make them better Because if I can t write excellent scenes, I can t write an excellent book, period So glad I This is not a book This is like a school in a book A master s degree The amount of notes I took got out of hand, so I decided to just outright buy it, to have it handy The best parts are the scene analysis chapters, which are pretty much the same for novel writing and screenwriting Seeing a scene broken down into manageable bits has made it clear for me how to rewrite my scenes to make them better Because if I can t write excellent scenes, I can t write an excellent book, period So glad I have revisited this book It was like reading a guide to self critique that doesn t sound like a guide but rather like a friend And in the end it moved me to tears the truth of it was overwhelming If you re into stuff like this, you can read the full review.Mach und Dach Story Substance, Structure, Style, and the Principles of Screenwriting by Robert McKee Original review, 1997 11 30 Aristotle s observations of drama, is very far from the early dramaturgy as 18th century Lessing for instance In the twenties when dramaturgy started to become a subject on its own in Central Europe where it started there was already in the beginning two different approaches, the Pi ce bien fait approa If you re into stuff like this, you can read the full review.Mach und Dach Story Substance, Structure, Style, and the Principles of Screenwriting by Robert McKee Original review, 1997 11 30 Aristotle s observations of drama, is very far from the early dramaturgy as 18th century Lessing for instance In the twenties when dramaturgy started to become a subject on its own in Central Europe where it started there was already in the beginning two different approaches, the Pi ce bien fait approach which mostly is today s melodrama and an agnostic approach basically used by Brecht not in the sense of V effect, but his approach to story like in Kleines Organon f r das Theater and many others where the approach follows the what he called Mach und Dach first you do something then you analyze what you have done and then build from that "/>
  • Hardcover
  • 466 pages
  • Story: Substance, Structure, Style, and the Principles of Screenwriting
  • Robert McKee
  • English
  • 12 March 2018
  • 0060391685