Customer Reviews

Story: Substance, Structure, Style and the Principles of Screenwriting (Methuen Film)

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1 star:		(2)

 

 

I have worked in film and TV for 15 years in various roles. I've attended McKee's lectures in person, and I highly recommend that anyone who wants to be a film/TV professional pay the money and go to the seminar in person. McKee's a master teacher, and his material is dead on. But, if you can't attend the seminar, then get the book. It's a smart, funny, personal, comprehensive approach to the craft of storytelling. As I put in response to a negative commenter here: In my experience, if you want to work in film or television, you absolutely NEED to read this book -- along with William Goldman's books, and Judith Weston's books. Those are the big three masters of the craft. Start here, with McKee's Story. Then go to William Goldman for historical perspective and great stories of the industry from the ultimate insider. Then go to Weston's books for the vital link between story/emotion and actor performance. It'll change your life, and at least give you a chance to navigate the near-impossible path to life as a professional creative in this business.

McKee writes with experience and depth, discussing in fine detail the elements of story and how they apply to screen-writing.

The lessons in this book can be applied well beyond screen-writing. The discussions of story acrs, character development, use of dillemmas and how scenes build to acts can all be applied to any form of story telling.

The approach is sound as McKee refuses to apply a pseuodo-scientific approach. McKee instead discusses real works in detail, grouping them to show themes in story-telling but refusing to apply false categories generated by a sham theory of literature. McKee has great experience teaching professionals how to write, perhaps this approach reflects that experience.

I noticed a big contrast between this book and some books that I have read about the craft of writing. The other books try to make writing simple, giving recipes, check-lists and encouragement; unfortuneately, this approach sometimes fails to teach me lastign lessons. However, McKee, whilst more difficult to read and apply in the short term, passes on information that is more useful and of greater flexibility.

I recomend this book to anyone who is learning to write. It is hard work to read, but very exciting to enter into a rich and professional discussion of story.

I've heard quite a bit about this book. I've found it to be a tremendous resource in understanding the heart of what makes a film compelling. The attention to detail makes it a thorough perspective in story telling.
I haven't finished the book yet, but that's been my experience so far.

This is not a cosy read, it is long (could benefit from an edit that cuts 25%) and in places not easy to understand. So why have I given it 5 stars? Because it is well worth the trouble of re-reading it to really understand how to write a scene and to understand character arcs. I was lucky in that it was a set book on my MA in Creative and Critical Writing and we had to summarise whole chapters so I got to really understand it. On that basis I thoroughly recommend this book as the guide to writing a scene and to understand the principle of characer arc. It is a bible that you should read and then dip into many times as you write your stuff.
McKee states correctly that stories are not made up of chapters, they are made up of scenes and it is by knowing the dynamics of a scene that help the writer create a good story. For example many writers understand that a character must change from the beginning of a story to the end of a story but McKee says that the point of view character must change (arc) in a scene also. This adds huge power to every scene and often explains why some scenes are flat (no character arc in it).
I would say this book, along with The Writers Journey: Mythic Structure for Writers, 3rd Editionand The Story Book: A Writer's Guide to Story Development, Principles, Problem-solving and Marketing and Story Engineeringare the main story theory books any writer needs on his or her shelf.
I wish I had read all of them when I wrote my first novel Call me Aphrodite; of course my book still turned out excellent :)
I recommend Story as a bible to read then dip into many times in the future.

I saw one of Robert McKee's shows many years ago, and he seemed like a blowhard. Several people in the audience asked him questions and he tried to intimidate them into accepting his answers.

Then I bought his book, Story, and the 1st chapter seemed like the same man I remembered. So I put the book down for several years.

But too many people reviewed his book on Amazon with great reviews. So I decided to get through the entire book in spite of my bias.

Wow! Story, by Robert McKee, is THE book on writing a story, for the screen, or for a novel. It is complete, powerful, and filled with useful information for writing your story. This is an incredible work.

I used to think only John Truby's 22 Steps was the magnum opus for screenwriters and authors, but that was wrong. You need a good screenwriting class with a good teacher and two books. "Story" is a MUST, by Robert McKee, and 22 Steps, by John Truby is the second MUST. They do complement each other and contain significant material missing from the other. Also, if you can find it, Dara Marks' book, Inside Story. Hers is the only one I've read out of hundreds that gets into the reasons for Story B and Story C in a screenplay/novel. Blake Snyder is good too, but McKee and Truby are full course meals, and Snyder is only an after dinner cookie.

Why McKee's book? Here's an example: the Inciting Incident sets up, hints at and points to the Obligatory Scene - the Crisis and Climax. In a good story, the Inciting Incident foreshows the Obligatory Scene and makes the audience eager to get to that part of the story. It creates the true Central Story Question and triggers the first level of suspense for your audience.

McKee's book is your master plan for creating a good, solid story. Then deepen your story with Truby's help. You will be the Story Writing Master.

A book written by a man about writing screenplays, who has never written his own.
The first thirty pages could have been summed up in one sentence. Dont buy

If you like your books written in the virtually impenetrable propeller head style, then this book is definitely for you. This is your book. But if like normal people you find that the propeller head style of writing to be heavy going, hard work, impenetrable and brain numbing almost to the point of depression, then stay well clear of this book because it will almost certainly, "do your `ead in". For the sake of your own health and others around you, look elsewhere if you want to maintain normal relationships with other normal people. On the back cover John Cleese has written a four word rendition of his thoughts on this book. That was probably all he could manage. That's four words more than I could possibly have come up with, as I don't think I could have managed a single one.