I'm sorry but I find it almost insulting that someone would stand up on an orange box and preach about a subject that he knows NOTHING about. To me that's the definition of a scam artist.

I have dozens upon dozens of screenwriting books and most of them are mediocre at best. The problem: Most are also written by people who haven't sold anything! How do these publishing companies keep allowing these non-screenwriters to publish books about screenwriting?

Ask yourself this: If you are trying to put together a model airplane, would you read the instructions by someone who has never done it before? If you were trying to rebuild a carburetor, would you read the book by the dude who knows nothing about cars or carburetors?

No, you wouldn't! (I hope.)

After wasting so much money on these wannabe snakeoil salesmen who are selling books about writing and yet have never sold anything, I've learned to stick with ONLY those who have been successful. After all, many of us who are aspiring to make it as writers don't want to read about other wannabe's 'theories' on how to make it as a writer, do we?

I've found two successful screenwriters who are worth reading: Blake Snyder and Cynthia Whitcomb. Their books are exceptional and worth reading several times over.

My advice: Instead of wasting your time reading books by people who TEACH and DON'T DO, find books only by people who have actually done it and are successful. Why read anything else? Doesn't make sense, does it?

Regarding Robert McKee, the guy hasn't 'done it' so why bother with him to begin with? If his 'theories' are so fabulous then why hasn't he been successful? Theories sound nice on paper but unless they are workable and something you can actually be successful with, they're worthless.

I just feel sorry for all the people who have been duped by McKee and who think the guy knows what he's talking about. Being that blinded could easily set your career back a decade or more. Beware of the snakeoil salesman. He can make you believe you are on the right track when really you are wasting a ton of time.

Fantastic content and narrative! McGee's book is awesome however the Audio CD really brings it all to life. Candidly, I'm surprised Robert is also so talented narrating the audio - this is a must-have purchase, even if you've already bought is book "Story".

Mckee's book is famous and hardly needs someone like me to review it. This is the bible of screenwriting. With that said, there are a lot of basics in here that advanced screenwriters always follow, but are beyond. It is a quick and interesting read that you will benefit from. After reading it, pick up the film Adaptation and laugh out loud.

By far the best book about the crafting of stories. McKee provides insights into story development that I haven't found in any other volume on screenwriting. Helped me immensely to be able to recognize viable plot lines, and understand why some stories just don't work. This is not a book for the beginning writer; it doesn't deal with such 101 stuff as script formatting. Rather, it's a higher level text for writers who have some knowledge of the craft. I go back again and again to this book.

While most everyone who works in Screenplay is familiar with Syd Field. Robert McKee I have found has a much less wordy and practical approach to understanding writing not only in movies which is the best use for this text but novels as well. Must read for anyone who writes anything.

The world would have far better stories that abused the tried and true archetypes a lot less if people would just read this book.

Some spots of this text can be long and some subjects can be kind of confusing. But this text is very good in detail about what things good screen writers should do and some things that they shouldn't do when writing screenplays. The fundamentals about writing good solid stories and coming up with ideas to create characters and have empathy for all the characters one creates in their screenplays. This is a must ready for any person that wants to become a screen-writer.

There is no need to repeat any of the comments about how truly great this book is, but I do want to say something about the few negative reviews of this book. Namely, that it was written w/ a huge dose of ego, and that it is a hard read. To put it simply, I have read literaly dozens of books on writing, and some certainly were nothing more than an excuse to tell everyone that the author was a writing-god. However, this is not one of those books. I didn't read a bit of ego into McKee's writing, but he does tell what he believes to be the truth of story design. After reading this book, I tend to agree with him. As far as being hard to read and understand, I just don't get this opinion. This book reads as straightforward as any work about the concepts of writing, and actually is easier to understand than many others. STORY is as good as it seems...a must read for writers and directors.

Screenwriter Robert McKee is an infectious evangelist on the importance of story in people's lives. His understanding is almost biblical in his perception on how humans are wired (e.g. the stories of the Old Testament, the parables of Jesus). Though primarily written for screenwriters, this tome includes the basic elements and structures every story must possess in order to engage an audience. Gaps and arcs and spines...it's all heady stuff and McKee breathes life into his calling by using real-life movie scripts and breaking his concepts into easy-to-understand building blocks that even a non-English major/electrical engineer like me can find comfort in. This text is indispensable and inspirational and I went back to it constantly during the 18 months it took to write my book. I only wish there was a hundred more pages for more movie scripts.

The first thing you must know about Robert Mckee is: this man has never sold a movie script to a producer, ¡never!. This guru has only written 3 TV scripts. The book of Mckee has some very interesting ideas, but you must be careful. Mckee has a very dogmatic character and all the time he believes to have the truth, the "only truth". The best of the Mckee ideas is the defense of the book "Poetics", written by Aristotle. "Poetics" is a classic where we can find the theory about the 3 acts and the resolution of the plot with the climax. Aristotle created the definition of "Deux ex-machina", a correct idea that Mckee defends. Another right thing of this writer is his emphasis in the mystery and the enigma for catch the interest of the audience.

There is no doubt that in "Story" you can find a lot of very interesting techniques about how a script must be written; but you must be careful. Robert Mckee is not god; sometimes he can be wrong, like all the men. If you are interested in movie scripts you must read this great book, but don't believe all the words of Mckee. Think by yourself.

The first thing you must know about Robert Mckee is: this man has never sold a movie script to a producer, ¡never!. This guru has only written 3 TV scripts. The book of Mckee has some very interesting ideas, but you must be careful. Mckee has a very dogmatic character and all the time he believes to have the truth, the "only truth". The best of the Mckee ideas is the defense of the book "Poetics", written by Aristotle. "Poetics" is a classic where we can find the theory about the 3 acts and the resolution of the plot with the climax. Aristotle created the definition of "Deux ex-machina", a correct idea that Mckee defends. The writer also puts emphasis in the mystery and the enigma for catch the interest of the audience.

There is no doubt that in "Story" you can find a lot of very interesting techniques about how a script must be written; but you must be careful. Robert Mckee is not god; sometimes he can be wrong, like all the men. If you are interested in movie scripts you must read this great book, but don't believe all the words of Mckee. Think by yourself.

Robert Mckee's book on screenplay is the best I have known so far. Yes indeed, this book is a masterpiece!

McKee points out that in this day and age, the process of story telling has been near forgotten. Universities teach the effect of film and not the process behind it. McKee knows the fundamental aspects of story and points them out concisely and poignantly. So many people have a problem with McKee because he points out the painful truth to struggling writers and people just don't want to hear it. The fact is, he states many times that there ARE no RULES only patterns that every writer needs to know and master.

This is the quintessential screenwriter's bible. I've written tons of screenplays, and I still refer to this book again and again. If this isn't in your library, you're not serious about writing for film/TV!

Transforming a lifetime of short stories to screenplays has become my focus. Struggling with story, my son told me he had a teacher in film school suggest this book. It helped him. Now its helping me. Hopefully, you'll be next. Screenplays are perplexing if you've always written in short story or book form. McKee assists in making the necessary thought revisions you must in order to succeed.

I bought this book three years ago, I keep referring to it whenever I am stuck in a script problem.I like the scene structure part very much, it is very focused, easy and helpful.

This is not a kind of book that you would read in the bus station or in one session.It is a lifetime friend once you decided to be a screenwriter.I am strongly convinced that "Story"is most useful for film and TV writers and not for any other writing genre.

Buy it, read it, re-read it and start writing knowing that it is a long journey.

If you can look past the contradictions, McKee's enormous ego, and writing as coherent and clear as that in Dianetics, you will occasionally find a helpful insight in this book.

In my experience books tested and proven before being written tend to be the best. A prime example - Angela's Ashes, won the Pulitzer Prize, fine tuned by the author McCourt doing a one man show talking about his wicked cruel childhood, growing up in Limerick, Ireland.

In the same way, Story evolved out of McKee giving lectures, and now, he continues to spread the word.

McKee is definitely an antagonist as opposed to a protagonist, and in person a funny and engaging fellow, and an excellent teacher. As you might expect, he does know how to tell a funny story, and he had a little fun at the expense of some of the sacred cows in the industry. I particularly liked his rant about Roger Ebert, who took his name in vain once but never again.

Anyway, the book shines a bright light on the elements of story. Conflict is to story what sound is to music. Story trumps dialogue in importance. Setups, payoffs, turning points, structure, inciting incident, protagonist vs antagonist, resonating and contrasting subplot, negation of the negation. Emotional value of scenes. Arc of the character. Act structure, rhythm and pacing. Text and subtext, beats, exposition. Character, dimension, step outline. All this and so much more.

Perhaps the most important single thing I learned from McKee is..treatment. The character treatment may be twice as long as the screenplay. This is the key difference between aspiring screenwriters, and successful ones.

I open my book, and look at his personal inscription to me, which I am sure he has written to many others... "Write the truth." I will, Mr McKee, I will.

If you were to find this review helpful, please click yes.

In my experience books tested and proven before being written tend to be the best. A prime example - Angela's Ashes, won the Pulitzer Prize, and was fine tuned by the author McCourt doing a one man show talking about his wicked cruel childhood, growing up in Limerick, Ireland.

In the same way, Story evolved out of McKee giving lectures, and now, having written the book he continues to spread the word.

McKee is definitely an antagonist as opposed to a protagonist, and in person a funny and engaging fellow, and an excellent teacher. As one might expect, he does know how to tell a funny story, and he had a little fun at the expense of some of the sacred cows in the industry. I particularly liked his rant about Roger Ebert, who took his name in vain once but never again.

Anyway, the book shines a bright light on the elements of story. Conflict is to story what sound is to music. Story trumps dialogue in importance. Setups, payoffs, turning points, structure, inciting incident, protagonist vs antagonist, resonating and contrasting subplot, negation of the negation. Emotional value of scenes. Arc of the character. Act structure, rhythm and pacing. Text and subtext, beats, exposition. Character, dimension, step outline. All this and so much more.

Perhaps the most important single thing I learned from Mc Kee is..treatment. The character treatment may be twice as long as the screenplay. This is the key difference between aspiring screenwriters, and successful ones.

I open my book, and look at his personal inscription to me, which I am sure he has written to many others... "Write the truth." I will, Mr McKee, I will.

If you were to find this review helpful, please click yes.

If one were to read Joseph Campbell's, A Hero With a Thousand Faces, and Story, you would have the foundations (not formula) for understanding why story telling is such a powerful medium for communicating eternal truths. McKee says all people have an insatiable appetite for story. We can't get enough of them.

When I wrote my first screen play it was fun and then I realized I needed education but didn't want to go to school. This book was the right read. McKee is a master - giving wonderfully reasonable examples of what works or doesn't. Certainly a novice screenwriter will benefit greatly.

Being a playwright, I had had many reservations about transferring my interior visions into a potential movie.
This book covers the basics and gives details as to the 'what' and 'how' of script writing.
I enjoyed his explanations and candar on the theories about what each extreme (artistic vs commercial films) on the cinematic scale thinks and supposes of each other.
It cuts through every excuse one has for not getting to the plotting and writing; a fantastc sense of equality.
I am a believer!
The key is a good story.
Nothing more.
Nothing less.

It's a page turner. Not only does it talk about story structure , but the real joy is discovering McKee's insights into human nature .

Through reading this book I have been fortunate enought to write 7 plays and have them publicly produced. It is the best book to read if you have interest in writing. I have since bought many other writing books and still it is McKee's book that I go back to, to read when I'm struggling with a play or screenplay.
It's my writing bible, my copy is all dogged tailed and has marks all over it. If you're serious about writing this is the book for you. I have like bought it over half a dozen times and given it to friends.

If you are serious about creating a STORY, in the real sense this book is for you.

This book was forced on my by a friend 3 years ago. He told me that the first three chapters were hard, but stick with it. And he was right this is the most amazing boook for a writer and those interested in story structure.

It's a page turner. Not only does it talk about story structure , but the real joy is discovering McKee's insights into human nature .

Through reading this book I have been fortunate enought to write 7 plays and have them publicly produced. It is the best book to read if you have interest in writing. I have since bought many other writing books and still it is McKee's book that I go back to, to read when I'm struggling with a play or screenplay.
It's my writing bible, my copy is all dogged tailed and has marks all over it. If you're serious about writing this is the book for you. I have like bought it over half a dozen times and given it to friends.

If you are serious about creating a STORY, in the real sense this book is for you.

McKee's book is tremendously thought-provoking and it's well worth taking a great deal of time to digest his ideas and advice. For anyone who is seriously interested in thinking about what makes a story worth reading or watching, this is one of the best books available.

1. If you don't like formulas, this is the place for you.

The author is against using formulas as screenwriting tools. Instead, he gives you the tools to build your screenplay with the freedom you sure crave for.


2. The author knows his stuff.

From page one to the very last one you'll get world-class information about screenwriting. It is evident that the author has read some of the very best books on dramaturgy ever.


3. He will even tell you how you can build a screenplay, the master's way.

Most beginners may learn everything about structure. They can learn the proper format of a screenplay. But the truth be told, there's something missing. The author will explain that in his chapter about the method of writing successful screenplays. Just the way the pros do it!


4. Ain't that brilliant!

If you have read a lot of screenwriting books, you might find yourself already knowing most of the information in the book. Yet, there are some paragraphs that are absolutely brilliant. They alone are worth the price of the book by far. When you read the book, read it very carefully, you don't one to miss those amazing lines.


5. The endorsements for the book are of the highest regard.

Many, many screenwriters and screenwriting teachers have this book on the top of their list. The book is so great that it's even been translated to other languages.


6. The book has become such a classic that if you go to a top screenwriter's meeting the author or his book might come up one moment or another in the conversation.

If you want to make a lasting impression, don't read it. I mean, if you want to make a bad lasting impression. That's how important it is to read this book. Even if you already know everything there is to know about screenwriting, you still need to get this one. It's a must for your screenwriting culture and education.


7. The book is inspiring.

It's about artists and not technicians. It is about the love of movies and not money. It is about confidence, and not artistic suicide.


Extra tip: If you want to know more about other classic books on dramaturgy, read Write that play, and Theory and technique of playwriting and screenwriting.

ENJOY!

Fortunately, this is the first book about screenwriting I read. And I say fortunately because after reading many many books (some bad, some good) it became quite clear that if I had started with another book I might not have liked screenwriting at all. What I mean is that when I began thinking that I wanted to become a screenwriter, if I had read some of those lousy books out there I might very well had given up on the fine art of screenwriting.

This book will give you knowledge as well as inspiration. I actually read it three times before reading anything else. I don't care if the author has never written a screenply himself. His explanations and concepts are extremely insightful and inspiring.

Now, I will share a secret with you... I'll tell you about some pretty darn good dramatic authors who can help you improve a lot...

Gosh! I shouldn't share their names with you... I certainly don't want more competition out there. I guess I admire these authors so much that I can't but recommend them.

So, here goes my secret:

If you want to find excellent books on dramatic writing you might want to take a look at all my reviews of other books I've read. These are the secret books almost no one is telling you about!

There are two things you need to know before you read this book. First, Robert McKee is not a produced screenwrtier. As a result, there is a sense of bitterness throughout this book. But McKee does write books and holds seminars on how to write a screenplay. The fact that he his unproduced is pointed out by many of his critics, many of them produced screenwriters.
Second, it helps if you watch at least two of the movies he analyzes in the book. They are Casablanca [HD DVD] and Chinatown. It would also be of help to watch any movies directed and/or written by Ingmar Bergman. Other movies of interest would be Kramer vs. Kramerand Star Wars Episode VI - Return of the Jedi (1983 & 2004 versions, 2-Disc Widescreen Edition). If you do not, you will be saddened for the book does contain spoilers for these movies.
The book is well written and concentrates solely on structure and developing your plot into a well written script. He does mention the necessities of what you must include or in some cases, exclude. Advice for writng in different genres is also included. Explanation is furthured by referencing and analyzing the above mentioned movies.
But if you are new to writing screeplays, you will need to read another book on format, such as David Trottier's excellent book,The Screenwriter's Bible: A Complete Guide to Writing, Formatting, and Selling Your Script--which is quite important on seling your script and to many an important factor.
Also, the scripts he analyzes are the final scripts. Many scripts that are sold have been rewritten numerous times before they even go into filming.
The basic flaw of this book is this, a well written structured screenplay does not mean a guaranteed sell. Producers are always looking for high concept stories. In other words, ones that will bring in the big dollars.
You can keep this book at your desk for ready reference as he recommends at the end, but in reality it is all about your story that will sell. The bottom line is write because you love or enjoy it and you have a great story to tell.

I found Robert McKee's book STORY to be very helpful. Although it comes at the development of storyline from a screenwriters perspective there is plenty enough powerful information here to benefit every writer who wishes to hone their craft, whether they be screenwriter or not.

I am currently using Robert's insightful revelation of STORY: elements of a great story via effective use of plot-types, proper structures, intriguing character development, etc ... Plus it reveals to you ways to keep your STORY moving at a vivid, movie-like pace. It's all here in STORY!

Thank You Robert for your work in STORY. As an Author of Middle-Grade to Young-Adult novels myself, the need for great STORY is ever present. I have used your advice in the development of my EAFIN LOKDORE TRILOGY commencing with BOOK I - EAFIN LOKDORE and the MAGICIAN'S LOST MEDALLION.

Sincerely,
R.G. Edwards
[...]

Don't get me wrong, this is a book that every screenwriter should read, but... I find myself at odds many times when reading it. First look at Robert McKee's IMDb listing. Here is a man who has NOT written a number of award-winning screenplays. I also believe that many of his observations about movies (and Hamlet) are just plain wrong... citing his opinion as fact. Unfortunately there are not many good books on the subject of screenwriting as the good screenwriters are writing screenplays rather than books about how to write screenplays. In the book's defense there are great insights about developing interesting characters and the need for conflict.

Like most people who have studied film, he puts too much stock in the classics. Not that they are not to be admired, but if you look deep enough you will find flaws with them as well.

All in all a good read but a little long for the actual information content. Still the best book on the subject of story writing in my opinion is "Backwards & Forwards" by David Ball if you're lucky enough to find it. I've also found that "The Screenwriter's Workbook" by Syd Fieldd gets a lot more use especially when you're trying to write your first few screenplays.

Heaven forbid this book ever be confined to the world of screenwriters. I have been reading 'writing' books for the last fifteen years, and probably 40 or so have been read cover to cover. This is THE book I was always looking for and never realised until i read it. It is written with such depth and unparalleled understanding of story that I have read it 3 times through, noting every chapter, highlighter in hand, just to absorb all of its mouthwatering lessons. Every facet of storytelling is demystified.

You have an idea for a movie script, but are just looking at a blank white piece of paper. Here's a book that will get you going in the right direction.

I bought this book for an advanced screenwriting class and was very happy with the work I produced based on the guidance from this great film teacher. I read Syd Field's book too but STORY is much more indepth. It helps you focus on the question of your film and how it gets answered in the the three act model. If you're thinking about writing a screenplay I highly recommend it over all other choices.

Mckee has gathered most of the world's knowledge of story and laid it out on paper, nice and neat. This a truly comprehensive guide through the stuff that is story. You will be left wanting more details on occasion, but no other book assembles such a vast amount of truth in story. You could argue that none of this is original thought, and maybe it's not but it is the encyclopedia of crafting tales. Buy it, keep it, refer to it, and write better! Plain and simple.

This a very good book on screenplay story telling. After reading this book, I understand exactly what it takes to write a viable screenplay. I even can predict other movies that I watch just based on the theory presented in this book. Movies that don't follow this recipe are the ones that aren't very good. I find that the movies that do follow the theory presented in STORY, have the best ratings. This is a must get book if you are serious about writing screenplays.

This is one of the best books I have read in a while about writing. It is not just for screenplay writers, but for anyone who is interested in writing stories. The practical tips on structure are excellent and very helpful.

Just as Syd Field found a profound pattern based on the "golden proportions of structure in time" (the film's timeline), and he is perhaps one of the best to bring this to light, Robert McKee gives you that other thread in the "pleat of creation:" STORY. For there is STRUCTURE, there is STORY and there is IDEA. So, it's not about comparing which is best, Syd Field or McKee, it's about discovering the other strand that makes a film, novel, short story, theater play ... work. This book gives you the nuts and bolts of how to "spin a yarn" that makes not only sense and moves, but uplifts the human condition within it. I have not found (nor have I looked hard, yet) a book that describes the third thread in this pleat of story telling: IDEA. Ideas abound, but not all of them make great stories. Nevertheless, by following Syd Field's and Robert McKee's experiences, you can make your idea for a story (whether in film or novel) work so they don't fall flat. You may have a great IDEA but if it's not presented in the correct STRUCTURE, nor in the correct order to make it work as a STORY, as great as it may be it could become a blunder. McKee goes even further ... he analyzes various types of structure so as to fit story, for not all story formats can be made to fit in the classic pleat presented by Syd Field. They may need more than two Turning Points and a special event in the Middle of the story. But, as McKee presents it, there are drawbacks (interesting ones) when you shape your story into a different structure.
Some reviews say that McKee's STORY isn't nuts and bolts. It is ... about Story, about how to tell a story, about how character motivations, desires, unconscious desires, make up story. As abstract as this may seem, he manages to present the subject in a very precise manner with lots of examples from films. The key to understanding this book is not to expect a work on "Script Format" nor on how to find great ideas, but, as the title says, on the inner workings of STORY, that which gives dimension to story. Just when you think that you know the basics (and a bit more) of story writing, McKee crosses your path and makes you wonder why his book didn't fall into your hands before. Maybe because you weren't ready ... :-)
Leonardo Wild - writer (9 published books in Spanish and German), screenwriter (various produced documentaries and short films) and article writer (over 200 published articles).

I don't have much to add to what has been written about this remarkable book, except to say that McKee has more brains and more common sense than any writer I've seen on the subject. He spells out principles rather than rules, shows how they apply equally to a Hollywood blockbuster and a Bergman film, and most remarkably explains how things that appear to be exceptions to these principles are in fact, not. Start your reading on the subject here; everything else is just a footnote.

'Story' has helped me immensely. This book is to all writers what Stephen King's book ("On Writing") is to novelists.
But if you are a novelist don't be put off by the fact that this book was written by a screenwriter teacher. This
book should be part of the library for every writer, producer, director and novelist.

Whenever I find myself in difficult times writing I have pulled this book off of my shelf for guidance in writing substance, structure, and style or for just reinforcing the prinicples of good story-telling.

I am a writer, not a screenwriter but found this book, that was recommended by a friend, to be outstanding for writers as well. The author takes you step by step, in incredible, logical detail, through the process of communicating and screenwriting. The concepts he uses, the style, it is all very easy to understand and while it takes a will to read it, an interest in the craft but it is well worth the read if you're interested in the topic.

With all the fanfare around this book I would have thought there would be a bit more meat to it but unfortunately there was not. The pages in this book give no more help than critique from an independent party on your story. McKee always uses the same movies as his base from which he states that most stories fail the audience and his ideas are nothing new, just long winded. If you never studied creative writing or have never written and are thinking of doing it, this is a good book. If you are already a writer and know about all the rules and have already heard the typical critique on form and function, then avoid this book.

Story is also a treasure trove for the self-taught writer. Included are enlightening charts of genre and subgenre, and the best explanation of them I've come across. You'll also find a detailed discussion of plot types. After you read, you'll know the difference between the Redemption Plot and the Maturation Plot, between Education and Disillusionment Plots, and understand the many subgenres of Comedy. You'll see your protagonists in a new way, and may even finally realize where you want to head with your work in progress.
To guide you to that happy moment, McKee concisely details how the most memorable stories are created. From the basic story elements he calls "Beats", to "Controlling Idea", the principle you'll use to guide your story toward its honest conclusion, his words apply as well to fiction writing as they do to writing for the screen.
Following his advice will not burden you, he insists, it will liberate your creativity. Indeed, Story doesn't advocate a simplistic formula, it carefully lays out the underlying principles of the craft - principles that are what they are for one very good reason: time has demonstrated how well they work.
To keep things entertaining, McKee illustrates his points with actual examples - an excerpt from Casablanca featuring Bogart and Bergman, a snip of dialogue with Dunaway and Nicholson from Robert Towne's Chinatown. His knowledge seems encyclopedic. Throughout, he uses actual situations from classic films, and the tactic works - we stay awake, and we get it.
Last year, when I needed help with the plot of my current WIP (as yet unsold), author Dave Shields directed me to Story. I'll be grateful a long time. For the first time (after studying the text) I really understood the nature of the beasts I'd been creating. It then became much easier to pinpoint the control idea, turn the narrative, and follow through to the end.
In summary, if you don't happen to have an MFA from a prestigious Writer's Workshop on the wall behind your desk, this work belongs in the bookstand in front of you, right next to your dictionary.
Art Tirrell - author of The Secret Ever Keeps, ISBN 978-1-60164-004-8 [..]

Bob McKee has done us all a favor. He has unpacked for us not only the elements of good storytelling in film, but why it is that when we view movies, we are so disappointed so much of the time. (It's as if he's got the great carcass of the 'bad movie' splayed in front of us on the table, and he goes about an autopsy). He makes movie-watching a mindful experience, not just an emotional one.

McKee sets about defining and explaining the construction of scene, action, character, idea, theme and beat; and in a medium that rewards perimeter-pushing innovation, McKee reminds us of the larger purpose of excellence, all the while grounding his ideas in history of story-telling: the Greeks, the classics - the proven. Then he backs up every one of his propositions with well-reasoned examples. He tells us, for instance, why an 'art film' should be more than just "anything goes," and he details the difference between character and characterization. Movie reviewers, take note: he pulls together and clarifies, finally, a standard by which to measure all the elements of film.

This book is already a classic, transcending cultural whim and current fads in movie-making, and I am certain it will become a textbook for serious writers of the medium called 'film.' (And maybe it has already!)

A note: I listened to the book on CD and although McKee himself is a wonderful writer (succinct and colorful both), he reads his own work, and his voice and delivery is a little... unyielding (for lack of a better word, Bob), but on the plus side, very authoritative - he certainly kept me wide awake on my commutes.

This is one of best the books I've ever read! I love this book!

Robert McKee breaks down the fundamentals and subtleties of story design masterfully. In the most matter-of-fact tone, he explains the basics of screenwriting form. From beats to acts, from character to characterization, from negations to the negation of the negation; it's all here.

Rarely verbose and often humorous, McKee's writing is a delight to read. Anyone can enjoy this book. It will change the way you watch films, read stories, and develop your own projects. You will walk away from this book with greater understanding and confidence in the craft of screenwriting.

I enjoyed Writing The Character-centered Screenplay, but this book is a knockout! Like so many others, I was inspired by to pick up Mckee's book by the film Adaptation. The book is an enlightening read and a great reference.

I found the index card suggestion extremely helpful! McKee's breakdown of story and character arcs is elegant. His references to Aristotle's Poetics are useful.

I've read this book once and I'm sure I'll read it many more times. Go ahead and read other screenplay books, but if you want real help on how to write compelling, quality screenplays, this book is your guiding light.

This book is great on a variety of levels. It will make you laugh hard, and it will move you. It will spark your intellect and creativity. This is one of my most important reads. I learned so much from this book. I recommend it to everyone.

Everyone is a storyteller. We are biologically hardwired to communicate through stories. Stories are all around us - we enjoy listening to and telling stories (Ever wonder why you take so much pleasure in those gossips at work? Well, they are stories about the life of somebody somewhere). However what makes the storytelling experience memorable is not the story itself but how you tell the story.

In a reader friendly format and with plenty of examples from the movie industry McKee presents in this magnificent book the eternal and universal forms of a well-told story.

If you feel you have something to say, regardless of what industry you want to be in, this is a MUST READ book.

McKee had a cameo as himself, giving his seminar on screenwriting. I have never been able to afford to attend one of his seminars, but I could afford his book, and it is, dollar for dollar, the best buy of any of the books I have read about writing in general and screenwriting in particular. Lucid, entertaining, well written. I recommend this book for anyone who wants to understand why some films work and others do not.

McKee is well known in the film industry and teaches an esteemed workshop in the art of screenwriting. This book reflects much of his philosophy, and is definitely worthwhile for those looking to learn the craft. "Story" is a bit more theoretical and less nuts-and-bolts than other guides, such as "Screenwriting" by Syd Field. McKee concentrates less on how to properly format and exact page numbers and margins, etc., in favor of just what the title suggests; how to shape a compelling story that fits within the scope of the medium without being clichéd. He sometimes makes it sound like brain surgery, but for the most part a read of this text makes it easy to understand why pros and amateurs alike sign up for his classes.

I had a chip on my shoulder about McKee as the ultimate pusher of formulaic Hollywood style. I think this is a good approach to take when tackling this book, because you won't be surprised at the times when he re-inforces this idea, but you will be astounded by some of the insights he pulls off in the process.

I wouldn't recommend that the absolute beginner take this on first. First read shorter, quicker guides on things like standard format, act structure, stylistic tips, and so on. That will free up your brain to think about the meatier issues McKee presents here.

In particular, things like character motivation really opened up for me. Some good, dense material here. And then taking this further, learning how to turn scenes on the psychology and motivation of every character at every turn leads to MUCH tighter writing. Tracing the modern screenplay all the way back to ancient Greek drama also lends our art form a lot of credence - writing is not something to take lightly, and McKee pushes this at every turn.

As for my preconceptions, they were partially fulfilled when I realised the kinds of films that are clearly McKee's favourites. In my opinion, many of these films don't work as well for a modern audience - things like pacing and acting styles have changed a lot over the past few decades. However, in an art form like this, no knowledge is wasted. Absorb McKee's ideas, and adapt them to your taste.

Bottom line: I think the 25-odd dollars and few hours of time invested will add something to your writing - at the very least. And that sounds like a pretty good deal to me.

This is the best book about storytelling Ive ever read. McKee offers honest, real world advice on how to handle characters, dialogue, pacing, climax, etc. He tells us exactly what makes a story compelling to the audience. He gives an in depth analysis of why some films are blockbusters while others fail.

Some of it is repetitive and verbose, but all in all, you cannot go wrong with this book. ALL WRITERS, NOT JUST SCREENWRITERS, SHOULD BUY THIS.

In short would like to say that this book is a nightmare to get through. McKee's writing style is so flowery and poetic, filled with 10 dollar words that detract from the point he is trying to make, the reader finds his mind drifting off the subject. I had to read certain paragraphs two to three times to even grasp what he was implying. UGH! There are much better books out there for script writing and structure. Try "A Story is a Promise" or "Making a Good Script Great" Now I am not saying there isn't some value in McKee's book. But for the price, and the three aspirin headache...as they say in Brooklyn FORGET-ABOUT-IT!!!

Just to make this clear, I enjoy this book. It can serve as a font for great inspiration but be sure to heed the words included in this text: that these principles are not set in stone (paraphrased). Do not read this book and think "Alright, now I know how to write a screenplay" because you don't, I don't, nobody does, that's the point! Very rarely if ever is there only one particular way to do anything especially in an artistic endeavor. A movie could have three acts, or five, or twenty, or one, it doesn't matter as long as there is progression, flow, and strong characters. Characters are everything, they are the plot, they are the action, the entire film. So don't get all on McKee's nuts and ESPECIALLY DON'T LISTEN TO SOMEONE WHO ONLY GOES ON ABOUT MCKEE MCKEE MCKEE. I've had the unfortunate experience of having a few film teachers who you would think the only word they knew how to pronounce was McKee. It's an extremely limiting way to go about learning anything. I must also confess to a prejudice regarding Story because of these experiences. What I discovered later on it was not McKee that I found limiting but the attitudes of the few professors. I realized that the greatest sin a writer can commit is to be posessed of the nature that, "I have read the RIGHT books, memorized EVERY last definition, stick to the strictest TECHNIQUE and have my head stuck FIRMLY up my ASS!" These ego driven individuals were not interested in furthering education but only affirming what they knew to be the correct procedure for writing a screenplay, thus affirming their view of themself as a great writer. So read McKee, but also read Lajos Egri "The Art of Dramatic Writing" or "The Zen of Writing" by Ray Bradbury or any of the other million books on technique or about what it is to write, be inspired and how you can nurture that. For that matter, just read books, see movies, judge for yourself. Read what great writers (not just screenwriters) have to say, their opinions and interpretations. McKee is a crutch too long held onto and for that matter Poetics is a very basic 2000 year old interpretation of tradgedy and comedy so don't go getting your [...] in a twist over what a rotting corpse had to say before the invention of the toilet. Read, read, read and never let anyone tell you that THIS is the be-all-end-all-how-to-guide-that-YOU-MUST-READ. Just relax, don't let McKee or his followers intimidate you if you find another source more helpful, disagree with his mandates, or just find the book to be a bit boring. Don't let rousing speech about the highest high's and lowest low's of human experience take away your dream of a quiet little film about simple human experience. McKee doesn't say not to do that either but he can be a bit intimidating and the goose-stepping fascists brow beating you with the text will say that. Perhaps I'm still upset about my experiences but it is just the type of elitist nonsense that puts a strangle hold over the creative process and the exploration of the art. So be a rebel, go read something else.