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Story: Style, Structure, Substance, and the Pri
Escrito por Robert McKee
Narrado por Robert McKee
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For more than 15 years, Robert McKee's students have been taking Hollywood's top honors. His "Story Seminar" is the world's ultimate seminar for screenwriters, filmmakers, and novelists. Now, Robert McKee's Story: Substance, Structure, Style, and the Principles of Screenwriting reveals the award-winning methods of the man universally regarded as the world's premier teacher on screenwriting and story. With Hollywood and publishing companies paying record sums for great stories, and audiences clamoring for originality, McKee's Story gives you the strategies you need to win the war on clichés.
Story is about form, not formula. McKee's insights cut to the hidden sources of storytelling, the decisive differences between mediocrity and excellence.
This audio goes well beyond the essential mechanics of screenwriting and is packed with examples from such film classics as "Casablanca" and "Chinatown." Then, scene by sequence by act, he illuminates the principles of story design that take a writer's vision to brilliant realization. Story elevates the craft of screenwriting to an art form.
Take it from the pros; if you're serious about your writing, this is the audio that will help you to get your story from page to screen.
Acciones del libro
Comenzar a escucharInformación sobre el libro
Story: Style, Structure, Substance, and the Pri
Escrito por Robert McKee
Narrado por Robert McKee
Descripción
For more than 15 years, Robert McKee's students have been taking Hollywood's top honors. His "Story Seminar" is the world's ultimate seminar for screenwriters, filmmakers, and novelists. Now, Robert McKee's Story: Substance, Structure, Style, and the Principles of Screenwriting reveals the award-winning methods of the man universally regarded as the world's premier teacher on screenwriting and story. With Hollywood and publishing companies paying record sums for great stories, and audiences clamoring for originality, McKee's Story gives you the strategies you need to win the war on clichés.
Story is about form, not formula. McKee's insights cut to the hidden sources of storytelling, the decisive differences between mediocrity and excellence.
This audio goes well beyond the essential mechanics of screenwriting and is packed with examples from such film classics as "Casablanca" and "Chinatown." Then, scene by sequence by act, he illuminates the principles of story design that take a writer's vision to brilliant realization. Story elevates the craft of screenwriting to an art form.
Take it from the pros; if you're serious about your writing, this is the audio that will help you to get your story from page to screen.
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This is one of my highest recommended writing books. Every scene should have a progression is the biggest takeaway that's improved my writing.
Rating: 5It contains tidbits of especially sage advice. I believe this book is useful for writers of tales of any type. Recommended.
Rating: 4A screenwriter's Bible, this tome deconstructs and explains all aspects of story and storytelling. Though originally designed for screenwriters, any writer of stories in any form can learn from this book. Excellent reference book as well.
Rating: 5(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 Pièce 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 für 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. The idea is that it is artistically weak to use tools of analysis as tools of creation as Eisenstein teaches for instance, who emerges as a slightly more important figure in the field of drama than Mr. McKee. McKee is no fool, but really is no help unless you already has what it takes to be a scriptwriter. For a talented person alone on the ocean of creative fear he might appear as a savior, but what he teaches might lessen the possibilities that always lies hidden or dormant in a potential dramatic proposal. Not everyone can be a scriptwriter unfortunately.That McKee finds himself "The Aristotle of Our Time" is just indicating the level of understanding of what Aristotle was. The society in which he worked and lives was so fundamentally different from ours that comparisons cannot really be made with what Aristotle thought, but rather how we believe that we understand the meaning and content of these texts, as most scholars dealing with the history of ideas will tell you. That other language-user and guru, Johnny Carson, once advised "It's funnier to say things funny than to say funny things". And I think there's an analogy to be drawn from that insight with how stories should be told.I was in a writer's group with a very scholarly type once, and we were all sent off to write up an analysis of a script, in the format a reader would present to someone higher up the script-assessment food chain (role-playing game). What he came up with was certain proof that many of the scholarly struggle to see the wood for the trees, and worse, think they're superior beings as a result of this shortcoming. The art of movie writing is to concoct a script that will get made into a film with a multi-million dollar budget. Scripts that don't get made don't count. In the context of this contest, scholarly insight is essentially useless, but an ability to name the parts is essential. Musicologists revere the Beatles (or at least they should) and yet the Beatles' intellectual musical training consisted of living their lives while listening to and playing the kind of music they loved. I suspect that this is how films are made too. To paraphrase a nice line from a fine film - the code is more what you'd call "guidelines" than actual rules. Arguing with McKee as an intellectual is futile. He is who he is, and he's achieved what he's achieved - the thing defines itself by being whatever it is. "The Aristotle of our time" Sounds a bit silly... worse... pointless. He's Mckee, innit?Here's my suggestion for what qualifies as true greatness - you write something that has popular appeal, meets the demand of and catches the wave of its time, and subtlety and cunningly woven into it is your personal message to the world, the credo that you wish to express. It changes the way people see things, and the world becomes a better place for it. If you have managed that, respec'. No cash could trump that achievement. Here’s another piece of advice for what’s worth: Write sober and then ruminate on it at about 9pm with alcohol and/or weed and a notepad. Write down all the crazy ideas and possible sentences that come to you (but don't touch the actual writing, obviously. You'll regret that the next day).NB. Funny thing is, McKee's never really written anything of note. Maybe I’m just confusing two completely different skillsets, writing and teaching. I do that sometimes…
Rating: 3A great companion to Donald Miller’s A Million Miles, for in it McKee unknowingly demonstrates how the crafting of a good story aligns with the living of a good life. McKee’s advice on shaping character, winnowing down to core events and values, and his admonishment to “Show, don’t tell” are great pieces of advice, for anyone seeking a well-lived life, even if they’re not a writer. Also, the book succeeds on its primary level, giving writers direction in craft that is both philosophical and practical, with great screenplay analysis interspersed throughout. His analysis of story and its principles aligns well with Tierno's Aristotle's Poetics for Screenwriters.
Rating: 5May not be novel writing but gets to the discipline of making words/images count
Rating: 4Any aspiring screenwriter must read this book. McKee explains the elements of story, and how to write a good one. A must read.
Rating: 4One of the best breakdowns of storytelling I've ever read. McKee breaks down the essence of story and presents it directly, without that shroud of artistic ambiguity that seems to come with creative writing books. Nothing here is formulaic; instead, he approaches story from the stance of classical form, while teaching you how to to accomplish each step.
Story is nominally written for screenwriters, but the lessons here are applicable for any fiction writer.
Rating: 4Story is nominally written for screenwriters, but the lessons here are applicable for any fiction writer.
Very good book on how to write and movie script. Also usefull for those who love movies and want to know better how it works.
Rating: 4Without doubt the screenwriter's bible, but rather over-long and full of its own sense of importance. Some insights for novelists, but not 100% overlap.
Rating: 4I finished! It took me 3 months, which is actually better than I thought. Yeah, this is a textbook. Just sayin'. But it is a very good textbook. There were several 5-star parts, but the bulk of the book was more 4-starish. That said, those 5-star parts changed the way I think about writing. Particularly "the gap". I would say it was well worth all the time/money I spent on it.
BTW, this was very geared toward screenwriting (yeah, I know it says that right in the title). I hoped to apply it to novel writing, and I was not disappointed, but there were certain concepts that didn't apply to novel writing. Still, he's really good about differentiating between the story formats and how they apply, and I would suggest it for anyone who deals with story in any form.
Rating: 4BTW, this was very geared toward screenwriting (yeah, I know it says that right in the title). I hoped to apply it to novel writing, and I was not disappointed, but there were certain concepts that didn't apply to novel writing. Still, he's really good about differentiating between the story formats and how they apply, and I would suggest it for anyone who deals with story in any form.
"Story" is veteran screenwriter Bob McKee's guide to screenwriting. It's practical, direct, almost forcefully so, and filled with examples of good filmwriting. McKee's guide doesn't assume any prior knowledge, and is comprehensive in its coverage of the many aspects of writing a film.McKee's book can also be applied to any other genre of creative writing, because, as he admits, much of what he writes about is universal. My one gripe with the book is that it is sometimes too forceful, and too confident in its belief of the Dominance of Great Films.
Rating: 4This is absolutely the best book on screenwriting, and one of the best books on writing, that I have ever read. All books on writing want to be this book but don't do it very well.Seriously, just get a copy.
Rating: 5Robert McKee has produced one of the best, if not the best, book on how to write well. Aimed at screenwriters, this work also has a strong following among novelists. Worth rereading, highlighting, post-it bookmarking, living and breathing. But don't drink the Kool-Aid, there are some gaps that other writing books are meant to fill.
Rating: 5McKee's got a real grip on story and character, and he makes it understandable. While he gets quite a bit of hype--and has expensive seminars--his methods also get results. Worth every doggone dime--that is, if writing something that deserves an audience is part of the plan.
Rating: 4Best book on screenwriting and story out there. Can't agree with the former reviewer: You have to see McKee live as well, as his "performance" of the seminar adds a whole new layer to the book.
Rating: 5I found this book very helpful in delevoping my writing!
Rating: 4Great pep talk on writing! Like a halftime talk by a coach. Not really going to change anything, but can inspire if you are open to it.
Rating: 3I highly recommend this book to novel writers, even though it is ostensibly about screenwriting. McKee will change the way you think about storytelling.
Rating: 5Perfect! Concise and clear. Robert McKee has a great voice well suited for the delivery for the content.
Rating: 5
I would recommend it for anyone who is trying to start a career or hobby involving the art of cinema (weather it is screenwriting, directing, acting). In my opinion, it manages to be honest and informative, at the same time (most books usually do not succesfully merge these two characteristicts).
At times, Mckee even reads and comments excerpts from cult movies. He speaks about the art of screenwriting from all necessary perspective: screenplay construction, character development, screenwriter dos and donts (from his perspective).
Rating: 5At times, Mckee even reads and comments excerpts from cult movies. He speaks about the art of screenwriting from all necessary perspective: screenplay construction, character development, screenwriter dos and donts (from his perspective).
Excellent book. I’m not a writer at all but this book has great quotes about creating art in general.
Rating: 5Really well explained and thorough. Thank you for these great tips.
Rating: 5The audiobook doesn’t line up with the actual book so it was too difficult to listen to while reading the actual book.
Rating: 2Story is the insightful and thorough guide to crafting a storyline to consistently engage the intended audience. I actually learned about this book from a class about creating business slides. Though it’s primarily focused on screenwriting, which does have some nuances unique to that medium, it’s still a top choice to inform any type of storytelling. Reading this book will make you see why some movies work and some don’t. If there’s one criticism I’d have, it’s that few people will have watched so many of the films referenced as examples. McKee at least explains the plot or other important information enough that the lesson can stand on its own. This is an excellent book that I wish I’d read sooner.
Rating: 4UnfinishedMckee has some strong views about films and he’s not going to let you learn about the nuts and bolts of story without beating you over the head with those views every chance he gets. European cinema? Load of rubbish, last 20 years of cinema? Load of rubbish, Hollywood & Asian cinema? The only people who can make “proper” films i.e. films that tell stories properly. The nuts and bolts are there and I didn’t pearl rule it but lost interest a little less than half way through. The examples he uses are mostly films I’ve not seen (Obviously I’ve been watching the rubbish films instead) and the style is both dry and overwrought. In the end this book goes onto the discard pile.Overall – The style is not for me but there are useful things to glean
Rating: 4