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Or: What’s the best possible thing that could happen to my protagonist? How could it become the worst possible thing?
Robert McKee • Story: Style, Structure, Substance, and the Principles of Screenwriting
the wise writer redesigns the story to preserve what’s vital.
Robert McKee • Story: Style, Structure, Substance, and the Principles of Screenwriting
create a story design in which every scene is a minor, moderate, or major Turning Point.
Robert McKee • Story: Style, Structure, Substance, and the Principles of Screenwriting
Secure writers don’t sell first drafts.
Robert McKee • Story: Style, Structure, Substance, and the Principles of Screenwriting
Set-up (including mini inciting incident) Confrontation (conflict ending in crisis point) (Climax and) Resolution.
John Yorke • Into The Woods: How Stories Work and Why We Tell Them
In treatment the writer indicates what characters talk about—“he wants her to do this, but she refuses,” for example—but never writes dialogue.
Robert McKee • Story: Style, Structure, Substance, and the Principles of Screenwriting
we give the audience the experience we’ve promised, but not in the way it expects. This is what separates artist from amateur. In Aristotle’s words, an ending must be both “inevitable and unexpected.
Robert McKee • Story: Style, Structure, Substance, and the Principles of Screenwriting
Robert McKee, a Fulbright Scholar, is the most sought-after story authority in the world. His international screenwriting workshops have long won acclaim from celebrities, film industry professionals and enthusiastic students alike. In this guide, he presents his knowledge of the essentials of screenwriting and storytelling.