Notes on Robert McKee's "Story"
Story was the breakthrough book for me. What every other book was trying to explain this book managed to get through my thick skull. After I read it, every other book was clear and self-evident. It was like eating the apple in the Garden of Evil. You're not innocent any more, but you know.
Story is a book about screen-writing, not musicals, but most of what it says applies. The amount of detail it goes into can feel overwhelming, which is why I spent a month writing these notes - it was an effort to absorb what the book says. They are not a substitute for reading the book but after you've read it, these notes may help you lock in the main points.
Because these notes are lengthy (it's a lengthy book), only the Table of Contents is included on this web page. You can download the entire Word document is here.
Story is a book about screen-writing, not musicals, but most of what it says applies. The amount of detail it goes into can feel overwhelming, which is why I spent a month writing these notes - it was an effort to absorb what the book says. They are not a substitute for reading the book but after you've read it, these notes may help you lock in the main points.
Because these notes are lengthy (it's a lengthy book), only the Table of Contents is included on this web page. You can download the entire Word document is here.
NOTES ON ROBERT McKEE'S STORY
Table of Contents
WHY STUDY STORY?
BASICS
Terminology 1
Values, event, structure, beat, scene, sequence, act, story, and spine
The Structure Spectrum 2
Archplot, miniplot, multiplot, antiplot, nonplot
Controlling idea 3
Controlling idea and its contrary; relationship to event structure and to meaning
Structure and Genre 4-5
Genre conventions and advantages; genre as a pact with the audience
Abridged list of genres with brief descriptions
CHARACTER
General principles for writing character 6
Characterization versus true character; desire is key; complexity from contradiction
Creating the protagonist 7-8
Kinds of protagonists; what makes a good protagonist
Protagonists compared to supporting characters; is protagonist's story worth telling?
How to reveal character 9
Through choices made under pressure; character and event structure; character arc;
other ways to suggest character
SCENE ESSENTIALS
The gap: the keystone of McKee's theory 10
Protagonist takes action expecting one result but gets something different
Scene design 11
Story in miniature; objective; value at risk; action under pressure; gap;
value change; turning points and their effects
Text, subtext and scene analysis 12
Define conflict; identify opening and closing values; survey beats; locate turning point
STORY STRUCTURE
Overview of story structure 13
Set-up, inciting incident, progressive complications, crisis, climax, resolution;
Inciting Incident and its set-up 14
As related to the protagonist; as related to the audience; provide minimal set-up
Complications, conflict and forces of antagonism 15
Related to story spine; conflict; forces of antagonism; complication vs. complexity
Complicating progressively 16-18
Points of no return, alternating value charges; degrees of negativity;
expressing progression; using coincidence
Crisis, Climax, and Resolution 19
Crisis locked to inciting incident; crisis as dilemma; climax and turning point;
purposes of the resolution
Act design 20
At least three reversals; rhythm of events; subplots
Connecting scenes together 21
Pacing; rhythm; tempo; preparing for the climax; transition
METHODS
Setting 22
Small knowable world; research; cure for writer's block; creative choices
Writing a step outline 23
Writing from inside out instead of outside in; step outline; pitch; treatment
Writing character from the inside out 24
If I were this character in these circumstances, what would I do?
Exposition 25
Dramatizing exposition, spreading it out; back story; flashback; narration
Dialogue and title 26
Not conversation: compression; suspense sentences; what makes a good title
DIFFERENCES BETWEEN FILM AND MUSICAL THEATER
Opening out the musical 27
Representational vs. presentational; fourth wall; multiplying locations
Visual versus aural information 28
Storytelling technique in film vs. theater; images systems; dialogue
Miscellaneous issues 29-30
Rhythm and tempo, can characters be complex, treatments, using narration
Table of Contents
WHY STUDY STORY?
BASICS
Terminology 1
Values, event, structure, beat, scene, sequence, act, story, and spine
The Structure Spectrum 2
Archplot, miniplot, multiplot, antiplot, nonplot
Controlling idea 3
Controlling idea and its contrary; relationship to event structure and to meaning
Structure and Genre 4-5
Genre conventions and advantages; genre as a pact with the audience
Abridged list of genres with brief descriptions
CHARACTER
General principles for writing character 6
Characterization versus true character; desire is key; complexity from contradiction
Creating the protagonist 7-8
Kinds of protagonists; what makes a good protagonist
Protagonists compared to supporting characters; is protagonist's story worth telling?
How to reveal character 9
Through choices made under pressure; character and event structure; character arc;
other ways to suggest character
SCENE ESSENTIALS
The gap: the keystone of McKee's theory 10
Protagonist takes action expecting one result but gets something different
Scene design 11
Story in miniature; objective; value at risk; action under pressure; gap;
value change; turning points and their effects
Text, subtext and scene analysis 12
Define conflict; identify opening and closing values; survey beats; locate turning point
STORY STRUCTURE
Overview of story structure 13
Set-up, inciting incident, progressive complications, crisis, climax, resolution;
Inciting Incident and its set-up 14
As related to the protagonist; as related to the audience; provide minimal set-up
Complications, conflict and forces of antagonism 15
Related to story spine; conflict; forces of antagonism; complication vs. complexity
Complicating progressively 16-18
Points of no return, alternating value charges; degrees of negativity;
expressing progression; using coincidence
Crisis, Climax, and Resolution 19
Crisis locked to inciting incident; crisis as dilemma; climax and turning point;
purposes of the resolution
Act design 20
At least three reversals; rhythm of events; subplots
Connecting scenes together 21
Pacing; rhythm; tempo; preparing for the climax; transition
METHODS
Setting 22
Small knowable world; research; cure for writer's block; creative choices
Writing a step outline 23
Writing from inside out instead of outside in; step outline; pitch; treatment
Writing character from the inside out 24
If I were this character in these circumstances, what would I do?
Exposition 25
Dramatizing exposition, spreading it out; back story; flashback; narration
Dialogue and title 26
Not conversation: compression; suspense sentences; what makes a good title
DIFFERENCES BETWEEN FILM AND MUSICAL THEATER
Opening out the musical 27
Representational vs. presentational; fourth wall; multiplying locations
Visual versus aural information 28
Storytelling technique in film vs. theater; images systems; dialogue
Miscellaneous issues 29-30
Rhythm and tempo, can characters be complex, treatments, using narration
