Most screenwriters have heard of story guru Robert McKee, but the reality is, writers (screenwriters and novelists alike) need to hear what Robert McKee has to say on the craft of story and take it to heart.
Robert McKee is a legend. Not only has he taught story structure to the Best of the Best in Hollywood, but his STORY book sits at the table of most TV writing rooms in Hollywood. Some of his students include Paul Haggis (2 time Oscar Winning Writer/Director of Crash and Million Dollar Baby) and Lawrence Kasdan (Oscar Winning Writer/Director for movies such as The Big Chill, Raiders of the Lost Ark and The Empire Strikes Back). Even actors such as Russell Brand and Julia Roberts (to name a few) have taken his Story Seminar. He is just THAT good.
Taking his class is considered to be a "write of passage," {pun intended} as the class consists of 3 VERY long days filled with intense lecture and script analysis. And at age 76, McKee still gives (or performs, honestly- he is so entertaining) these seminars three times a year: once in LA, once in NYC and once in London. I had the honor and privilege to attend his Story Seminar in LA and it was everything I'd hoped for and more. If you are serious, committed writer of any sort, I highly encourage you to attend this seminar.
If you haven't had the chance to attend the seminar, have no fear. You can purchase his books "STORY" and "DIALOGUE," which contain the majority of the information he covers in his lecture. But here's what you won't get from the books: the experience of learning from the master in person, the priceless stories and vignettes that he shares, and meeting all the other fantastic writers in attendance.
Because I love you guys, I've looked over my notes from the seminar (multiple times, mind you) and compiled the TOP 5 TAKE-AWAYS from the seminar. This is the information that I found to be the MOST VALUABLE, especially based on the needs and concerns I discuss regularly with my clients. I hope you find this helpful!
ENJOY!
TOP 5 TAKE AWAYS from Robert McKee's STORY SEMINAR
1. Maximize your Talent by Mastering the Craft of Writing.
Many wonder why it's necessary to study the CRAFT of writing (structure, genre, conflict, etc.) Well, here's why. Many people have literary talent {the ability to creatively convert ordinary language into a higher, more expressive form}, or to put more simply, the ability to write beautifully. But pure STORY talent {the creative conversion of life itself into a clearer, powerful, more meaningful experience} is far more rare. But here is where things get interesting. Mastering the CRAFT of writing can help bridge that gap between literary talent and story talent, thereby maximizing your talent. Story talent occurs on a spectrum and craft can help push you to the higher end of that spectrum.
So, when given the option of hearing trivial material told brilliantly or profound material told poorly, McKee suggests we would all choose to listen to the trivial material told brilliantly.
For example, you have that one friend who can give you a recap of how she put her children on the school bus {of all things}, and you're captivated. It was funny and she structured it in such a way that she hooked you and you couldn't wait to hear the ending. Trivial topic? Yep. But, her storytelling abilities? Brilliant.
Now, compare that to your friend who tells you about their family member having a profound spiritual experience right before they died. This is certainly more profound than a mom putting her kids on the bus in the morning, but you were bored to tears.
What we want to aim for is a combination of these two things, ending up with a profound story told brilliantly. Hence, why studying the craft of writing (structure, genre elements, conflict, tension, etc) is important. As McKee says, "For talent without Craft is like Fuel without an Engine." The fuel (talent) burns wildly but accomplishes nothing if it isn't put to use properly.
2. 90% or more of your ideas are mediocre at best, full of cliches.
Say what? At first, this statistic could be enough to make anyone stop writing, but, truth is {gasp!} McKee is right. A lot of writing is mediocre.
So, how do we avoid mediocrity? McKee's answer is this: when writing, never use the very first scene that comes to mind, because that scene most likely came from the memory bank filled with every movie and TV show you've seen before.
Okay, so then how do we arrive at the 10% of our writing that isn't mediocre, and therefore write a profound story told brilliantly, as we mentioned earlier?
McKee suggests writing 2 to 3 times more material than what is needed in order to destroy all the cliches and all the mediocrity.
When you create this extra material, you can look for the perfect scenario for that scene. Your first idea may have been brilliant, but don't trust it until you've looked at every possible scenario for that scene in which you consider the setting, the characters involved, and the events occurring. Then you have the freedom to pick the choice that is most true for that character, most true in that world and is executed in a way that is fresh and original.
3. There should be no MYSTERY about your STORY or your CHARACTERS.
You must have a God-like knowledge of your story and everything it entails, including your characters. People often wonder how they can come up with all the "extra scenarios" mentioned above. The answer is this God-like knowledge. Do your research. Know your characters inside and out. This holds true for your setting as well. Having a God-like knowledge of the setting will sharply define and limit the story you tell. And oddly enough, creative limitations can be helpful. They force you to be creative when you know certain things can or can not happen within the world of your story.
4. Be Aware of the TWO Hardest Scenes to Write and Work on them Accordingly.
McKee suggests that the CLIMAX of the central plot is the hardest scene to write. The climax of the central plot is truly everything as it is the final expression of the deepest meaning of your story. I'm not talking about the RESOLUTION here, but the CLIMAX-- when everything comes to a head and the forces of your story collide. Because of this, it is the most rewritten scene. Remember, if you don't have a great ending, you have nothing.
The second most difficult scene to write, according to McKee, is the INCITING INCIDENT, the scene that really kicks off the story. It sets the tone and creates the new world your character must now navigate. How do you deal with these difficult scenes? Remember this: Anything {in the right context} can radically upset the balance of life for your character. So, don't overthink it, just write it.
5. And REMEMBER to HOOK, HOLD and REWARD.
When you get to the point where you're pitching your story, do NOT pitch an agent or producer first (if you have access to one). Pitch your friends {or anyone who will listen}. As you pitch them, watch their reactions and ask yourself these three things:
HAVE I HOOKED THEM?
DID I HOLD THEIR ATTENTION? {and if not, where did I lose them?}
DURING THE PAY-OFF, do I get one strong reaction of the kind I want from them? Was it rewarding?
If the answer is yes for 7 out of 10 people you pitch the story to, then you know you are onto something and that your story works. If less than 7/10 respond favorably, there is still work to be done.
If you want to know more about Robert McKee and his Story Seminars, check out his website at www.mckeestory.com. You'll be glad you did!
And as always feel free to find me on Twitter at @wdavisliterary if you'd like to connect!
Until next time,
Happy Writing!
Whitney
"Everyone has a Story. Write Yours."
Robert McKee is a legend. Not only has he taught story structure to the Best of the Best in Hollywood, but his STORY book sits at the table of most TV writing rooms in Hollywood. Some of his students include Paul Haggis (2 time Oscar Winning Writer/Director of Crash and Million Dollar Baby) and Lawrence Kasdan (Oscar Winning Writer/Director for movies such as The Big Chill, Raiders of the Lost Ark and The Empire Strikes Back). Even actors such as Russell Brand and Julia Roberts (to name a few) have taken his Story Seminar. He is just THAT good.
Taking his class is considered to be a "write of passage," {pun intended} as the class consists of 3 VERY long days filled with intense lecture and script analysis. And at age 76, McKee still gives (or performs, honestly- he is so entertaining) these seminars three times a year: once in LA, once in NYC and once in London. I had the honor and privilege to attend his Story Seminar in LA and it was everything I'd hoped for and more. If you are serious, committed writer of any sort, I highly encourage you to attend this seminar.
If you haven't had the chance to attend the seminar, have no fear. You can purchase his books "STORY" and "DIALOGUE," which contain the majority of the information he covers in his lecture. But here's what you won't get from the books: the experience of learning from the master in person, the priceless stories and vignettes that he shares, and meeting all the other fantastic writers in attendance.
Because I love you guys, I've looked over my notes from the seminar (multiple times, mind you) and compiled the TOP 5 TAKE-AWAYS from the seminar. This is the information that I found to be the MOST VALUABLE, especially based on the needs and concerns I discuss regularly with my clients. I hope you find this helpful!
ENJOY!
TOP 5 TAKE AWAYS from Robert McKee's STORY SEMINAR
1. Maximize your Talent by Mastering the Craft of Writing.
Many wonder why it's necessary to study the CRAFT of writing (structure, genre, conflict, etc.) Well, here's why. Many people have literary talent {the ability to creatively convert ordinary language into a higher, more expressive form}, or to put more simply, the ability to write beautifully. But pure STORY talent {the creative conversion of life itself into a clearer, powerful, more meaningful experience} is far more rare. But here is where things get interesting. Mastering the CRAFT of writing can help bridge that gap between literary talent and story talent, thereby maximizing your talent. Story talent occurs on a spectrum and craft can help push you to the higher end of that spectrum.
So, when given the option of hearing trivial material told brilliantly or profound material told poorly, McKee suggests we would all choose to listen to the trivial material told brilliantly.
For example, you have that one friend who can give you a recap of how she put her children on the school bus {of all things}, and you're captivated. It was funny and she structured it in such a way that she hooked you and you couldn't wait to hear the ending. Trivial topic? Yep. But, her storytelling abilities? Brilliant.
Now, compare that to your friend who tells you about their family member having a profound spiritual experience right before they died. This is certainly more profound than a mom putting her kids on the bus in the morning, but you were bored to tears.
What we want to aim for is a combination of these two things, ending up with a profound story told brilliantly. Hence, why studying the craft of writing (structure, genre elements, conflict, tension, etc) is important. As McKee says, "For talent without Craft is like Fuel without an Engine." The fuel (talent) burns wildly but accomplishes nothing if it isn't put to use properly.
2. 90% or more of your ideas are mediocre at best, full of cliches.
Say what? At first, this statistic could be enough to make anyone stop writing, but, truth is {gasp!} McKee is right. A lot of writing is mediocre.
So, how do we avoid mediocrity? McKee's answer is this: when writing, never use the very first scene that comes to mind, because that scene most likely came from the memory bank filled with every movie and TV show you've seen before.
Okay, so then how do we arrive at the 10% of our writing that isn't mediocre, and therefore write a profound story told brilliantly, as we mentioned earlier?
McKee suggests writing 2 to 3 times more material than what is needed in order to destroy all the cliches and all the mediocrity.
When you create this extra material, you can look for the perfect scenario for that scene. Your first idea may have been brilliant, but don't trust it until you've looked at every possible scenario for that scene in which you consider the setting, the characters involved, and the events occurring. Then you have the freedom to pick the choice that is most true for that character, most true in that world and is executed in a way that is fresh and original.
3. There should be no MYSTERY about your STORY or your CHARACTERS.
You must have a God-like knowledge of your story and everything it entails, including your characters. People often wonder how they can come up with all the "extra scenarios" mentioned above. The answer is this God-like knowledge. Do your research. Know your characters inside and out. This holds true for your setting as well. Having a God-like knowledge of the setting will sharply define and limit the story you tell. And oddly enough, creative limitations can be helpful. They force you to be creative when you know certain things can or can not happen within the world of your story.
4. Be Aware of the TWO Hardest Scenes to Write and Work on them Accordingly.
McKee suggests that the CLIMAX of the central plot is the hardest scene to write. The climax of the central plot is truly everything as it is the final expression of the deepest meaning of your story. I'm not talking about the RESOLUTION here, but the CLIMAX-- when everything comes to a head and the forces of your story collide. Because of this, it is the most rewritten scene. Remember, if you don't have a great ending, you have nothing.
The second most difficult scene to write, according to McKee, is the INCITING INCIDENT, the scene that really kicks off the story. It sets the tone and creates the new world your character must now navigate. How do you deal with these difficult scenes? Remember this: Anything {in the right context} can radically upset the balance of life for your character. So, don't overthink it, just write it.
5. And REMEMBER to HOOK, HOLD and REWARD.
When you get to the point where you're pitching your story, do NOT pitch an agent or producer first (if you have access to one). Pitch your friends {or anyone who will listen}. As you pitch them, watch their reactions and ask yourself these three things:
HAVE I HOOKED THEM?
DID I HOLD THEIR ATTENTION? {and if not, where did I lose them?}
DURING THE PAY-OFF, do I get one strong reaction of the kind I want from them? Was it rewarding?
If the answer is yes for 7 out of 10 people you pitch the story to, then you know you are onto something and that your story works. If less than 7/10 respond favorably, there is still work to be done.
If you want to know more about Robert McKee and his Story Seminars, check out his website at www.mckeestory.com. You'll be glad you did!
And as always feel free to find me on Twitter at @wdavisliterary if you'd like to connect!
Until next time,
Happy Writing!
Whitney
"Everyone has a Story. Write Yours."
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