Chapitre 4
The Architecture of Story
Structure is "a selection of events from the characters' life stories composed into a strategic sequence to arouse specific emotions and express a specific view of life." The writer must carefully choose which events to include and in what order, with the dual purpose of arousing audience emotion and expressing ideas.
A story event creates meaningful change in a character's life, expressed through values and achieved through conflict. Values-like alive/dead, love/hate, freedom/slavery-are the "soul of storytelling" and can shift between positive and negative poles. For change to be meaningful, it must involve conflict rather than coincidence.
A scene is "an action through conflict in more or less continuous time and space that turns the value-charged condition of a character's life." Each scene must turn a value from positive to negative or vice versa. McKee insists that "no scene that doesn't turn" should be the writer's ideal. Scenes that don't turn values are "nonevents" that should be cut or have their exposition woven elsewhere.
Plot is not a dirty word but "the internally consistent, interrelated pattern of events that move through time to shape and design a story." To plot means navigating through story terrain and choosing the correct path when confronted with branching possibilities. Even seemingly "plotless" films have exquisite plotting-especially difficult when the story arc takes place within the protagonist's mind.
McKee presents a triangular map of storytelling possibilities with three corners: Archplot (Classical Design), Miniplot (minimalism), and Antiplot (anti-structure). Archplot represents timeless principles dating back to ancient epics-stories built around active protagonists struggling against external forces through continuous time to closed endings with absolute change. This classical approach dominates world cinema. Miniplot compresses classical elements for simplicity while retaining audience satisfaction. Antiplot deliberately contradicts traditional forms, often with extravagance and self-consciousness.
Archplot delivers closed endings where all questions are answered and emotions satisfied. Miniplot often leaves endings somewhat open-most questions are answered but some emotional residue remains. Archplot emphasizes external conflicts while Miniplot highlights internal battles. Classical storytelling typically features a single protagonist at the heart of one dominant story, while Miniplot often splinters into multiple subplot-sized stories with separate protagonists.
Minimalism and antistructure aren't independent forms but reactions to Classical design. The masters understood this: Bergman, Fellini, Godard, and Altman all mastered Classical form before venturing into minimalism or antistructure. Writers must first understand Archplot deeply before attempting to bend or break these forms effectively.
Chapitre 5
Setting: The Foundation of Story
The modern audience has consumed tens of thousands of hours of stories, making originality increasingly difficult. The root cause of cliche is simple: writers who don't truly know their story's world. Without deep knowledge, they borrow from other works with similar settings, recycling scenes, dialogue, and characters we've seen before.
A story's setting has four dimensions: Period (place in time), Duration (length through time), Location (place in space), and Level of Conflict (position on the hierarchy of human struggles). This final dimension includes the social domain-whether conflicts are internal, interpersonal, institutional, environmental, or some combination.
Within any fictional world, only certain events are possible or probable. Each story creates its own cosmology with internal laws that, once established, cannot be broken without violating audience trust. Even fantastical worlds demand tight-knit probabilities after their initial premise is accepted. There's no such thing as a "portable story"-an honest story exists in one specific place and time.
The first step toward a well-told story is creating a small, knowable world. Though writers crave freedom, limitation doesn't inhibit creativity-it inspires it. Even seemingly grand fictional worlds are remarkably contained: WAR AND PEACE focuses on a handful of characters and their families; DR. STRANGELOVE uses just three sets and eight principal characters despite its global stakes.
Research is the key to winning the war on cliche, requiring three specific methods: memory, imagination, and fact. Memory involves mining personal experiences that touch on characters' lives. Imagination means envisioning characters' lives hour by hour, seeking hidden connections between fragments of experience. Factual research cures writer's block by feeding talent with ideas.
Creativity means making choices of inclusion and exclusion. Fine writing demands inventing far more material than you can use, then selecting the best moments that are true to character and world. To avoid cliches, never trust so-called inspiration-it's often just the first idea from the top of your head, recycled from other works. Instead, sketch multiple versions of key scenes and choose the one truest to your characters and their world that hasn't been done before.
Chapitre 6
The Power of Genre
The film genre system identifies patterns across stories by shared elements like subject, setting, role, event, and values. This extensive classification includes horror (with uncanny, supernatural, and super-uncanny subgenres), modern epics pitting individuals against the state, westerns, war films, and various character-centered plots (maturation, redemption, punitive, testing, education, and disillusionment).
Genre conventions sharply determine and limit a story's possibilities through specific settings, roles, events, and values that audiences expect to see fulfilled. Some genres have relatively simple conventions, like the Disillusionment Plot requiring an initially optimistic protagonist who suffers negative turns leading to cynicism. Others have rigid, complex requirements-Crime stories demand early crimes, detective figures, clues, and resolution.
Each writer owes an enormous debt to story traditions and must master their genre's conventions. Rather than assuming familiarity from watching films, one must study the form systematically-listing similar works, analyzing them element by element, and identifying patterns and conventions. This deep study allows writers to anticipate audience expectations.
Genre conventions function as creative limitations that stimulate rather than stifle imagination. Like Robert Frost's observation that writing free verse is "playing tennis with the net down," these self-imposed constraints force writers to find innovative solutions. The challenge is maintaining convention while avoiding cliche.
Genres frequently combine to create richness, resonance, and emotional variety. Examples include Love Story subplots in Crime Stories, or THE FISHER KING's blend of five different genres. With over two dozen principal genres available, the possibilities for innovative cross-breeding are endless.
Genres evolve with society, functioning as windows on reality that must adapt to changing cultural views. When genres become inflexible, they petrify. The Western began as morality plays set in a mythical "Old West," but after BLAZING SADDLES exposed its fascist tendencies in the 1970s, the genre hibernated for twenty years before returning as quasi-Social Drama with films like DANCES WITH WOLVES and UNFORGIVEN that corrected earlier racism and violence.
Mastery of genre provides essential sustenance for the screenwriter's long journey. Quality screenplays demand months or even years of creative labor. Don't write for intellectual friends or critical praise-the only motivation that sustains through time is love of the work itself.
Chapitre 7
Character: The Heart of Story
The age-old debate of plot versus character is fundamentally flawed-structure IS character; character IS structure. They are the same thing, neither more important than the other. The confusion stems from misunderstanding the crucial difference between Character and Characterization.
Characterization comprises all observable human qualities-age, sex, speech patterns, dress, occupation, education, personality traits-everything we could know by observing someone daily. But true Character is revealed only through choices made under pressure-the greater the pressure, the deeper the revelation. When a person must choose one action over another while pursuing their desire, their essential nature is exposed.
The revelation of true character in contrast or contradiction to characterization is fundamental to all fine storytelling. Life teaches that what seems is not what is-people are not what they appear to be. When characterization and true character match perfectly, roles become boring and predictable. Consider Rambo, who became one-dimensional after his first film, versus James Bond, whose playboy characterization repeatedly reveals a thinking man's hero underneath.
The finest writing not only reveals true character but arcs or changes that inner nature over the course of the telling. In THE VERDICT, Frank Galvin begins as a corrupt, self-destructive drunk but transforms into a sober, ethical attorney through his choices during a challenging case. Similarly, Shakespeare's Hamlet moves from melancholy and confusion to peaceful maturity as his intelligence ripens into wisdom.
Structure provides progressively building pressures that force characters into increasingly difficult dilemmas, requiring risk-taking choices that gradually reveal their true natures. Character brings the qualities necessary to convincingly act out these choices-each character must be credible with the right proportions of traits that allow an audience to believe they could and would take such actions.
Characters aren't human beings but artistic metaphors for human nature. We relate to them as if real, but they're superior to reality-clearer and more knowable than actual people. "Dimension" means contradiction, either within deep character or between characterization and deep character. These contradictions must be consistent. The protagonist must be the most dimensional character to focus audience empathy.
The protagonist creates the rest of the cast. All other characters exist primarily because of their relationship to the protagonist, helping delineate the dimensions of the protagonist's complex nature. Like a solar system with the protagonist as sun, supporting characters orbit around, each drawing out different aspects of the protagonist's contradictory nature.
Chapitre 8
The Substance of Story
The protagonist is typically a single character but could be a duo (THELMA & LOUISE), trio (THE WITCHES OF EASTWICK), or larger group forming a Plural-Protagonist. A protagonist must be willful, even when seemingly passive. They must have a conscious desire-an object they knowingly seek, whether external (destroying the shark in JAWS) or internal (maturity in BIG).
The audience's emotional involvement depends on empathy-the vicarious link between viewer and protagonist. When we identify with a character's desires, we're actually rooting for our own desires in life. Empathy is absolute while sympathy is optional. Writers often mistakenly create "nice" protagonists, but likability doesn't guarantee audience connection.
Characters always take the minimum, conservative action from their point of view. All of nature is fundamentally conservative-no organism expends more energy than necessary or takes unnecessary risks. What appears as extreme behavior to outside observers is, from the character's subjective perspective, the minimal necessary action.
Story is born where subjective and objective realms touch. When a protagonist takes an action they believe will move them toward their desire, the world reacts differently or more powerfully than expected, creating a gap between expectation and reality. This gap forces the character to take a second, more difficult action that puts them at risk.
The measure of a desire's value is directly proportional to the risk involved in pursuing it. If a protagonist risks nothing significant, the story isn't worth telling. The greater the value of what's desired, the greater the risk the character must take-with the ultimate values demanding risks to freedom, life, or soul.
To create emotional truth, writers must work from inside their characters rather than observing from outside. The only reliable source of emotional truth is yourself. By asking "If I were this character in these circumstances, what would I do?" and using Stanislavski's "Magic if," writers become improvisational actors for all their characters.
The true substance of story isn't words but "the gap that splits open between what a human being expects to happen when he takes an action and what really does happen." This rift between expectation and result, probability and necessity is what gives stories their power.
Chapitre 9
The Engine of Story: From Inciting Incident to Resolution
The Inciting Incident is the first major event of storytelling and the primary cause for all that follows, setting in motion the other four elements: Progressive Complications, Crisis, Climax, and Resolution. It must be a dynamic, fully developed event that radically upsets the balance of forces in the protagonist's life.
This crucial event swings the protagonist's reality toward either positive or negative, compelling them to react and restore balance. The protagonist conceives an Object of Desire-something physical, situational, or attitudinal they believe will restore equilibrium. In complex characters, this conscious desire conflicts with an unconscious one, creating rich inner battles.
The protagonist's desire forms the critical element McKee calls the Spine-the deep desire and effort to restore life's balance. This primary unifying force holds all story elements together, with every scene, image, and word relating causally or thematically to this core.
Despite the variety of genres and structures, McKee argues there's ultimately only one story: the Quest. In this universal form, an event throws a character's life out of balance, arousing conscious or unconscious desire for what will restore balance, launching them against antagonistic forces.
Progressive Complications form the sweeping body of story spanning from Inciting Incident to the final Crisis/Climax. To complicate progressively means generating escalating conflict as characters face greater forces of antagonism, creating a succession of events that pass points of no return. The protagonist begins with minimal, conservative action, but when this fails, the Gap between expectation and result opens.
Nothing moves forward in story except through conflict. Conflict is to storytelling what sound is to music-it carries us through time without awareness of its passage. When conflict disappears, so does audience engagement. The Law of Conflict reflects life's reality of perpetual struggle against scarcity-not enough food, love, justice, or time.
Crisis represents the ultimate decision moment. The Chinese ideogram for Crisis combines "danger" and "opportunity"-danger that the wrong choice loses everything, opportunity that the right one achieves desire. After exhausting all other possibilities through Progressive Complications, the protagonist reaches their last chance with no tomorrow. This Obligatory Scene places them face-to-face with the most powerful antagonistic forces in their existence.
The Story Climax must be appropriate to the story's needs-whether catastrophic like the battle in GLORY or outwardly trivial like a wife leaving in ORDINARY PEOPLE. McKee emphasizes that the Climax represents an absolute, irreversible value swing at maximum charge. The writer's "great imaginative leap" must be both inevitable and unexpected, giving the audience what it wants emotionally but not in the way it expects.
Chapitre 10
The Craft of Scene and Text
A scene is a story in miniature-an action through conflict that turns a character's value-charged condition. No matter its length or location, a scene unifies around desire, action, conflict, and change. Every scene should function as a turning point-minor, moderate (sequence climax), or major (act climax).
Turning points create four essential effects: surprise, increased curiosity, insight, and new direction. When gaps open between expectation and result, the audience experiences shock, then curiosity about "why," leading them to search through previous story information for answers.
True dramatic choice comes in two forms: either choosing between irreconcilable goods (wanting both but forced to select one) or selecting the lesser of two evils (wanting neither but forced to pick one). How characters choose in these genuine dilemmas powerfully expresses their humanity and worldview.
Text is the sensory surface-images, dialogue, sound. Subtext is the hidden life underneath-thoughts and feelings concealed by behavior. Nothing is what it seems. The screenwriter must create this simultaneous duality, veiling truth with living masks. Writing "on the nose," where characters directly express their deepest thoughts and feelings, produces unactable scenes.
Dialogue is not conversation. Real conversation meanders with awkward pauses and pointless repetition, but screen dialogue requires compression, direction, and purpose. It must sound natural while saying the maximum in the fewest possible words. The best advice for writing film dialogue: don't. Always seek visual expression first.
Image Systems transform good stories into poetic works through enhanced expressivity. As audiences, we instinctively read symbolic meaning into every object on screen, adding connotation to denotation. To create poetic cinema, I must first exclude 90% of reality, narrowing imagery to objects with appropriate implications.
Professional writers control their craft, access their talent consistently, improve over time, and make a living from their art. The key difference between success and struggle lies in opposing work methods: inside out versus outside in. Successful writers use a disciplined process, spending most of their time developing the story's structure before writing actual scenes. They work extensively with step-outlines on index cards, organizing their story by acts and scenes.
McKee concludes with a fable about a millipede who, when asked how she coordinates her thousand legs, becomes self-conscious and falls in a tangled heap. But in Act Two, she carefully studies her movements until what was once instinct becomes knowledge, allowing her to dance more brilliantly than ever before. The moral for writers: study craft thoroughly but write boldly. Despite fear of rejection or failure, follow your quest for meaningful stories. With courage, skill, and imagination, "your dance will dazzle the world."
