Worth every penny
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Whether you are an aspiring scriptwriter or not, this is quite simply one of the most perceptive introductions to the dynamics of narrative and storytelling. Am a novice in all this - but it is full of perceptive and helpful guidance, illustrations and worked examples. I couldn't put it down, which is not necessarily what one would expect from a book that is essentially a primer textbook. My guess is that it would be of use to anyone involved in creative writing - not least because McKee carefully articulates the differences between filmscripts and other forms like novels and even plays - thus providing insights to them all.
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Hmmm... a case of the blind leading the blind?
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Don't forget this guy has never had a big film made. One TV movie and that was it. Otherwise I dare anyone to find a decent film he wrote. If his advice is sooo great why doesn't he take it and write a world-beater screenplay. Because he can't.
Knowing everything in this book did not help him.
Reading this book and knowing everything in it will not help you.
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A book every screenwriter should have
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Okay, so McKee isn't the be all and end all of screenwritng. Some people find him too wordy, too smart or too arty. But this is a book which all aspiring screenwriters should read as it contains so many valuable insights on the art and craft of writing itself. Within the first chapter you will find a great many nuggets that will give you a deeper appreciation of what it is to write a script. I'm not saying that you don't need to read other books. You do. However this is one of the few that contain worthwile information every screenwriter should know. It is told in a pretty easy-to-read style. Some of it is padding, but it's interesting padding. If you're going to start writing, do a little internet research of your own first, then read this. This book should be on every budding screenwriter's shelf.
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Good but overly long
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'Story' is the best of the dozen or so screenwriting books I've read, precisely because it ignores the nuts and bolts of what to put where on the page and the latest trend in writing in favor of going back to the basics of what makes a movie story work. Rather than claiming, as other books do, that the format has to be perfect and the hero has to meet his love interest on page 34 of the script or no-one in Hollywood will buy it, McKee goes back to the first principles of scenes and structure and builds up a theory of movie storytelling from there.
The downside is that I would agree with some of the other reviewers that the book is overly long; it could have been condensed to probably half the size without losing much and that's the only reason why I've given it four stars rather than five. But for anyone who's thinking of writing a movie script, I'd put this book high on the list.
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Story
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This book is too wordy. It should tell how to write a moviescript - a story told with pictures but instead of that it fills the reader with abstract ideas and hides all pictures. This is a book to somebody who thinks that it's better to be confusing than tell the simple truth. I guess the writer is a good mentor in a workshop situation but a writer he seems not to be. I still go back to good old Syd Field when I need to LEARN and not to try to be smart and intellectual.
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