Robert McKee teaches the function of a Controlling Idea, and the writer’s task of communicating meaning through the climax of your story.
Robert McKee explains risk and value in relation to building a scene beat by beat.
When titling your work, name something that’s actually in the story, so that your audience or reader buys a ticket or a copy with an excited sense of what’s to come. You have a choice of three elements: Setting, Character, Theme/Genre.
McKee teaches the importance of listening to your subconscious when writing, and how for talented writers the real story is already written; their job is to get out of its way.
Robert McKee on the folly of following trends, and how writers need to stay true to the story they are trying to tell.
Robert McKee discusses the potential conflicts a character may experience, and the nature of story principles versus rules.
This courtroom drama delivers a fine reworking of the Open Mystery. We know who committed the murder but not why. The storytelling builds curiosity by making us guess between at least six different whys and the possibility of innocence.
Robert McKee discusses how in spite of the occasional great film (in this case IRON MAN 3) the best writing can now be found on television.
McKee suggests how writers can re-inspire themselves and persevere with their craft in the face of rejection and failure.
McKee discusses how storytellers should approach character arcs and levels of conflict when writing for television.
Robert McKee discusses the difference between ‘fact’ in documentaries and ‘truth’ in fiction, with reference to great works such as EXIT THROUGH THE GIFT SHOP and ROGER AND ME.