If the Audience Knows What Will Happen, Does It Kill the Suspense?
Robert McKee teaches the difference between Suspense and Dramatic Irony, and how a writer might use each to their advantage.
Misunderstood Endings of Minimalist Films
Robert McKee explains the subtle brilliance of NO COUNTRY FOR OLD MEN and UP IN THE AIR, and why their often misinterpreted endings work so well.
Does Including Historical Events in Your TV Series Limit Its Longevity?
Robert McKee teaches how the inclusion of historical events can affect the budget, but not necessarily the pace, of your story.
Could You Change Your Character’s Object of Desire?
Robert McKee teaches the importance of writers asking themselves “Why?” when making story decisions.
Writing Dialogue Before You Have a Story
Robert McKee teaches the dangers of attempting to write a script before your story is ready.
Can an Image System Be Too Heavy-Handed?
Robert McKee teaches the relationship between image systems and empathy.
How Would a Controlling Idea Work for a TV Series?
Robert McKee teaches how to use the principle of the Controlling Idea in relation to the values at stake in a television series.
How Does Inner Conflict Relate to the Forces of Antagonism?
Robert McKee teaches how writers should deal with inner conflict when writing for the theater, novels or film.
Can You Break the Principles of Story?
Robert McKee teaches the benefits and dangers of breaking storytelling principles, with reference to the Coen Brothers movie THE MAN WHO WASN’T THERE.
What to Keep and What to Cut
Robert McKee teaches how writing your Climax leads to a retroactive edit of your story.
What Are the Conventions of Domestic Drama?
Robert McKee teaches the best way to approach learning genre conventions and the importance of writers “doing the work.”
The Difference Between Act Climaxes On Stage and Screen
Robert McKee teaches the principle of character action and reaction, and how writers must choose which to emphasize.
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