#robert mckee

Nothing moves forward in a story except through conflict. Writers who cannot grasp this truth, the truth of conflict, writers who have been misled by the counterfeit comforts of modern life into believing that life is easy once you know how to play the game. These writers give conflict a false inflection. The scripts they write fail for one of two reasons, either a glut of banal conflict or a lack of meaningful conflict. The former are exercises in turbo special effects written by those who follow textbook imperatives to create conflict but because they're disinterested in or insensitive to the honest struggles of life, devise overwrought excuses for mayhem. The latter are tedious portraits written in reaction against conflict itself, these writers take the pollyanna view, that life would really be nice if it weren't for conflict. What writers at these extremes fail to realize is that while the quality of conflict in life changes as it shifts from level to level, the quantity of conflict is constant. When we remove conflict from one level of life, it amplifies ten times over on another level. When, for example, we don't have to work from dawn to dark to put bread on the table, we now have time to reflect on the great conflict within our mind and heart or we may become aware of the terrible tyrannies and suffering in the world at large. As Jean-Paul Sartre expressed it, "The essence of reality is scarcity. There isn't enough love in the world, enough food, enough justice, enough time in life. To gain any sense of satisfaction in our life we must go in to heady conflict with the forces of scarcity. To be alive is to be in perpetual conflict at one or all three levels of our lives.

''Deus ex machina not only erases all meaning and emotion, it’s an insult to the audience. Each of us knows we must choose and act, for better or worse, to determine the meaning of our lives. No one and nothing coincidental will come along to take that responsibility from us, regardless of the injustices and chaos around us. You could be locked in a cell for the rest of your life for a crime you did not commit. But every morning you would still have to get up and make meaning. Do I bludgeon my brains against this wall or do I find some way to get through my days with value? Our lives are ultimately in our own hands. Deus ex machina is an insult because it is a lie.''

William Goldman argues that the key to all story endings is to give the audience what it wants, but not the way it expects. A very provocative principle: First of all, what does the audience want? Many producers state without blinking that the audience wants a happy ending. They say this because up-ending films tend to make more money than down-ending films.

As you compose dialogue, I think it’s useful to imagine character design as three concentric spheres, one inside the other—a self within a self within a self. This three-tiered complex fills dialogue with content of thought and feeling while shaping expression in gesture and word. The innermost sphere churns with the unsayable; the middle sphere restrains the unsaid; the outer sphere releases the said.

Anything that a person can do to alleviate the suffering of others, is a meaningful thing. Stories do exactly that. They make life livable.