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Dialogue: The Art of Verbal Action for Page, Stage, and Screen
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Audible Audiobook
Listening Length: 11 hours and 10 minutes
Program Type: Audiobook
Version: Unabridged
Publisher: Hachette Audio
Audible.com Release Date: July 12, 2016
Language: English, English
ASIN: B01G7CMEXU
Amazon Best Sellers Rank:
I shouldn't even be writing this review because doing so only creates my competition. I'm writing it for Robert McKee out of respect and love for him as one of the best instructors I've never met. I have both STORY and now, DIALOGUE in hardcover, on my Kindle, and the audio version (he narrates his books) in my headphones. I read it, I listen to it and take it with me when I travel. Sometimes I listen and read at the same time. Most nights I listen to the audio version in my sleep. In other words, I eat, sleep and breathe this book. I did the same thing with Story, his other book. I may go to my grave never fully comprehending the vast wealth of knowledge contained in these two books. That's OK. What I can tell you is this. With nothing but STORY as my guide, my very first screenplay took seven months and thirty-five drafts from start to finish. But. That screenplay became a Hallmark Movies and Mysteries feature film. The producers liked it so much they gave me another assignment. That one took six weeks, and they bought the first draft. I'm now working on my fifth script; this one is in the six-figure category, with five figures upfront just for the Treatment. And I owe it all to everything I've learned from studying Robert McKee, supplemented by what I learned from everyone else. Over the past thirty years, I’ve studied with forty plus instructors and highlighted hundreds of books and listened to dozens of recorded seminars. All that information is summed up and thoroughly explained in Robert McKee's two books STORY and now DIALOGUE. I won't live long enough to absorb everything he teaches. And I still study two hours a day as a warm up for my writing. I’d recommend Aaron Sorkin, Warner Hertzog, William Goldman (both Sorkin and McKee say he's the greatest), Blake Synder, Chris Vogler, Michael Hauge, William Akers, and anybody else you can find who’s willing to share their knowledge. Because you never know when a concept you didn’t realize you didn’t understand or needed is going to show up. Especially when presented from a different perspective. Having said that, if you are serious, and I mean dead serious, about becoming a working screenwriter, or any other kind of fiction writer for that matter, then you have no choice but to study McKee like your literary life depends on it. Buy the hardcover, buy the Kindle version, and buy the audio version of DIALOGUE and STORY. And supplement these two works with any other material that speaks to you. If you do this, you will become a first class screenwriter or novelist or playwright, because all three genres are only different ways of presenting a Story. If you can’t commit to this, unless you’re a genius or prodigy, you’re wasting valuable time which could be spent following your true life calling. But if your heart’s desire is to become a working writer, then sooner or later you’ll have to know everything in McKee’s two books. So, you might as well bite the bullet and jump in head first. It's all right here in STORY and DIALOGUE. All of it. Thank you, Mr. McKee. You, sir, changed my life.-- Jimmy Hager
Probably the best book on screenwriting ever (besides Egri), though there is also much here for the novelist and playwright. I am a professional TV writer, of long-standing (35 years), and I can tell you I used this book to figure out how to fix the problems of a complex pilot I'm writing; the author truly " guided me home." And lest you think I'm a McKee sycophant, I am not. I found little in STORY for me. The only thing I disagree with in DIALOGUE is that the author sells his own work short: it isn't just for those who are "lost" in their writing, like me, and the student, it's for anyone who writes fiction for a living, in any form, no matter how much experience they have. It's that good.
I feel awkward reviewing Robert McKee. It's like saying, "Yeah, that Einstein guy... he's really smart, I guess." If you write anything where anyone talks or thinks words, you need this book. It's a tough read - lots of technical language. Just think of it like you're taking a writing course and this is your textbook. Please invest in this book. I'm a fledgling writer, and I'm so thankful I found this. It has saved me from so many rookie mistakes.
Excellent supplement to 'Story' - with examples of speech from popular stories that really drive home the content. It shows how to immerse dialogue into your scene(s) to give the words more meaning, and in a tension-raising-cycle, turn and give the scene itself more impact. I enjoy writing dialogue more with this better perspective of what to look for, and what questions to ask before giving my characters words. This is a book that will get multiple re-reads for reference and increase in understanding as I look to improve my craft and skill-set. Thanks Robert and company!
Unlike a lot of how-to books now being hustled, Mckee isn't trying to sell you instant success. He's pointing out how great dialogue gets written. His method is Aristotelean: he names the parts and uses great works of literature as examples. Prodigiously well read in fiction, drama and film script, he shows you what's beneath the line, how to reveal only what's necessary to move the story, and how to gracefully layer in exposition through dialogue. He elucidates what is speakable for actors, and how to avoid traps and cliches. A most necessary book for writers who work with dialogue.
The art of dialogue. How does a writer get it just right to be effective, yet original, dramatic but not too dramatic, captivating and satisfying, and most important of all convincing? The thrust of this book is how McKee spends time on characterizations and the art of the subtext—vital to thrilling and effective dialogue. McKee explains how subtext works, the thinking behind it, shows you its most effective moments, why it works well or poorly, and gives you the tools to make it work. The result: amazingly clear insight. No kidding, if you want to fully understand subtext in dialogue and sharpen your skills, this is the writing book to get.Conflict in dialogue, turning points, even sentence designs techniques. McKee describes the “suspense sentence†and the “periodic sentence.†Because prose is a natural medium for storytelling, you will learn how Charles Dickens used ‘counter pointing exposition’ and its effectiveness for the reader. I hadn’t seen this kind of hook in writing before, hadn’t heard this term before. Very powerful technique; of course none of us writes like Dickens, but what an example on how to swoop the reader in.What’s one of the takeaways in Dialogue by Robert McKee? “Quality storytelling inspires quality dialogue.†Which inspires a read of McKee’s other remarkable craft book “Storyâ€â€”a great companion read as both books belong on any serious writer’s bookshelf.
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