Dialogue

June 15, 2016

McKee, the screenwriting guru's guru, follows his classic examination of narrative writing (Story) with a long-awaited sequel every bit as valuable as the original. As with the author's previous work, this title is founded in Aristotelian aesthetics while not being bound by them. The power of dialog in print, on stage, and on-screen is illustrated by examples good and bad and detailed analysis that owes more than a little to actor Constantin Stanislavski (beats, objectives, and super objectives are defined with a clarity that is nothing short of revelatory). The works of novelist F. Scott Fitzgerald, playwright and writer Lorraine Hansberry, and TV producer/writer David Chase are presented with a depth that allows readers to identify dialog that works or doesn't, and why. Even if one takes exception to some of McKee's pronouncements, the principles that inform that judgment are so clearly and consistently presented and employed that readers can appreciate the technique even if they don't agree with the result. VERDICT An essential purchase destined to be replaced over the years as generations of aspiring writers wear out the copies with extensive study.--John Frank, Los Angeles P.L.

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