Story: Substance, Structure, Style, and the Principles of Screenwriting

This chapter breaks down the negative forces the protagonist faces. “Taking Story and Character to the End of the Line” examines how to invert the primary value at stake in your story to create multiple layers of conflict: the contrary, the contradictory, and the negation of the negation (for example, justice as the story’s core value, unfairness as the contrary, injustice as the contradictory, and tyranny as the negation of the negation). The best stories will pass through all three of these levels of antagonism. Other examples follow, with McKee briefly exploring possible core values and their layers of conflict, including love, truth, and freedom.

The opening section, “Show, Don’t Tell,” explores the meaning behind this famous writer’s catchphrase. The key to successful exposition is to imply background information within the action of the story rather than stating it overtly. Exposition should be used sparingly, sharing only as much information as the audience needs to understand the story. Small details can appear early, while large, dramatic secrets should not emerge until near the climax, usually forming the turning points of important scenes or acts.

This section also explores story length and how it relates to exposition.