Books like Screenwriting 101 — picked by fans

Schechter divides the traditional 3-act structure into four parts; Act 1, Act 2A, Act 2B, and Act 3. While that’s not revolutionary in itself, he uses this four-part breakdown to structure multiple story elements like theme and motivation. My favorite element is his breakdown of the character’s story evolution into four archetypes: Orphan, Wanderer, Warrior, and Martyr. Seeing how these archetypes can be metaphorical such as Jason Bourne being “orphaned” from his previous life at the beginning of The Bourne Identity, or literal, such as Rose martyring herself by returning to the sinking Titanic to rescue Jack, is worth the price of admission alone.

I read Alexandra’s book years ago and she’s since released several revised editions. This book provides an insightful history of the 3-act and eight sequence structures she uses, and offers invaluable insight into overcoming the pitfalls of the dreaded “second-act sag”. But perhaps the most important lesson her book instilled in me is the importance of taking the time to analyze the structure of your own favorite movies and novels to understand why they resonate with you. She calls this your Master List and it’s a tool that every writer should have in their toolbox to improve their craft. 

While most structural paradigms rely on a sequential series of seemingly unrelated plot points, Chamberlain’s nutshell technique breaks stories into eight interdependent stages that create a natural and logical flow to a story. Additionally, within these stages, she places equal importance on both the external elements of the plot and the internal motivations of the character to demonstrate how their interaction shapes the narrative. This is one of the more well-known books on the list, but one that I can’t recommend highly enough if you haven’t read it. I’d lend you my copy but it’s dog-eared to pieces.  

As the title suggests, Williams’ book focuses on identifying the Moral Premise at the heart of your story idea and building around it. It’s a very thematic approach to storytelling. This Moral Premise essentially breaks the story into four components: a positive “virtue”, a negative “vice”, desirable consequences (success), and undesirable consequences (defeat). You can use this to create a simple structure of “Vice leads to undesirable consequences (defeat), while Virtue leads to desirable consequences (success)”. I'm admittedly oversimplifying it, but it's a great tactic to get to the heart of your story's theme and strengthen your narrative. 

There is no other book I have read that offers greater insights into the elements and structure of writing than this book. Written for screenplay writers, I find it an excellent source of guidance and support.

It offers a detailed, step by step review of story progression and structure, from the beginning of a scene/chapter through the build-up and to an ending too enticing to not turn the page. It has guided me just as it has Dominick Dunne, as quoted in Amazon’s review of the book: "In difficult periods of writing, I often turn to Robert McKee's wonderful book for guidance" - Dominick Dunne, Novelist

This is a short but excellent volume, dedicated to the design of a TV series.

It contains a brief history of U.S. Television, which in itself is enough to justify reading the book. As the title suggests, it focuses particularly on writing a pilot, a key part of any series project. William Rabkin is a veteran showrunner with hundreds of hours of produced shows under his belt, yet I really enjoyed the conversational tone in his book.

Make sure you get the most recent version, as the first edition of this classic dates back to 2011 and Rabkin has updated his book since.

I read this book years ago, and it has become such a part of my DNA that I barely remember not knowing the ideas it introduces. A lot of screenwriting books focus on structure and premise, trying to decide what kind of event should happen by which page. This book gave me a freer, more spiritual way to think about and structure stories.

Vogler’s book—heavily influenced by Joseph Campbell’s Hero with a Thousand Faces—showed me how to think of stories as mythical journeys, almost Jungian in their symbolism. How even the most modern or intimate story can be seen as a warrior’s journey into an unknown land; How stories can benefit from being a few degrees closer to dreams or the unconscious.

I've been an avid fan of the book ever since, and can barely think of storytelling separately from the ideas in it. 

This book coined the maxim far and away the most quoted in Hollywood to this day: “Nobody knows anything.” I first read it the year before I broke in. My copy is heavily annotated with yellow highlighter and red pen; a black paperclip still marks the second of Goldman’s two capitalized maxims, “Screenplays are structure.” The value of this book to anyone wanting to understand – or survive in – Hollywood is that, ironically, Goldman, one of the most successful screenwriters and novelists in Hollywood history, knew almost everything, not only about screenwriting, but also the psychology, cautious care, and perilous feeding of actors, directors, executives, and the rest of the Hollywood zoo. It’s both a textbook and survival guide, illustrated with a veteran’s vivid stories about life behind the tinsel.

This book opened my eyes to alternative ways to structure a screenplay and to a way to think as a screenwriter. Based on a memo Vogler wrote while working at Disney, which influenced hundreds of movies, the book gives a clear summary of how to structure a screenplay using the universal mythic structure first explained by Joseph Campbell.

I liked its clear, concise use of examples citing familiar films (Star Wars!). It was thought-provoking and immediately applicable to my writing. I cite it often in screenwriting classes.  

I love Michael Hauge’s groundbreaking thoughts on what makes an audience bond with a main character. And on the idea of “identity” vs. “essence” and what that means for character arc. And so many other things.

A standard and a classic that is foundational reading, I think, for understanding and working with story.