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The Nutshell Technique: Crack the Secret of Successful Screenwriting, by Jill Chamberlain
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"The Nutshell Technique cracks the code behind why we love the movies that we love. It guides you to organically write the story you want to tell."― Callum Greene, ProducerStar Wars Episode 9, Crimson Peak, The Hobbit: The Desolation of SmaugVeteran script consultant Jill Chamberlain discovered in her work that an astounding 99 percent of first-time screenwriters don't know how to tell a story. What the 99 percent do instead is present a situation. In order to explain the difference, Chamberlain created the Nutshell Technique, a method whereby writers identify eight dynamic, interconnected elements that are required to successfully tell a story.Now, for the first time, Chamberlain presents her unique method in book form with The Nutshell Technique: Crack the Secret of Successful Screenwriting. Using easy-to-follow diagrams ("nutshells"), she thoroughly explains how the Nutshell Technique can make or break a film script. Chamberlain takes readers step-by-step through thirty classic and contemporary movies, showing how such dissimilar screenplays as Casablanca, Chinatown, Pulp Fiction, The Usual Suspects, Little Miss Sunshine, Juno, Silver Linings Playbook, and Argo all have the same system working behind the scenes, and she teaches readers exactly how to apply these principles to their own screenwriting. Learn the Nutshell Technique, and you'll discover how to turn a mere situation into a truly compelling screenplay story.Since its publication in 2016, The Nutshell Technique: Crack the Secret of Successful Screenwriting was an instant classic. It is the go-to manual many professionals swear by, and it's on the syllabus syllabus at colleges across the U.S. including the world renowned screenwriting program at Columbia University.
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Product details
Paperback: 224 pages
Publisher: University of Texas Press (March 1, 2016)
Language: English
ISBN-10: 1477303731
ISBN-13: 978-1477303733
Product Dimensions:
7 x 0.8 x 10 inches
Shipping Weight: 15.2 ounces (View shipping rates and policies)
Average Customer Review:
4.9 out of 5 stars
99 customer reviews
Amazon Best Sellers Rank:
#163,238 in Books (See Top 100 in Books)
This is the first time I’ve ever felt compelled to write a review and it’s because the material I am reviewing is just simply that good.I’ve read the following books on story structure – screenplay and novel:Story: Substance, Structure, Style and the Principles of Screenwriting by Robert McKeeSave The Cat! The Last Book on Screenwriting You'll Ever Need by Blake SnyderThe Anatomy of Story: 22 Steps to Becoming a Master Storyteller by John Truby5 Secrets of Story Structure: How to Write a Novel That Stands Out (Helping Writers Become Authors Book 6) by K.M. WeilandStructuring Your Novel: Essential Keys for Writing an Outstanding Story by K. M. WeilandSuper Structure: The Key to Unleashing the Power of Story by James Scott BellWrite Your Novel From The Middle: A New Approach for Plotters, Pantsers and Everyone in Between by James Scott BellI am a big fan of each book for different reasons but if I was to make a suggestion to anyone looking to buy a book on story structure buy Jill’s book first. Each of the other titles I’ve listed are great in supplementing the Nutshell technique but they do not provide a replacement for it. Truby, Snyder, Mckee, Weiland, Bell all propose a series of beats or events that must happen in your story for it to be successful. Each event can contribute to a very compelling story but the problem with this approach is that each of these events are unrelated. Each event just happens in the succession of the last without a direct cause and effect relationship between each beat. The lack of correlation with this formulaic approach, can and often does with inexperienced writers, result in a “situation†and not a story. Our lives are great examples of situations; events happen, one after the other, without the necessity for cause and effect. However a day in the life of the average person hardly makes for a compelling story. What Jill gives us is a cohesive framework to work with, where each element is interdependent and the relationship between these elements help to forge a link between character and plot development. Unlike other books, this book doesn’t present character arcs in the abstract. The Nutshell technique not only ties character development to particular points in the plot arc but it also gives us the “why†necessary for us to believe each event must happen. The end result of a story compiled from the elements of the nutshell technique is a far more compelling story than one that would be told using only the cookie cutter methods that some authors propose.In summary read the other books, they are all brilliant and I believe each will help you write a better story, but make sure you read this book first.
One of the things that became apparent when I was writing a regular column for Script Magazine was the incredible production of books on screenwriting.Yet, despite the over-production of screenwriting theory books, there are some truly new and innovative books and theories out there. One of the best to come along in a long time is Jill Chamberlain's The Nutshell Technique. The book identifies eight interconnected elements required to tell a successful story. Interestingly, the book does not take up the trend to add and own more steps in screenplay structure but harkens back to the old three-step drama sequence of Aristotle and his modern incarnation in Syd Field.Rather than proceed down a linear path in creating a story, Chamberlain (a script doctor, story consultant and coach) tells readers not to begin at the usual set-up but rather at what she calls "the point of no return." This is the event at the end of the first act that moves the story into the second act. No, this point is not the traditional "inciting" incident but something much more powerful in that the "point of no return" comes with a "catch" that sets up the second act and really the entire screenplay. In brief, the "point of no return" gives the protagonist what he/she wants in the opening of the screenplay but with a "catch" to this want.For example, consider the film Tootsie. The "set-up want" of the protagonist (Dustin Hoffman) is a job and the "point of no return" is that he is offered a job in an opera role. The "catch" though is that he must pretend to be a woman. One of the (few) accepted principles of screenwriting is that the protagonist needs to start with some "flaw" at the beginning of the story that will become a "strength" (or not) at the end of the story. The flaw of the Tootsie protagonist is that he doesn't respect woman. The purpose of the "catch" is to test this beginning character "flaw" and do battle with it through the second act arriving at a new "strength" in his respect for women in act three.Unlike most other screenwriting books and theories, The Nutshell Technique offers a visual view of this theory with little footsteps of the protagonist's story journey. It is almost like a board game where players go to different boxes. The boxes are blank for the screenwriter to fill in. The book explains how to fill in the boxes. Chamberlain offers two types of boxes: one for comedy and one for tragedy. But they're not the same idea one usually has of comedy and tragedy. Comedy is defined where a flaw at the beginning becomes a strength at the end and tragedy defined where a flaw at the beginning becomes a worse flaw at the end. The book offers thirty examples of the technique from leading films. The "comedy" diagram for Pulp Fiction and the "tragedy" diagram for The Social Network are shown below.Are Hollywood's concerns that they are not telling the right types of stories a valid concern? And, if so, might the problem be located in the segmentation of screenwriting theory today? If the problem is fragmentation of story-telling techniques and methods, then Jill Chamberlain's The Nutshell Technique offers something new that doesn't add another theory to the theory heap in Hollywood. Rather, it allows screenwriters to see that old three-act structure in a totally new way. One is reminded of a famous quote from Proust. “The real voyage of discovery consists not in seeking new landscapes, but in having new eyes.†So it is with screenwriting. Chamberlains important book does not seek new screenwriting landscapes as much as it attempts to provide new "eyes" to screenwriters to see the old three-act story landscape in new ways.
I like this model because it is simple and direct, in addition to seeming correct, which to me adds up to "valuable." I have bought and read 30-40 screenplay books over the years, from Syd Field to Blake Snyder and David Howard. I liked them all. Maybe I like the Nutshell book having read the other ones, and having a grasp of the basics, to appreciate it.However, Blake Synder struck me as a bit paint by numbers, whereas Nutshell is less complex, less pretentious and more able to accommodate a lot of possibilities. In particular, one of the concepts is the "set-up want," which amounts to a "throw-away want," meaning it's arbitrary, and can be changed later if it doesn't serve. The other authors seem committed to a rigid paradigm that if violated, will cause your screenplay to fail. I really can use a model with some flex in the system, because I can't come up with a full-blown, A to Z screenplay concept up front; it has to be worked through, at least for me. Not having had good success using the other models, I look forward to working with this one. At least I won't feel my story is fatally stricken if I deviate from one of the iron pillars of somebody's method.The material from the other books is certainly useful, and I also look forward to incorporating many of the other concepts found in them. However, I consider this already to be among the most useful of the screenplay books.
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