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Dan O'Bannon's Guide to Screenplay Structure: Inside Tips from the Writer of Alien, Total Recall and Return of the Living Dead
Dan O’Bannon famously crafted his screenplays using a self-designed system which he called “dynamic structure.” This book outlines how O’Bannon’s method differs from those of other well-known screenwriting gurus, and illustrates with examples from classic (and not-so-classic) films how dynamic structure can be applied to craft narrative and character. O’Bannon also includes his insights on subjects such as the logic of the three-act structure, the role of the producer in screenplay development, and the psychological principle known as “hedonic adaptation,” which has a unique effect on the structuring of screen stories.
- GenresWritingFilmNonfiction
272 pages, Paperback
First published March 21, 2012
42 people are currently reading
316 people want to read
About the author
Dan O'Bannon
26 books13 followersDaniel Thomas "Dan" O'Bannon (September 30, 1946 – December 17, 2009) was an American film screenwriter, director, visual effects supervisor, and occasional actor, usually in the science fiction and horror genres.
O'Bannon is best known for having written the screenplay for Alien, adapted from a story he wrote with Ronald Shusett. He also contributed computer animation to Star Wars, worked on cult classics such as Dark Star, Heavy Metal and Total Recall, and both wrote and directed the horror comedy The Return of the Living Dead.
O'Bannon is best known for having written the screenplay for Alien, adapted from a story he wrote with Ronald Shusett. He also contributed computer animation to Star Wars, worked on cult classics such as Dark Star, Heavy Metal and Total Recall, and both wrote and directed the horror comedy The Return of the Living Dead.
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Displaying 1 - 15 of 15 reviews
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September 10, 2012I co-wrote this book (that's me as Matt R. Lohr)...
December 13, 2020
As soon as I found out that a writing book written by Dan O'Bannon was available, I bought it immediately.
In case you don't know the name, let me tell you ... you should know the name. He was a co-writer of some of my favourite movies from my childhood: Alien, Total Recall, and Screamers. I had to learn his tricks.
The book was worth the read. There are some tricks and tips in there that I had never read before, and I've read quite a few books on writing. So, if you are a fan of his work, I recommend this. Once you're done reading it, go watch one of his movies and try to spot his techniques.
In case you don't know the name, let me tell you ... you should know the name. He was a co-writer of some of my favourite movies from my childhood: Alien, Total Recall, and Screamers. I had to learn his tricks.
The book was worth the read. There are some tricks and tips in there that I had never read before, and I've read quite a few books on writing. So, if you are a fan of his work, I recommend this. Once you're done reading it, go watch one of his movies and try to spot his techniques.
February 19, 2013
After all the books on storytelling, fiction writing, and screenwriting I've read I wondered if this would really add anything new. But O'Bannon has written the scripts for two of my favorite movies so I couldn't exactly ignore this when I saw it was coming out.
What you get here is not so much anything "new" (as if you could expect that with storytelling anyway), but rather O'Bannon's own formulation of the traditional three-act dramatic narrative. As is often the case when an insightful practitioner recasts "standard wisdom" with a pragmatic bent, there are plenty of gems to be found that help to clarify and lock into place many time-tested bits of orthodoxy.
The book itself is written in a way that doesn't take itself too seriously, but at the same time conveys interesting lessons (complete with do-it-yourself exercises) and practical how-to advice on constructing a gripping story. Recommended if you're interested in screenwriting or storytelling.
What you get here is not so much anything "new" (as if you could expect that with storytelling anyway), but rather O'Bannon's own formulation of the traditional three-act dramatic narrative. As is often the case when an insightful practitioner recasts "standard wisdom" with a pragmatic bent, there are plenty of gems to be found that help to clarify and lock into place many time-tested bits of orthodoxy.
The book itself is written in a way that doesn't take itself too seriously, but at the same time conveys interesting lessons (complete with do-it-yourself exercises) and practical how-to advice on constructing a gripping story. Recommended if you're interested in screenwriting or storytelling.
May 19, 2015
This is an amazing book. I've read a number of these screenwriting manuals, and this book still managed to surprise me with juicy nuggets of advice. It's pretty hard to surprise people who've been in H'wood for a while. Highly recommend.
March 9, 2023
I wish the whole book would have been written in the style of the last thirty pages… I was not exactly itching for a fifty page critique of Aristotle from the outset. Dan champions the Three Act structure. No argument there, but that’s kind of like saying the internet is going to be a big deal.
February 12, 2019
An amazing book for beginners, although nothing new or revolutionary is presented for semi to professional screenwriters. No need to read this if you've read any other "how to" screenplay 101 book.
July 18, 2025
I stopped having big expectations long ago on what I hoped to take away from screenwriting books. This doesn't break the mold, but I appreciate that it isn't at all as prescriptive as most of its peers, and it's good to chew on its general approach and review the applied analysis while working on your own story. If you're stuck on your own script and just need to shake up your mind and refresh on some fundamentals of storytelling then this isn't a bad way to reflect on your own project to see if you're missing something, but if you're already humming along then set this aside for a rainy writers block-y day.
February 24, 2024
One of my favorite craft books I've read in learning to be a screenwriter. It's a pretty simple down to earth matter of the structure, because structure is what unveils character to change.
I also enjoy how he goes over quickly other schools of thought on drama like Aristotle's Poetics. And enjoyed the analyzation of popular movies to his structure.
Here's Dan's structure:
1) The conflict is defined. 2) There is a point of no return. 3)And the conflict is resolved. Simple, no?
I also enjoy how he goes over quickly other schools of thought on drama like Aristotle's Poetics. And enjoyed the analyzation of popular movies to his structure.
Here's Dan's structure:
1) The conflict is defined. 2) There is a point of no return. 3)And the conflict is resolved. Simple, no?
October 14, 2022
Solid overview of conflict and structure but spends WAY too much time breaking down classic movies and plays that most are entirely familiar with. Still, O'Bannon's commentary is very charming and it's a shame he left us this early.
May 12, 2017
Someone had already filled out all of the exercises in this book with dirty limericks about my dad.
September 16, 2018
The main take away is conflict between the protagonist and antagonist. Both should push each other not the traditional obstacles which is boring.
November 3, 2022
First heard of this browsing the BFI shop on site at Southbank.
Returned twice now, and this most recent time I started it. Skipped the introduction just to see if it would be worth reading. Skimmed through to page 80 with great understanding. It gives a really easy to understand, and useful, proposed script structure. It is where short story writers fall wrong when they stick to one structure. Same goes for screenwriting. Though people who stick to what they know with formulaic structure have done great things several times over. It is simply less imaginative to omit this step of creation all over again. And less surprising/more boring for your readers in that regard.
But yes, saying, 1. Argue over a point, set both reasoning and message up. 2. Escalate it to where the argument must be brought to a head, no backing out anymore. 3. Someone wins, or argument is resolved in some way. It’s much less vague than the open ended points—mid-point, turning point 1&2 etc. And with less beats set up for you, if followed, there may be more room for creation.
Swept in to the BFI store and skimmed through the last two thirds and the introduction material sitting in the midst of what would become a lunchtime shopping traffic. When I steamed out of the place the security man said “did you finish reading it?” I gave a sly smile and a subtle nod. He laughed and extended a hand out, swiping me not in the act of securing the intellectual goods I swallowed but to let out a laugh and a “you got ‘em” pat. I wish I could’ve been as enthused as him but I was very levelheaded and deft in my reading it that I didn’t feel like much of a cheat. “Did you finish…” “Well, most of it,” I say without much energy.
7.8.2022 Seeing as, in a kind of transience between Glasgow and Berlin I’m living at BFI Southbank, just now, before my first screening of the day… brushing my teeth in the toilet, same clothes as yesterday when I had this encounter, the same security person was about to enter the toilets as I leave. “Are you going to do some reading today?!” pointing at me with a charming smile. My sometimes quick brain said “I’ve got my own book.” The current: ‘All Tomorrow’s Parties.’ “Not in the shop.” …
Returned twice now, and this most recent time I started it. Skipped the introduction just to see if it would be worth reading. Skimmed through to page 80 with great understanding. It gives a really easy to understand, and useful, proposed script structure. It is where short story writers fall wrong when they stick to one structure. Same goes for screenwriting. Though people who stick to what they know with formulaic structure have done great things several times over. It is simply less imaginative to omit this step of creation all over again. And less surprising/more boring for your readers in that regard.
But yes, saying, 1. Argue over a point, set both reasoning and message up. 2. Escalate it to where the argument must be brought to a head, no backing out anymore. 3. Someone wins, or argument is resolved in some way. It’s much less vague than the open ended points—mid-point, turning point 1&2 etc. And with less beats set up for you, if followed, there may be more room for creation.
Swept in to the BFI store and skimmed through the last two thirds and the introduction material sitting in the midst of what would become a lunchtime shopping traffic. When I steamed out of the place the security man said “did you finish reading it?” I gave a sly smile and a subtle nod. He laughed and extended a hand out, swiping me not in the act of securing the intellectual goods I swallowed but to let out a laugh and a “you got ‘em” pat. I wish I could’ve been as enthused as him but I was very levelheaded and deft in my reading it that I didn’t feel like much of a cheat. “Did you finish…” “Well, most of it,” I say without much energy.
7.8.2022 Seeing as, in a kind of transience between Glasgow and Berlin I’m living at BFI Southbank, just now, before my first screening of the day… brushing my teeth in the toilet, same clothes as yesterday when I had this encounter, the same security person was about to enter the toilets as I leave. “Are you going to do some reading today?!” pointing at me with a charming smile. My sometimes quick brain said “I’ve got my own book.” The current: ‘All Tomorrow’s Parties.’ “Not in the shop.” …
August 16, 2019
There is not a secret recipe, silver bullet or magic potion for creating a script that will be instantly turned into a Hollywood blockbuster, or make the writer rich and famous. Those eager to enter the business will have no trouble finding “How-to” books on the subject, but unlike most selections, Dan O’Bannon’s Guide to Screenplay Structure takes a fresh approach to the challenge of writing a screenplay with a formula he calls “the Dynamic Structure,” which guarantees success — at least in terms of creating something audiences find satisfying.
You can read ZigZag's full review at Horror DNA by clicking here.
You can read ZigZag's full review at Horror DNA by clicking here.
May 15, 2015
Really wanted to like this book, but about half way through you realise there's not much substance and a lot of talk. Dan's "system" seems incredibly basic (which is fine, but doesn't need a whole book to explain), and while it's good to hear a screenwriter talk about all the other must-read screenwriting books out there, his assessment of them starts to feel like high school essays. The end meanders until it runs out of content. The best thing I learnt from this book is not to trust strict structures and page counts, and to just focus on a story that works.
October 9, 2015
Excellent book--and a clear-eyed look at story structure. Nothing fancy, no complex system.
Displaying 1 - 15 of 15 reviews