The author laid out the entire method in the previous book - what more could there be? Lots more, it turns out.

He has snappy names for identifying the weaknesses in that log-line, pitch, or script that is just missing. He has suggestions for working with his system that can make outlines that seem to work properly, and then amp them up. He also talks about how to take an outline that just lies there, and shake it up with some specific catalysts. He decomposes some of the beats even further, exposing more structure that echoes the structure of the whole screenplay (I am reminded of Mandelbrot sets, but perhaps that's just me). The beat sheet is reinterpreted as a flowchart. And the questions to ask when the story just isn't jelling yet, that can get you to look at your story another way.

He talks about "notes" - because a writer will get notes. Your initial reaction is understandable, but if the Powers That Be have notes, the writer can use them to make the story stronger. There is talk about agents, about The Meeting, about how to pitch. So more of it is focused on the Hollywood screenwriter.

Yes, if you needed the first book, you need this one, too. ( )