If books had a dressing contest, this one would surely take first place. It applies every imaginable gimmick for the sole purpose of impressing the reader. There are many pictures in it, all of which are sensational adolescent fantasy material, many filling a full page and sometimes in color. The text is broken up in various ways, with intervening boxes and sidebars in incosistent shapes and sizes, as if designed specifically to distract you. Its "techniques" are trademarked under the bombastic name "Emotioneering", and worst of all, the author makes a point of repeatedly flaunting his screen(game)writing prowess.
But what are these "Emotioneering" techniques? has freeman actually invented a set of technical rules which applies to drama? No, that would be Aristotle. If you're really interested in the rules of drama, that's whom you should read. What Freeman refers to as "Emotioneering" are nothing more than a pile of bad screenwrting practices you can pick up in any second rate screenwriting book - except for two differences; first, in this sorry book they are given mind-blowing names like "technique stacking" and "Emotionally Complex Moments and Situations Techniques", and second, the examples used are said to be taken "from games" instead of from films, but, of course, all of these "games" have been imagined by Freeman for the purpose of the book (which he expressly admits), because there IS no real world game that would serve his purpose - he is really talking about films.
But when it comes to films, Freeman seems to think the The Lord of the Rings trilogy is about the best you can get. Ask any amateur screenwriter and they'll tell you that the one award these films honestly deserve is Worst Screenplay. The Lord of the Rings, like Freeman's book, is all spectacle and no content.
What kept me trudging through the morass of simpleton notions and overflowing filler text was the hope that, as a man who has some experience with writing for games, Freeman would have a few words to say about the intersection of stories with interactivity - the most alluring aspect of combining games with stories. Although he doesn't take up the subject directly, he does mention at some point that writing for games is complicated by the need to accommodate for the actions of the player. He says that he uses branching statements in his scripts for this, and that this is a very tough problem. Other than that, there are some minor points like how to allow the player to experience the events of your computerized screenplay in several different orders (which is made possible only by the ridicules simplicity of the story proposed as an example), but nothing which actually deals with letting a human have a meaningful interaction with a story.
To summarize, except for the pictures (if that's your cup of tea) I really can't see any reason to buy this book over any other random heap of text. If you want spectacle, you got it. If you want knowledge, you do yourself a favor and read three books: The Poetics by Aristotle, for the real "Emotioneering" techniques, Chris Crawford on Game Design, for an understanding of why the problem is not nearly as simple as Freeman pretends it to be, and Chris Crawford on Interactive Storytelling for the best solutions to the problem currently available.