FRIDAY'S SCRIPT TIP:
CHARACTERS ARE LOCATIONS
Locations are more than just the places where scenes take place, they are part of the story... and part of the characters. Because my writing is usually aimed at production, I tend to limit the number of locations in my script and try to reuse them whenever possible. This not only makes a script easier to schedule and film, in makes you think about the locations in ways you may not if you can just type up a new slug line.
2018 was a great year for Oakland, CA on film (the closest big city to where I grew up) with SORRY TO BOTHER YOU and BLACK PANTHER and BLINDSPOTTING in theaters. The most “Oakland” of the three was BLINDSPOTTING, so let’s use that as an example. It’s the story of two guys who live in West Oakland have been friends since they were 11 years old - Collin Hoskins (Daveed Diggs) is Black and Miles (Rafael Casal) is White. Collin was recently in jail for fighting, and the conditions of his parole: He will have to live in a halfway house for one year and do all of the chores assigned to him, he must find and work a job, he must not break any laws, he must live under a strict curfew, etc. As the guy who runs the halfway house tells him, “You are now a convicted felon Mr. Hoskins. You are now that until proven otherwise. Prove otherwise at all times.”
The movie’s title sequence sets the scene for Oakland, California in 2018 - because no one can afford to live in San Francisco anymore, the yuppies have begun invading. Gentrification is in full swing. The “white flight”: from the 50s and 60s has reversed - and now even the “inner city” sections of Oakland are turning into Yuppyville. Because this film has comedy elements, Collin and Miles are introduced at Kwick Way Burgers - a real local chain that has gone out of business - which has now reopened serving vegan food. Which explains why the burgers are five times as expensive and taste funny.
When he gets out of jail, Collin’s ex-girlfriend Val (Janina Gavankar) gets he and Miles jobs at a moving company... where they spend their days moving black families out of houses that have been in their families for generations and move in white yuppies into those same houses. So their *job* takes them through Oakland neighborhood and demonstrates the way the city is changing around them. There are heartbreaking scenes where they are packing up old family photos... to take to the dump. The corner market that they stop in for coffee and snacks before work now has kale juice smoothies - who drinks that stuff? Collin tries some... yech! All of this is the background to the story - and if you have never been to Oakland, you get a pretty good glimpse of the city. The West Oakland BART (Bay Area Rapid Transit) station on 7th street where trains zip past in the background - carrying commuters from the suburbs to San Francisco. Mandella Parkway just around the corner. Sorry to say that the new strip mall on 7th across from the BART Station is now mostly vacant - the 99 Cents Only Store moved out, as did a bunch of other businesses.
The story has Collin with three days left on his parole witness a Police Officer shoot and kill and unarmed Black kid named Randall Marshall, and is caught between reporting what he has seen (and probably getting into trouble with the police with only three days left on his parole) or pretending that he didn’t see anything. Complicating all of this is that Miles has a hair trigger temper and has recently bought an illegal gun for family protection. Miles could screw up his parole just by being Miles (later we find out that Miles was the reason why Collin went to jail - a bar room brawl they were both involved in, but only Collin was arrested). Collin considers what he should do about the shooting he witnessed every day when he jogs up the hill at the Mountain View Cemetery & Piedmont Funeral Home - another Oakland landmark. The city is a major character in the story - not just in the background, but something that impacts every aspect of the story. This is a movie *about* Oakland.
My COWBOY NIGHTS script (one of 2009's new specs) was kind of "cowboy noir" and takes place in present day Albuquerque. The protagonist gets fired from a dude ranch and heads to the city, where he becomes involved with a femme fatale who has a robbery scheme. In order to make the protagonist's choice to hook up with the femme fatale something we could see - visual, and not just words on the page - I created a nice cowgirl as a potential romance. That meant there *was* a choice - the femme fatale wasn't the only woman available. The protagonist now must make a physical choice between the two women, and that nice cowgirl he doesn't end up with becomes a physical symbol of his wrong choice when things go south in the robbery scheme. Also, she allowed me an ending where our protagonist gets a shot at redemption and a future.
There are several scenes in the script where the protagonist and femme fatale have sex, and one where the protagonist and nice cowgirl make love. Now, you can see the distinction between those two things on the page - I've used different words - but how do you make sure those words show up on screen? How do you turn words into something visual so that they do not stay on the page? In both scenes, the protagonist has sex with a woman. Sounds like the same scene.
The first thing I did was look at what made the two female characters different. The femme fatale was a city girl and the nice cowgirl was a country girl - and all of the basic character things and specific character things that come from that. I wanted to use location as one of the elements to explore character - even if it was so subtle most people wouldn't consciously notice. The sex scenes with the femme fatale were all rushed and in urban locations. The rushed element matched the hustle of city life, but also fit the story - the femme fatale is the wife of a small time gangster and these sex scenes are cheating on her husband, so they have to be fast so they are not caught. But the scenes could have taken place in beds or anywhere - I decided to use previously established urban locations that would make these sex scenes part of the city. One takes place in an alley, one is in a car parked in a busy parking lot, one is in the husband's place of business. None of the scenes take place in a location that is *not* obviously a city. (Except one bed scene - required for plot purposes.)
The nice cowgirl love scene takes place in the country - which fits her character - and is also relaxed and unrushed. They have a picnic in a beautiful outdoor location after a horse ride. Where the femme fatale sex scenes are surrounded by car horns and man made buildings; the nice cowgirl scene takes place surrounded by trees and wild flowers without a building in sight. I high-lighted all of the simple beauty of nature, and the simple beauty of the cowgirl. When they make love, they take their time, and are surrounded by the best scenic location the location scout can find. Because the location is beautiful, the audience will subconsciously find the sex scene to be beautiful as well. The location is doing its part to tell the story and reveal character.
The other difference between the two types of sex scenes was also designed to show that the tone of these scenes was different: The sex scenes with the femme fatale always took place at night and in darkness. The love scene with the nice cowgirl took place is bright daylight. Bad girl and nice girl, darkness and light. Hey, seems obvious when I say it, but how often do you *consciously* notice the time of day in a sex scene? This is something that the audience feels more that realizes. A simple thing we do in the slugline that changes the tone of the scene and changes the way the audience sees the actions.
CAN WE DO THAT AGAIN?
But here's the problem: this beautiful location for the nice cowgirl scene will only be used once in the script, and that is wasteful (and expensive, and time consuming). Is this a mistake? Should I find a previous location and reuse it?
There *was* a previous outdoors location - the dude ranch our protagonist gets fired from in the opening scene. And my thoughts were that the dude ranch location and this beautiful picnic location would probably be next to each other and easy to schedule on the same day. But once we've set up the camera at the picnic spot, is there some other scene I could also shoot there? I tend to think like this because the 1st AD who schedules the film will be thinking like this, and I don't want *creative decisions* to be made by the 1st AD. If they look at the schedule and only see one scene at that location and the schedule is already running over time, they may decide to change that location to somewhere we have already shot - and not realize the nice cowgirl's apartment (used later in the script) is *not* going to show the audience the difference between the types of sex scenes.
To the 1st AD it is a scheduling decision, a time saving decision, and not a creative one. They are just doing their job, and it is *our job* to make sure the scenes and characters and moments in the screenplay make it all the way to the screen. So, it became my job to "amortize" that location by using it in another scene, so that it would just make sense to *not* change that scene to another location - because there were other scenes that also took place there. A location that is only used once is going to be the first to get changed.
So, what other scene could take place in this beautiful outdoor place full of trees and wild flowers? The love scene takes place in day - when I wrote it I hoped that butterflies might flitter through a shot. So, if we have the camera there and the crew hanging around, what do they do when the sun sets? That's darkness, the time of the femme fatale...
There was a scene in my script outline where a murder victim - part of the femme fatale's robbery scheme - needs to be gotten rid of. Originally I thought it might be some typical crime movie thing where the body is put in a dumpster (there was also a woodchipper kind of fate introduced in an earlier scene) or maybe buried in some urban location. But why not bury the dead guy in the most beautiful location in the story... at night? Reuse the *romance* location for the *crime* story? Not only do I reuse my location and "defend it" from being changed because it was only used in one scene, I also manage to do many other things to *improve* the story just by placing the scene in this location.
LOCATION *IS* CHARACTER
1) Contrasting the action of burying a dead guy and a beautiful location adds irony to the scene. It's also an unexpected and unusual location for this scene - when someone in a crime film hides a body, it usually doesn't require transporting it on horseback.
2) The peaceful location surrounding the protagonist burying the dead guy will make the audience reflect on the protagonist's wrong decision... and that will be projected onto the protagonist. So it will seem as if the protagonist is reflecting on his bad decisions when all he is doing is burying a dead guy. Put this same scene in a neutral location and we lose the protagonist's "thoughts" and "feelings". The audience associates that location with a good thing that happened to the protagonist in his past and contrasts that with this bad thing.
3) The femme fatale's scheme has polluted the protag's relationship with the nice girl. That possibility for happiness now has a dead body buried in it. How could they ever go back to their "special place" if there is a corpse buried right where they made love? By going with the femme fatale, the protag has ruined any chance he may have had with the nice cowgirl.
4) Because the protag is a cowboy, and an outdoors type, this is *his world* he is desecrating with the dead body. His future, his life... his existence. Instead of burying his sins in some neutral location that he will never see again, he is burying his sins in *his world* where he will have to live with them for the rest of his life. No escape.
And probably some other things I haven't thought of. This is the great thing about limiting your palette when creating a story - when you have fewer characters and/or locations to select from, you are forced to find the characters and locations that have deeper meaning and end up accidentally finding secondary meanings along the way. Though my purpose in reusing locations is to make production easier (and protect the locations from schedule changes), when I look over my list of previous locations for one to use in this scene, I frequently strike gold. I see the location in a new light, or notice a contrast between location and scene or situation, or find some "baggage" from the past scene at that location that will impact this new scene. The scene creates an "echo" of that earlier scene (or scenes) and this adds another layer of meaning to the new scene.
Locations are an important element in any scene. Why does this scene take place at this location? What makes this location unusual for this type of scene? What is the connection between location and character? What is the connection between location and story? Are you getting the most out of every location by "amortizing it" throughout the screenplay? Location is an important part of telling the story - use it!
All About LOGLINES, TREATMENTS, and PITCHING!
LOGLINES, TREATMENTS, and PITCHING! Blue Book!
Distilling Your Screenplay!
Loglines, Treatments, Pitching, Look Books, Pitch Decks, One Pagers, Rip-O-Matics?
You have written a brilliant 110 page screenplay, but how do you get anyone to read it? You need to distill it down into some form of verbal moonshine or story rocket fuel that will ignite that bored development executive or manager or agent and get them to request your screenplay. But how do you shrink those 110 pages into a 25 word logline or a 2 minute elevator pitch or a one page synopsis or a short paragraph? This 100,000 word book shows you how! Everything you need to know! From common logline mistakes (and how to solve them) to how your pitch can reveal story problems to the 4 types of pitches!
NEW: WRITE IT: FILM IT!
Making Your Own Movie?
Writing An Indie Film?
Writing A Low Budget Genre Script To Sell?
Writing A Made For TV Holiday Movie?
You will be writing for BUDGET. On a standard spec screenplay, you don’t have to think about budget, but these types of screenplays writing with budget in mind is critical!
If you are making your own movie, budget, is even more important - and you need to think about budget *before* you write your screenplay... or you will end up with a script that you can’t afford to make (or is a struggle to make). Everyone is making their own films these days, and even if you have done it before there are lots of great techniques in this book to get more money on screen - for less money! You can make a film that looks like it cost millions for pocket change.
THE MISSION IMPOSSIBLE MOVIES
NEW: Updates On Films 7 & 8 Casting!
All Six Movies analyzed! All of the mission tapes, all of the “that’s impossible!” set pieces and stunts, the cons and capers - and how these scenes work, the twists and double crosses, the tension and suspense (and how to generate it), the concept of each film as a stand alone with a different director calling the shots (broken in the sixth film), the gadgets, the masks, the stories, the co-stars and team members (one team member has been in every film), the stunts Tom Cruise actually did (and the ones he didn’t), and so much more! Over 120,000 words of fun info!
THE MISSION IMPOSSIBLE MOVIES - Only $3.99 !
NO KINDLE REQUIRED! Get the *free* app (any device, except your Mr. Coffee) on the order page on Amazon!
*** THE BOURNE MOVIES
NEW: Updates on TREADSTONE TV show!
All five "Bourne" movies (including "Legacy" and it's potential sequels) - what are the techniques used to keep the characters and scenes exciting and involving? Reinventing the thriller genre...
or following the "formula"? Five films - each with an interesting experiment! A detailed analysis of each
of the films, the way these thrillers work... as well as a complete list of box office and critical
statistics for each film. This book is great for writers, directors, and just fans of the series.
Only $3.99 - and no postage!
Over 240 pages!
*** THE TERMINATOR MOVIES *** - For Kindle!
He's back! The release of "Terminator: Dark Fate" is set to begin a new trilogy in
the Terminator story... 35 years after the first film was released. What draws us to these films about
a cybernetic organism from the future sent back in time? Why is there a new proposed trilogy every few
years? This book looks at all five Terminator movies from a story standpoint - what makes them work
(or not)? What are the techniques used to keep the characters and scenes exciting and involving? How
about those secret story details you may not have noticed? Containing a detailed analysis of each of
the five films so far, this book delves into the way these stories work... as well as a complete list of
box office and critical statistics for each film. This book is great for writers, directors, and just
fans of the series.
ONLY $3.99 - and no postage!
My New Script Secrets Newsletter!
OUTLINES & THE THEMATIC!
OUTLINES & THE THEMATIC Blue Book.
ARE YOUR SCENES IN THE RIGHT ORDER?
AND ARE THEY THE RIGHT SCENES?
Your story is like a road trip... but where are you going? What's the best route to get there? What are the best sights to see along the way? Just as you plan a vacation instead of just jump in the car and start driving, it's a good idea to plan your story. An artist does sketches before breaking out the oils, so why shouldn't a writer do the same? This Blue Book looks at various outlining methods used by professional screenwriters like Wesley Strick, Paul Schrader, John August, and others... as well as a guest chapter on novel outlines. Plus a whole section on the Thematic Method of generating scenes and characters and other elements that will be part of your outline. The three stages of writing are: Pre-writing, Writing, and Rewriting... this book looks at that first stage and how to use it to improve your screenplays and novels.
DESCRIPTION & VOICE Blue Book!
DESCRIPTION & VOICE Blue Book.
IS HALF OF YOUR STORY IN TROUBLE?
Most screenplays are about a 50/50 split between dialogue and description - which means your description is just as important as your dialogue. It just gets less press because the audience never sees it, the same reason why screenwriters get less press than movie stars. But your story will never get to the audience until readers and development executives read your script... so it is a very important factor. Until the movie is made the screenplay is the movie and must be just as exciting as the movie. So how do you make your screenplay exciting to read? Description is important in a novel as well, and the “audience” does read it... how do we write riveting description?
NEW AND HOT!
*** STRUCTURING YOUR STORY *** - For Kindle!
William Goldman says the most important single element of any screenplay is structure. It’s the skeleton under the flesh and blood of your story. Without it, you have a spineless, formless, mess... a slug! How do you make sure your structure is strong enough to support your story? How do you prevent your story from becoming a slug? This Blue Book explores different types of popular structures from the basic three act structure to more obscure methods like leap-frogging. We also look at structure as a verb as well as a noun, and techniques for structuring your story for maximum emotional impact. Most of the other books just look at *structure* and ignore the art of *structuring* your story. Techniques to make your story a page turner... instead of a slug!
Only $4.99 - and no postage!
LEARN SUSPENSE FROM THE MASTER!
*** HITCHCOCK: MASTERING SUSPENSE *** - For Kindle!
Alfred Hitchcock, who directed 52 movies, was known as the *Master Of Suspense*; but what exactly is suspense and how can *we* master it? How does suspense work? How can *we* create “Hitchcockian” suspense scenes in our screenplays, novels, stories and films?
This book uses seventeen of Hitchcock’s films to show the difference between suspense and surprise, how to use “focus objects” to create suspense, the 20 iconic suspense scenes and situations, how plot twists work, using secrets for suspense, how to use Dread (the cousin of suspense) in horror stories, and dozens of other amazing storytelling lessons. From classics like “Strangers On A Train” and “The Birds” and “Vertigo” and “To Catch A Thief” to older films from the British period like “The 39 Steps” and “The Man Who Knew Too Much” to his hits from the silent era like “The Lodger” (about Jack The Ripper), we’ll look at all of the techniques to create suspense!
NOIR & MYSTERY80 minute MP3 packed with information on writing Film Noir and Mystery scripts. Using examples from CHINATOWN to OUT OF THE PAST to DOUBLE INDEMNITY you'll learn how to create stories in this dark, twisted genre. How to plant clues, red herrings, suspects, victims, spider women, fallen heroes, the funhouse mirror world of noir supporting characters... and the origins of Film Noir in literature Noir dialogue and how noir endings are different than any other genre. All of the critical elements necessary to write in this critically popular genre.
The Noir & Mystery Class is only $15 (plus $5 S&H). First 20 on Limited Black Disk!
RECESSION SALE! $5 OFF!
IDEAS AND CREATIVITY - 80 minute MP3 packed with information. Tools to find ideas that are both personal *and* commercial. Hollywood wants scripts with High Concept stories... but not stupid scripts. Developing *intelligent* high concept ideas. How to turn your personal story into a blockbuster - or find your personal story in a high concept idea. Brainstorming and being creative. Ideas and Creativity is $10.00 (plus $5 S&H)
WRITING INDIES - Writing an Indie film? This class covers everything you need to know - from Central Locations to Confined Cameos. Using examples from SWINGERS, THE COOLER, STATION AGENT and others, this 80 minute MP3 is packed with information. How Indoe films challenge the audience (while mainstream films reassure the audience). Structures, using BOYS DON'T CRY, RUN LOLA RUN, HILARY & JACKIE, and others as example. Writing for a budget, writing for non-actors, getting the most production value out of your budget. Writing Indies is $10.00 (plus $5 S&H)
WRITING HORROR - The essentials of a horror screenplay - what do ROSEMARY'S BABY, NIGHT OF THE LIVING DEAD, THE EXORCIST, BRIDE OF FRANKENSTEIN, THE OTHERS and OPEN WATER have in common? This class will tell you! All of the critical elements necessary to write a script that scares the pants off the audience. Writing Horror is $10.00 (plus $5 S&H).
Click here for more information on CLASS MP3s!
THE BOOK THAT STARTED IT ALL!
*** THE SECRETS OF ACTION SCREENWRITING *** - For Kindle!
*** THE SECRETS OF ACTION SCREENWRITING *** - For Nook!
Why pay $510 for a used version of the 240 page 2000 version that used to retail for $21.95? (check it out!) when
you can get the NEW EXPANDED VERSION - over 500 pages - for just $9.99? New chapters, New examples, New techniques!
"SECRETS OF ACTION SCREENWRITING is the
best book on the practical nuts-and-bolts mechanics of writing a screenplay I've ever read."
- Ted Elliott, co-writer of MASK OF ZORRO, SHREK, PIRATES OF THE CARIBBEAN and the sequels (with Terry Rossio). (ie; 4 of the top 20 Box Office Hits Of ALL TIME.)
Only $9.99 - and no postage!
READY TO BREAK IN?
*** BREAKING IN BLUE BOOK *** - For Kindle!
Should really be called the BUSINESS BLUE BOOK because it covers almost everything you will need to
know for your screenwriting career: from thinking like a producer and learning to speak their language,
to query letters and finding a manager or agent, to making connections (at home and in Hollywood) and
networking, to the different kinds of meetings you are will have at Studios, to the difference between
a producer and a studio, to landing an assignment at that meeting and what is required of you when you
are working under contract, to contracts and options and lawyers and... when to run from a deal!
Information you can use *now* to move your career forward! It's all here in the Biggest Blue Book yet!
Print version was 48 pages, Kindle version is over 400 pages!
$4.99 - and no postage!
NO KINDLE REQUIRED! Get the *free* app (any device, except your Mr. Coffee) on the order page on Amazon!
STORY: WELL TOLD!
*** STORY: WELL TOLD *** - For Kindle!
This book takes you step-by-step through the construction of a story... and how to tell a story well, why Story always starts with character... but ISN'T character, Breaking Your Story, Irony, Planting Information, Evolving Story, Leaving No Dramatic Stone Unturned, The Three Greek Unities, The Importance Of Stakes, The Thematic Method, and how to create personal stories with blockbuster potential. Ready to tell a story?
Print version was 48 pages, Kindle version is over 85,000 words - 251 pages!
Only $4.99 - and no postage!
MOVIES ARE CHARACTERS!
*** CREATING STRONG PROTAGONISTS *** - For Kindle!
*** CREATING STRONG PROTAGONISTS *** - For Nook!
Expanded version with more ways to create interesting protagonists! A step-by-step guide to creating "take charge" protagonists. Screenplays are about characters in conflict... characters in emotional turmoil... Strong three dimensional protagonists who can find solutions to their problems in 110 pages. But how do you create characters like this? How do you turn words into flesh and blood? Character issues, Knowing Who Is The Boss, Tapping into YOUR fears, The Naked Character, Pulp Friction, Man With A Plan, Character Arcs, Avoiding Cliche People, Deep Characterization, Problem Protagonists, 12 Ways To Create Likable Protagonists (even if they are criminals), Active vs. Reactive, The Third Dimension In Character, Relationships, Ensemble Scripts, and much, much more. Print version is 48 pages, Kindle version is once again around 205 pages!
ONLY $4.99 - and no postage!
ACT TWO SOLUTIONS!
*** ACT TWO SECRETS *** - For Kindle!
Expanded version with more techniques to help you through the desert of Act Two! Subjects Include: What Is Act Two? Inside Moves, The 2 Ps: Purpose & Pacing, The 4Ds: Dilemma, Denial, Drama and Decision, Momentum, the Two Act Twos, Subplot Prisms, Deadlines, Drive, Levels Of Conflict, Escalation, When Act Two Begins and When Act Two Ends, Scene Order, Bite Sized Pieces, Common Act Two Issues, Plot Devices For Act Two, and dozens of others. Over 67,000 words (that’s well over 200 pages) of tools and techniques to get you through the desert of Act Two alive!
Print version was 48 pages, Kindle version is well over 200 pages!
ONLY $4.99 - and no postage!
*** SUPPORTING CHARACTER SECRETS *** - For Kindle! (Exclusive)
Expanded version with more techniques to flesh out your Supporting Characters and make them individuals. Using the hit movie BRIDESMAIDS as well as other comedies like THE HANGOVER and TED and HIGH FIDELITY and
40 YEAR OLD VIRGIN and many other examples we look at ways to make your Supporting Characters come alive on the page.
Print version was 48 pages, Kindle version is around 170 pages!
ONLY $4.99 - and no postage!
ADVICE FROM 1920!
*** VINTAGE #1: HOW TO WRITE PHOTOPLAYS *** - For Kindle!
Screenwriting books have been around as long as films have. This series reprints vintage screenwriting books with a new introduction and history, plus new articles which look at how these lessons from almost 100 years ago apply to today’s screenplays. Anita Loos book is filled with information which still applies.
In addition to the full text of the original book, you get the full screenplay to Miss Loos' hit THE LOVE EXPERT, plus several new articles on the time period and women in Hollywood.
ONLY $2.99 - and no postage!
I WRITE PICTURES!
*** VISUAL STORYTELLING *** - For Kindle! (exclusive)
Show Don't Tell - but *how* do you do that? Here are techniques to tell stories visually! Using Oscar Winning Films and Oscar Nominated Films as our primary examples: from the first Best Picture Winner "Sunrise" (1927) to the Oscar Nominated "The Artist" (which takes place in 1927) with stops along the way Pixar's "Up" and Best Original Screenplay Winner "Breaking Away" (a small indie style drama - told visually) as well as "Witness" and other Oscar Winners as examples... plus RISE OF THE PLANET OF THE APES. Print version is 48 pages, Kindle version is over 200 pages!
ONLY $4.99 - and no postage!
*** YOUR IDEA MACHINE *** - For Kindle!
*** YOUR IDEA MACHINE *** - For Nook!
Expanded version with more ways to find great ideas! Your screenplay is going to begin with an idea. There are good ideas and bad ideas and commercial ideas and personal ideas. But where do you find ideas in the first place? This handbook explores different methods for finding or generating ideas, and combining those ideas into concepts that sell. The Idea Bank, Fifteen Places To Find Ideas, Good Ideas And Bad Ideas, Ideas From Locations And Elements, Keeping Track Of Your Ideas, Idea Theft - What Can You Do? Weird Ways To Connect Ideas, Combing Ideas To Create Concepts, High Concepts - What Are They? Creating The Killer Concept, Substitution - Lion Tamers & Hitmen, Creating Blockbuster Concepts, Magnification And The Matrix, Conflict Within Concept, Concepts With Visual Conflict, Avoiding Episodic Concepts, much more! Print version is 48 pages, Kindle version is over 175 pages!
Only $4.99 - and no postage!
PRO DIALOGUE TECHNIQUES!
*** DIALOGUE SECRETS *** - For Kindle!
*** DIALOGUE SECRETS *** - For Nook!
Expanded version with more ways to create interesting dialogue! How to remove bad dialogue (and what *is* bad dialogue), First Hand Dialogue, Awful Exposition, Realism, 50 Professional Dialogue Techniques you can use *today*, Subtext, Subtitles, Humor, Sizzling Banter, *Anti-Dialogue*, Speeches, and more. Tools you can use to make your dialogue sizzle! Special sections that use dialogue examples from movies as diverse as "Bringing Up Baby", "Psycho", "Double Indemnity", "Notorious", the Oscar nominated "You Can Count On Me", "His Girl Friday", and many more! Print version is 48 pages, Kindle version is over 175 pages!
Only $4.99 - and no postage!
Use your creative energy to focus on the content; let Final Draft take care of the style. Final Draft is the number-one selling application specifically designed for writing movie scripts, television episodics and stage plays. Its ease-of-use and time-saving features have attracted writers for almost two decades positioning Final Draft as the Professional Screenwriters Choice. Final Draft power users include Academy, Emmy and BAFTA award winning writers like Oliver Stone, Tom Hanks, Alan Ball, J.J. Abrams, James Cameron and more.
* * * Buy It!