FRIDAY'S SCRIPT TIP:
A few summers ago those of us the critics refer to as "indiscriminate action fans" (nothing could be further from the truth) had a potential treat with the all star action flick THE EXPENDABLES 2 starring Sly Stallone and Dolph Lundren and Bruce Willis and Eric Roberts and Arnold Schwarzenegger and Jason Statham and Jet Li and...
A couple of years ago we got EXPENDABLES 3 with even more old action stars!
Hey, the last time Jason Statham and Jet Li were in a movie together (except for EXPENDABLES movies) was a few years ago, a film called WAR that was chock full of big action scenes... and boring as hell! You would think that car chases and explosions would be exciting, but they are meaningless if there's no emotional content to the scene.
I am a fan of movies like WAR... but having seen it, I am not a fan of WAR. It's like the worst written, worst directed version of movies like this. The film has one good plot twist - but completely not set up, so once they do the twist, you want to yell "Fake!" at the screen. No way this twist could be real.
DO WE CARE?
If we do not care who lives and who dies, we won't care about any of the action scenes - they become shiny pretty things that we might appreciate for stunt value, but we won't be *involved* in the action at all. If there is any lesson TOY STORY 3 teaches us, it's that when we care about the characters the action scenes become emotional and visceral and exciting. We do that thing I call the "skin jump" where we imagine ourselves as the character and imagine that these action scenes are happening to *us*. When a cartoon about plastic toys runs you through an emotional ringer during an action scene, and you actually worry that the cartoon of the plastic toy may be hurt; that's a great action scene!
But WAR makes a huge rookie mistake - by having stars play hero and villain and giving them equal screen time, so that you just become confused as to whose side you are on. In fact - neither is ever identified as hero or villain, so you really don't know who to root for! Do I want Jason Statham to kill Jet Li, or Jet Li to kill Jason Statham? I don't really want either, and didn't care about either character. Whose skin am I supposed to jump into? Who am I supposed to be caring about? Who do I want to win the fight scene between the two stars? By not having a clear-cut hero and villain, we don't know who we are supposed to identify with and pick *neither*... making the action scenes dull. No one to root for. It's like watching a horse race where you have no horse in the race - nice how they go around the track, and there may be some cool come-from-behind riding, but if you don't care who wins... well, it's just something that you *watch* instead of participate in. Actually, it's worse than that horse race - because you don't want either Jet Li or Jason Statham to win... and you also don't want either Jet Li or Jason Statham to lose. You don't want the fight scene to happen - but it does - and now you don't want there to be any resolution.
But the worst thing about WAR... it didn't even work as "action porn".
"Action Porn" is the term I use for really cool action scenes in a film that may not make any sense. Just like with porn, you can fast forward to the action scenes and not really miss anything. The story and characters do not matter - they are there to service the action (not the other way around). There are all kinds of low budget action films that have great car crashes or great hand-to-hand combat scenes or amazing stunts... but not much in the way of story. Um, I can watch those films. Just for the action part. I *prefer* action that is all about character and story, but just like those cool moments in the horse race that you don't care who wins - sometimes it's just pretty shiny explosions.
But in WAR the action scenes were bland and mis-directed and we'd seen them all before. When you're dozing off during a shoot out, something is wrong with your action movie. One of the biggest problems with bad action scenes is that they are often scenes we have seen before. Nothing unique and cool about this scene. No high concept to the scene. Not even an original twist on some action scene that we have seen before. I have a list of car chase ideas - car chases that we haven't seen before. Well, half the list is crossed off now, as other people have come up with those car chase ideas in their movies. When I talked about coming up with original action scene ideas in that out of print book of mine, SECRETS OF ACTION SCREENWRITING, my example was a rooftop car chase. A car blasting out of a parking structure onto the roof of a building and then jumping from roof to roof as it is being chased. Hadn't seen one of those before... But now there's one in BATMAN BEGINS. Pretty much exactly as I described it. Rats! That gets crossed off the list and I have to come up with some new unique car chase ideas to replace it. You always want your action scene to be something we haven't seen before. Think of all of those great Jackie Chan action scenes from his Hong Kong movies - no two are alike!
Another way to remedy boring action: just add *emotional* conflict. Some difficult decision that the protagonist needs to make. You've seen a million car chases, and you'll see a million more. It's one machine chasing another... how can you possibly make that emotional? Finding the emotional conflict within the physical conflict transforms the cliche car chase into something exciting and imaginative.
Let's say our hero's emotional conflict is that he puts his own well being before others... and let's create a car chase that illustrates that.
Our hero and the sidekick are being chased on foot by the villains.
The hero and sidekick run across the parking lot to their car, villains right behind them! The sidekick is a few paces behind the hero, yelling "Wait up! Wait up!", but the hero doesn't slow down. He jumps into the car, starts it up...
The villains get into their car and start it.
The sidekick gets to the car, throws open passenger door.
Villains car roars to a start and gives chase... before the sidekick can climb in!
The hero throws the car into gear, speeds away, with sidekick running next to open door! "Jump in!" "Slow down!" But the chase is on. The sidekick can't find the right moment to jump through the open car door. The villains are speeding up.
The hero speeds up... and the passenger door closes. Now the sidekick is running beside a car with no way inside... and the villain's car is closing in.
Sidekick jumps onto the back of the car, hanging on to that slot between the back window of the car and the trunk. He's hanging on to the outside of the car! Hero sees that sidekick is there... and the villains in their car are closing in on them! Hero floors it. Sidekick hangs on for dear life.
Now we have standard car chase #53B... except the sidekick is hanging onto the back of the car for his life, feet dangling off the edge of the car!
If the hero drives too fast, the sidekick may fall off (and get run over by the villain';s car)...
If the hero takes corners so fast that the car "fish tails", the sidekick might lose his grip and be thrown into the ditch (or oncoming traffic)...
If the hero drives too slow, the villains may catch up and slam into his rear bumper (except the sidekick's legs are in the way, and will be crushed between the cars)...
Every cliche from every car chase is now even MORE exciting... and the hero doesn't know what to do. If he drives carefully (so that the sidekick doesn't fall off), the villains catch him. If he drives like a mad man trying to lose the villains, the sidekick could fall off into traffic. There's an EMOTIONAL CONFLICT in the middle of the car chase! It's a more exciting action scene BECAUSE of the emotions. Now the sidekick's life is tied to the car chase, and whatever the hero does will be tied to his emotional conflict - putting his well being before others. Plus, we give the audience what they don't expect - a car chase they haven't seen before. A car chase with built in HUMAN emotions. A car chase we can CARE about. Plus a darned exciting scene that helps illustrate the theme and emotional conflict of the story.
Do you have an emotional conflict in your action scenes? Something that makes your car chase more than just metal chasing metal?
Cars don't buy movie tickets, humans do, so make sure there is a human conflict in your car chases!
Without emotions what we end up with is one of those boring science movies from high school where the dispassionate narrator drones on and on and on. Those things put me to sleep. You want your action script to have juice, excitement, sparks. Big drama, big emotions... move the audience as much as you can. Action films are all about life or death situations, and those are about the most emotionally charged situations I can think of. When you are writing an action scene, remember to make it emotional as well as physical. The problem with WAR's action scenes is that they were not only unoriginal, they were also unemotional... and not character or story related at all. That leaves us with nothing involving in the action scenes - and they don't even work as action porn!
THEME IN ACTION
In TRUE LIES the theme is trust, and the emotional conflict revolves around Ah-nuld lying to his wife Jamie Lee Curtis about almost everything: his job, his identity, his true self. The only thing that ISN'T a lie is his love for her... But when you spend your entire marriage thinking your husband Harry is one guy, and find out he's the total opposite guy, it's difficult to trust him ever again. So James Cameron came up with an action scene that DEMONSTRATES this emotional conflict... He puts Jamie Lee Curtis in an out of control limousine on a bridge with a premature end and puts Ah-nuld in a helicopter zooming overhead. For Jamie Lee to survive, she must TRUST Ah-nuld by climbing out of the sun roof of the limo and grabbing hold of his hand as he zooms past in the helicopter. She has to put her life entirely in his hands. Ah-nuld must dangle out of a zooming helicopter, risking HIS life to save his wife. He is SHOWING that he will risk his life for her love.
This creates a strong emotional component at the center of the action scene: This is the woman he loves - the most important person in his life. What if Ah-nuld can't reach her? Or can't grab tight enough to her arm? Or drops her? What if Jamie Lee can't reach his hand? Or can't hold on? There are EMOTIONAL consequences for failure. This is a scene that explores the theme of the script, is filled with emotions, and is also pretty darned exciting.
Most of the action scenes in TRUE LIES explore some aspect of trust - the action scenes are critical to the story!
Remember that action is character. Action scenes EXPOSE character. That is one of the primary purposes of any scene - to expose character. Scenes should also advance the plot, illustrate the theme (if possible) and entertain the audience. Yes, that's a lot of work. But if your action scene isn't telling us anything about the character, isn't emotionally involving, it's just a high school science movie. Our job is to provide emotions, to move the audience the way TOY STORY 3's action scenes do - we want *exciting* action scenes!
Once you have your hero's emotional conflict (character arc), come up with a list of action scenes that will force him or her to deal with that conflict. Scenes that force them to solve that inner conflict in order to survive. Remember, we're writing EMOTION pictures! Then find the really unique and usual ones - or find a way to twist a scene we have seen before into something we have never seen. Don't make the mistakes of WAR!
WAR - what is it good for? Absolutely nothing!
Can You Make It bigger?
BLOCKBUSTERS (and BEACH READS) Blue Book!
Writing something EPIC?
Over 500 Pages, ONLY : $4.99!
Thinking about writing a big Disaster Movie? An Historical Epic? An Epic Adventure Film? Or maybe you like Gladiator Movies? This book looks at writing Blockbusters and those Big Fat Beach Read novels - anything epic! Usng movies like JAWS, POSEIDON ADVENTURE, LAWRENCE OF ARABIA, THE GUNS OF NAVARONE, and those MARVEL and FAST & FURIOUS flicks as examples. What *is* a Blockbuster? 107 years of Blockbuster history! Blockbuster Characters. Blockbuster Story Types! Why modern Blockbusters are soap operas! Social Issues in Blcokbusters? Big Emotions! Keeping All Of Those Characters Distinctive! How to avoid the Big problems found in Big Movies and books! More! If you are writing a Big Event Movie or a Big Fat Novel, there are tips and techniques to help you!
All About Endings!
GRAND FINALES Blue Book!
The Perfect Ending For Your Story!
The First Ten Pages Of Your Screenplay Are Critical,
But What About The Last 10 Pages?
Creating the perfect ending to your story! This 100,000 word book shows you how to end your story with a bang, rather than a whimper. Everything from Resolution Order to Act Three Tools to Happy or Sad Endings? to How The Beginning Of Your Story Has Clues To The Ending (in case you were having trouble figuring out how the story should end) to Falling Action to How To Avoid Bad Endings to Writing The Perfect Twist Ending to Setting Up Sequels & Series to Emotional Resolutions to How To Write Post Credit Sequences to Avoiding Deus Ex Machinas, to 20 Different Types Of Ends (and how to write them) and much more! Everything about endings for your screenplay or novel!
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!
272 pages - ONLY $4.99!
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.
344 pages - SALE:: $7.99!
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 - 347 pages - 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
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.
268 pages - Only $3.99
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!