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Act Three is the RESOLUTION of conflict. You've had all of Act Two to create problems and now we're going to focus on solving them. All of those physical conflicts that have been snowballing for the past 45-60 pages need to be resolved. If your Act Three is only ten pages long, the culprit is usually Act Two. You didn't create enough conflicts to resolve, or the conflicts were too simple, or the conflicts did not escalate, or your solution to the conflict was unrealistic. If you have spend 45-60 pages in Act Two creating problems for your protagonist, he probably can't fully resolve all of those problems in ten pages. If the problems were that easy to deal with, the audience is going to wonder why your protagonist spent all of Act Two avoiding them!

About 75 minutes into the classic western RED RIVER, John Wayne says: "You're soft, you should have let 'em kill me, 'cause I'm gonna kill you. I'll catch up with you. I don't know when, but I'll catch up. Every time you turn around, expect to see me, 'cause one time you'll turn around and I'll be there. I'm gonna kill you, Matt"

Hey, it's a John Wayne western and he's gonna kick some ass! Only one problem: he isn't saying this to some scumbag cattle rustler or some twitchy gunslinger... he says it to the young man he raised from childhood as his own son, played by Montgomery Clift! You see, Wayne has become the *villain* in this film.

RED RIVER is basically MUTINY ON THE BOUNTY on a cattle drive, with John Wayne as an obsessed, nasty, mean, and probably out of his mind Dunston and Montgomery Clift playing the protégée turned mutinous Matt. Almost every shot in the film has a thousand steers in the background - if not the foreground with the actors. And there's another great shot from inside Walter Brennan's chuckwagon as they ford a raging river (for real) behind and ahead and surrounded by cattle.

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But after a while it becomes apparent that John Wayne has maybe lost his mind. He isn't sleeping. He doesn't ever want to stop and set camp for the night... and there comes a point where Wayne starts to tie a cowboy who steals sugar to a wagon wheel and whip him. He's gone from hero to psycho. When the cowboys - these guys we have come to know and love - talk back to Wayne, he pulls his gun and kills three of them. Not exactly what you expect in a John Wayne movie. Eventually this reaches a breaking point when they are told by a traveling cowboy that there is a railroad in Abilene that heads north to Missouri, and they don't need to drive the cattle through the dangers of Comanche country. The cowboys, including Clift and Brennan, think this is great news. Wayne thinks it's some sort of trick, and still wants to go to Missouri. He has a plan, and he's gonna stick with it even if it's proven to be the wrong plan again and again and again. There is a mutiny, and Wayne wants to shoot *everybody*... but Clift steps in. Not to be a good son and help Wayne deal with these unruly cowboys, but to disarm Wayne and tie him up and maybe leave him to die in the middle of nowhere while they drive the herd to the railroad in Abilene. This is a full-on mutiny, and this is where Wayne vows he will track them all down and kill them all... including his best friend Brennan and his adopted son Clift. Wayne is the villain in this film and you can't help but hate him.

About 55 minutes of conflict later, Wayne and his posse of scumbags catch up with Clift in Abilene. Wayne wants to settle this mano-a-mano. This may not be the best plan, since Clift is an expert gunslinger - a faster draw than Wayne. About 30 minutes into the flick Clift gets into a shooting contest with the fastest draw in west, played by a young John Ireland... and bests him! Ireland shoots a can on the ground, it goes flying into the air - and Clift blasts it from the sky! Oh, and Wayne is old and the last time Wayne and Clift got into a shooting match, Clift shot him in the gun hand. But Wayne wants to see Clift dead.

John Ireland tries to talk Wayne out of killing Clift... and gets shot dead in the process. Wayne is *crazed*. This thing has been building since they begun this cattle drive an hour and a half of screen time ago. Building and building... and now Wayne is going to face off against Clift. And here's what happens....

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Wayne and Clift face off. Wayne says, "Go on - draw! I said DRAW!" Clift doesn't draw, but Wayne does, "So I'll make you!" and fires at Clift! Missing his head on purpose. He keeps firing at Clift, walking towards him, blowing off Clift's hat. But to Clift, this is his father - he can't draw. Wayne fires at Clift's *face*, tearing open his cheek! "You're soft! Won't anything make a man out of you!" Then Wayne pulls Clift's gun from the holster, throws it away, and starts beating him. Beating him until he falls to the ground, bleeding! Then Clift gets up, throws this amazing punch at Wayne and knocks him down... then this chick fires a gun and stops the fight, and Wayne and Clift practically hug, and all is forgiven... and you kind of go WTF? and we get closing credits. Elapsed time, maybe 5 minutes, max!

It's abrupt. It's not realistic. It's way too easy.

And considering that the 75 minutes *before* John Wayne says he's going to hunt down Clift and kill him, it seems completely *impossible* for the story to end this quickly.

The film must have the shortest Act Three of any film from the time period, and it makes you wonder if there was more in the script but they just truncated it to make Wayne come out okay in the end. Whatever the behind the scenes reason for this end, it just plays fake and almost ruins a great film.


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The two big problems with short Act Threes are that after building the conflict for the whole movie a quick resolution is unrealistic, and after all of that hell the antagonist has put the protagonist through you want them to have an equal amount of suffering... and you can't get it in a quick end. The hero has gone through all of this pain, and you want him to dish out the pain now. So a quick pulls a gun and kills the villain ending is unsatisfying. We need some payback! A short Act Three isn't just unrealistic, it can be a major let down for the audience.

Act Three in action and thriller scripts are often out of the frying pan, into the fire: one action scene leads to the next and they keep snowballing until you reach the end. The emotional conflict has been resolved, and the hero is left with a string of physical conflicts which must be solved before it's too late. These physical conflicts build-build-build in tempo and importance until we come to the final confrontation between hero and villain.

FACE/OFFs Act Three is wall-to-wall action, starting with a shoot out in a church between the Hero and Villain, turning into a stand off where the Villain kidnaps the Hero's daughter and holds a gun to her head outside the church, which leads to a foot chase on the pier near the church, which snowballs into the Villain stealing a speedboat and the Hero giving chase in a speedboat, which turns into a fist fight (with anchors and chains) onboard the Villain s boat, then the Villain's boat hits the shore and explodes, throwing Hero and Villain onto the beach, where they have a final knife-vs.-speargun fight. One action snowballs into the next in a continuous act-o-action... each action resolving a *piece* of the conflict.

All of those pieces of conflict that need to be resolved are pieces of the story... because there is still story in Act Three. It's not just "Kill the badguy", it's dealing with all of those unresolved story threads which have built up in Act Two. One of the problems with many superhero movies is the story is *over* at the beginning of Act Three, so it's just a bunch of pointless action. We want to make sure that there are all kinds of unresolved conflicts in the story which are part of that wall-to-wall action. That there are still twists and turns and unexpected elements as part of those action scenes.

There's no time for stops and starts in Act Three, it should be a roller coaster ride! This is true regardless of genre - check out the FUNNY roller coaster rides at the end of THERE'S SOMETHING ABOUT MARY and BLAZING SADDLES... or the dramatic roller coaster ride at the end of ORDINARY PEOPLE.


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Act Three will often have your protagonist trying to solve the problem against a ticking clock: It's the day of the wedding and Julia Roberts has to get this problem SOLVED. In MY BEST FRIEND'S WEDDING Julia Robert's internal problem is that she is afraid of being alone for the rest of her life... but after breaking up the marriage at the end of Act Two, she realizes SHE IS THE VILLAIN (and that she is selfish - self - she has lived by her self - by herself for her entire life... and she's okay with that) so now she has to beat the clock to get the couple back together and married before the wedding guests notice that anything is wrong. All of the things she screwed up trying to avoid the conflict in Act Two have to be fixed in Act Three. This isn't some quick fix, she's spent half the script screwing everything up, it can't instantly be fixed.

William Goldman uses the end of NORTH BY NORTHWEST as an example of a slam bang movie ending, but Act Three doesn't begin on the face of Mount Rushmore, it starts much earlier when Cary Grant realizes Eva Marie Saint is going to be in danger and escapes his hospital room to rescue her. He becomes the man of action he's been accused of being throughout the film... and spends the rest of the film doing dangerous things to rescue the woman he loves. He has to get to Van Damm's house and rescue her before she's taken away to Russia... and that's the ticking clock that runs through Act Three. Though it only takes a minute for Martin Landau to be shot and fall off Lincoln's nose, the action building up to that is what makes it satisfying.

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One of the problems with the RED RIVER Act Three is that it works differently than most - which is probably why it doesn't work very well. Most movies have an emotional conflict and a physical conflict. Usually the emotional conflict is resolved, and this allows the physical conflict to be resolved. You need to solve the emotional problem first... and that gives the protagonist the strength to solve the physical problem. In RED RIVER the physical conflict is the cattle drive - getting 10,000 head of cattle to market. The emotional conflict is between Wayne's character and Clift. Unlike most movies, they resolve the physical conflict first - which puts added pressure on the emotional conflict. It becomes the big end conflict instead of the cattle drive. We could have had the big face off before the end of the cattle drive, and Clift and Wayne admitting they needed each other to get the cattle to market... and we have the end of the cattle drive and the negotiations with the buyer as a way for Wayne to "earn his hug".

The Third Act of your screenplay can't begin until the central conflict CAN be solved. If the problem could be resolved earlier, why wasn't it? My friend Roger Ebert calls these "idiot plots" - a story where the conflict could be resolved... but isn't, just so the protagonist can remain in trouble longer. Most Act Threes begin when your protagonist has solved his emotional conflict and is strong enough or prepared enough to tackle the external conflict. That's the event that usually triggers Act Three.

If you don't like John Wayne movies, RED RIVER is one to try out. He plays completely against type and for most of the movie is the villain. You also get to see 1,000 head of cattle upstaging the stars in many scenes... and you'll find out whether Brennan ever gets his false teeth back.

More on this in the Grand Finales Blue Book!


How Do I do That?



New to screenwriting? You probably have questions! How do I get an Agent? How do I write a phone conversation? Do I need a Mentor? What’s does VO and OC and OS mean? What is proper screenplay format? Should I use a pen name? Do I need to movie to Hollywood? What’s the difference between a Producer and a Production Manager, and which should I sell my script to? How do I write a Text Message? Should I Copyright or WGA register my script? Can I Direct or Star? How do I write an Improvised scene? Overcoming Writer’s Block? How do I write a Sex Scene? And many many more! This book has the answers to the 101 Most Asked Questions from new screenwriters! Plus a Glossary of terms so that you can sound like a pro! Everything you need to know to begin writing your screenplay!

All of the answers you need to know, from a working professional screenwriter with 20 produced films and a new movie made for a major streaming service in 2023! 

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Can You Make It bigger?



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!

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All About Endings!



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!






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!

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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.

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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!

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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.

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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.

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Tips FAQ

My New Script Secrets Newsletter!







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.

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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?

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*** 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!

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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!

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The Noir & Mystery Class is only $15 (plus $5 S&H). First 20 on Limited Black Disk!


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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!





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.)

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*** 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!

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*** 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!

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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!

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*** 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!

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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!

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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.

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*** 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!

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*** 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!

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*** 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!

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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!

copyright 2024 by William C. Martell

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bluebook E BOOKS: New Blue Books and Novelettes!
I am expanding all of the Blue Books from around 44 pages of text to around 200 pages! Some are over 250 pages! See what is availabale and what is coming soon!Also, I've been writing Novelletes and there will soon be novels.

Furious Action Class

Cult Films, Exploitation, Bikers & Women In Prison, Monster Movies.

Producing my own scripts, investment possibilities, pipe dreams.


Naked Class The NAKED SCREENWRITING CLASS ON MP3! The 2001 London Class on 8 MP3s! Recorded *live* the morning after the Raindance Film Festival wrapped. The two day class on 8MP3s, plus a workbook, plus a bonus MP3 with PDFs.
The 2 Day Class on MP3!


Every screenwriting book in the world!
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From the latest screenwriting book to guides for finding agents and producers... all with at the discount!


Each Blue Book is 48 pages and focuses on a different aspect of screenwriting. Dialogue. Visual Storytelling. Your First Ten Pages. Act 2 Booster. Protagonists. Great Endings.
Seventeen Blue Books now available!

THE SECRETS OF ACTION SCREENWRITING The Best Nuts & Bolts Screenwriting Book On The Market!


My nineteen produced films, interviews with me in magazines, several sample scripts, my available scripts list... And MORE!
...............................BILL'S CORNER

Available Scripts


Take classes on MP3!