MONDAY'S SCRIPT TIP:

IT'S NOT ABOUT TIME


slumdog DVD

A common misconception is that the standard three act structure has something to do with the chronology of events, and therefor limits creativity. Structure in a screenplay is the order of the *story* incidents, and has nothing to do with chronological order. Basically, three act structure is all about conflict not chronology, so it's only as restrictive as your imagination. Whenever anyone says the Three Act Structure limits creativity, they are just looking for an excuse to explain their own limited creativity. Just about any type of story or method of telling a story can be told using the basic three act structure - all you need is imagination.

It's possible to have a story where the incidents which set up the story (Act One) take place a year *after* the rest of the story has taken place. RESERVOIR DOGS uses flashbacks to escalate it's conflict, creating an Act Two that takes place weeks *before* Act One. RUN LOLA RUN has three acts that take place at the exact same time... parallel to each other. SLUMDOG MILLIONAIRE has three different time periods running concurrently, so one scene in the past might be setting up the conflict - Act One material - and another scene in the past might be escalating the conflict - Act Two material... yet a scene in the present might also be setting up conflict - Act One material. The chronology of the scenes has nothing to do with the three act structure - it's all about the conflict... and story *is* conflict.

Act One - Introduced the conflict.
Act Two - Conflict and Escalation of Conflict
Act Three - Resolution Of Conflict.

Memento DVD

Chris Nolan's MEMENTO opens with the end, then goes *backwards*, scene-by-scene, to show you HOW the end came to be. We finally get to the spark that set off the story - and that's the end of the film! Most stories are about WHAT happens, but this story is about WHY things happen. It's similar to a murder mystery, where the detective starts with the crime, then probes the past to find the events leading up to the crime... ending with the solution to the mystery. Like a murder mystery, MEMENTO focuses on motives - WHY the event occurred.

Though MEMENTO may seem like some bizarre structure because the story is told backwards, it's actually a traditional three acts. Act One introduces the problem: Our hero kills the man he thinks murdered his wife. Act Two escalates the conflict: Piece by piece we learn about the wife's murder, the suspects, and we begin to wonder if our hero shot the right guy! Act Three resolves the conflict: Because we've moving BACKWARDS we eventually get to the wife's murder - and learn why she was killed. This answers the WHY question - resolving the conflict in a very unexpected way. (This film has dozens of plot twists, including a great twist end.)

The late Harold Pinter used the same backwards storytelling method in his romantic drama BETRAYAL which begins with the break up of a relationship, then goes backwards to show us WHY, ending with the "resolution of the conflict" with the couple deeply in love.

Though the chronological end might happen in the middle of the film or the beginning or the actual end, most films still follow a basic three act structure based on the importance of the events to the characters. Structure is NOT about time, it's about story. Standard three act structure doesn't prevent you from creating daring and original stories, it's simply a tool to make sure what you have IS a story. If you want to start your script at the chronological end or chronological middle or do what SLAUGHTER- HOUSE 5 does and throw chronology away completely by linking scenes through importance of event, you're free to do that!

MULTIPLE TIME PERIODS

lola DVD

SLUMDOG MILLIONAIRE is about a poor orphan kid from the streets and slums of India who ends up on the Indian WHO WANTS TO BE A MILLIONAIRE at 20... and answers every question correctly... so he is arrested by the police for fraud, since they are sure that he cheated. How could a guy with this background know all of the answers? The police interrogate him - and they are not afraid to hit him and worse to get a confession - and ask him how he knew the answer to each question... which leads to a flashback... and the flashbacks tell the story of the boy, from childhood until now. This is a great CITIZEN KANE like device to give us the kid's story, using the WHO WANTS TO BE A MILLIONAIRE show to drive the story.

The film ends up in 3 time periods - the Game Show, the Police Station, and the Boy's Life. Because we have these three time storylines, each of them is chronological to avoid confusion - there's enough going on in the structure already. So we begin with the boy (Jamal) and his brother at six or seven, then watch them grow up in flashbacks to thirteen or so, then as eighteen or nineteen year olds. The game show drives the story, and this is a great device - just telling the story of a kid growing up in the slums might be interesting, but the game show gives it a concept that is interesting and unusual. Not quite a high concept, but certainly something higher than just the kid story. This isn't just any slum kid, this one just won WHO WANTS TO BE A MILLIONAIRE. His story is unique and special. The game show gives his story a reason to be told.

HOW YOU TELL THE STORY

pinter DVD

The format is: Game Show - kid is asked question and gives correct answer, Police Station - cops interrogate kid and ask him how he knew, Flashback - we see a portion of the kid's life which includes how he knew the answer.

One of the things movies do is *transport us* - they take us into different worlds and allow us to live different lives for 2 hours. Though most often that fantasy life is something exciting and fun, it doesn't have to be. In this case, we are taken into the world of slum dwellers in India - and see the world through their eyes. What amazed me was the beauty and squalor combined. The shanty town on the edge of the garbage dump... with all of the colorful laundry fluttering in the breeze on clothes lines. You are taken into this world, and see it through the eyes of a child. That gives it a sense of wonder and mischief.

Jamal and his slightly older brother Salim live in the slums, and pick through garbage for hidden treasures and find unusual ways to make enough money to eat and survive. An early scene *shows* us the older brother's character - which will come into play in almost every scene afterwards. The slums have outhouses on the end of piers, and the boys are taking tolls from anyone who needs to use them. Between customers, Jamal is using the facility when a movie star visits the slum to sign autographs (a photo op). This is Jamal's favorite star, but his brother wedges a chair against the outhouse door so that he can't get out. Just being a mean older brother - establishes a cruel streak. Jamal really wants to meet his favorite star and get the photo he always carries autographed.

But how to escape the outhouse? Well, there is one way out... And this shows Jamal's determination, his ingenuity, and the level of his love for this star. He goes down through the toilet - then manages to pass through the crowd surrounding the star (people do tend to step aside when you are covered with poop) and get his autograph. This is a big funny scene, that shows us the characters of both boys. But the next scene gives us more information about the brother, Salim... he steals the autographed picture and sells it, keeping the money for himself. Where Jamal is driven by his love for this star, Salim is driven by money. And we get another great scene between the two brothers where Jamal deals with being betrayed. By finding a pair of scenes that *demonstrate* the characters early on, we now know who they are and how they will each deal with every situation they encounter.

slaughter DVD

A few scenes later, it is *pouring* rain, and Jamal and Salim have taken shelter in a small shed. A slum girl they know, Latika, is stuck outside. Jamal wants to invite her into the shed with them, but Salim doesn't want to give up any of his room for somebody else. Another great scene that *shows* us the characters... when Salim falls asleep, Jamal invites the girl in out of the rain. (There's an additional element to this scene that I will not spoil for you.) After this, the three of them are a team (sort of) and the adventures of their young lives are what the flashback stories are all about. Do I even need to say that Jamal is in love with her?

Though we have three different time periods, they all add up to one story - that love story between Jamal and Latika - and the story brings them together then pulls them apart. Act One - through all three time periods - establishes their love, then creates conflicts that keep them apart. Act Two - through all three time periods - focuses on the conflicts that keep them apart... and the conflicts that put Jamal in hot water with the police. These conflicts escalate in all three time periods - on the game show, the questions become more difficult. There are twists and turns in all three time periods. Then, we reach Act Three in all three time periods, where Jamal resolves the conflicts and the love story is resolved, the game show is resolved, and the police station conflict is resolved... in some unexpected ways.

Even with the strange three-stories-at-once method of SLUMDOG MILLIONAIRE or the reverse chronology or MEMENTO or BETRAYAL or the same story three times in RUN LOLA RUN, the basic three act structure keeps the story on track. You are only limited by your own imagination - so *use it*! Feel free to play with time in a screenplay if it will make your story more emotionally involving to the audience... just remember that every story sets up the conflict, escalates the conflict, then resolves the conflict. That's what the Three Act Structure is all about - it has nothing to do with time.


NEW!

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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!

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BRAND NEW!

*** 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.

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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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OUTLINES & THE THEMATIC!

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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.

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ALSO NEW!

DESCRIPTION & VOICE Blue Book!

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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?

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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!

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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!

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The new CDs are available now!

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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.)

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READY TO BREAK IN?

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NEW!

*** 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!

*** 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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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!

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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!

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SUBPLOTS?

*** 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!

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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.

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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!

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BEST SELLER!

*** 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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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!

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FINAL DRAFT SOFTWARE

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 2019 by William C. Martell


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E BOOKS PAGE

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.
E BOOKS: BLUE BOOKS & NOVELLETES

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NAKED SCREENWRITING CDs

Naked Class The NAKED SCREENWRITING CLASS ON CD! The 2001 London Class on 8 CDs! Recorded *live* the morning after the Raindance Film Festival wrapped. The two day class on 8CDs, plus a workbook, plus a bonus CD with PDFs.
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bluebook FIRST STRIKE BLUE BOOKS
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.
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THE SECRETS OF ACTION SCREENWRITING The Best Nuts & Bolts Screenwriting Book On The Market!

BILL'S CORNER

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


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Class CDs CLASSES ON CD! Take a class on CD! GUERRILLA MARKETING - NO AGENT? NO PROBLEM! and WRITING THRILLERS (2 CDs). Full length classes on CD. Now Available: IDEAS & CREATIVITY, WRITING HORROR, WRITING INDIE FILMS, more!
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