MONDAY'S SCRIPT TIP:
TAKE US SOMEPLACE COOL
I'm writing a movie about what happens on
my patio. The second
bedroom of my apartment is an office, and it overlooks the
apartment complex patio. Right now there's nobody out there...
well, there are a couple of birds chirping around on a table...
but on Saturday the couple across the courtyard will be
barbecuing. They've got a kid who is constantly screaming and
causing trouble and sometimes the couple gets into a debate about
how best to discipline him. Dad wants to paddle him, mom thinks a
"time out" is a good idea. They usually barbecue chicken, because
you can get chicken on sale at the grocery store for 99 cents a
pound sometimes - I've heard the mom talk about it. My script
will also have the woman across the hall in a bikini, because she
sometimes sits on the patio and works on her tan. I've said
"Hello" to her, but she ignores me... pretending to be asleep.
Sometimes late at night the guys from upstairs sit on the patio
and smoke dope - if I breathe deeply through my open window I
can... Oh, never mind. Hey, the birds are flying away! FADE
Every script takes us into a world where the story takes
The audience is going to pay $12 to spend two hours living in that
world. You can chose any world you want - the only limit is your
imagination! So take us someplace cool! (someplace better than my
The #1 film over the weekend was INSURGENT, the sequel to DIVERGENT, which takes place in a post
apocalypse Chicago where everyone is divided by their characteristics... but freaks (divergents) have no
place in this world, and are outcasts.
The #1 film over the weekend a year ago took place in Lego Land, where everyone has to follow the instructions and Everything Is Awesome
and you should never touch strange pieces. It is a world of order, where a builder like Emmet follows the same
pattermn every day, gets up at the same time and says hello to his neighbors and goes to work where he uses those
Lego blocks to build buildings. As Christy Lemire says in her review: “The Lego Movie” is the rare film based on a toy or a
game that truly feels like its own unique universe rather than a shameless, extended infomercial. And it's a cool world
to spend an hour and a half in.
GRAVITY takes place in outer space, and not only can people not hear you scream...
once you start moving it is very hard to stop. We really get to see how working in space is
much different than working here on earth, and how small problems can quickly escalate. The
whole experience of the film is about space, where there's no gravity to hold you down. I think much of the
draw of the film is the world it takes place in...
A year ago I saw director Zak Forsman's new film DOWN AND DANGEROUS about a lone wolf drug smuggler who is
trapped between an ultra corrupt DEA Agent and a violent Drug Kingpin. This is an indie film funded by a
kickstarter program, but looks like a big Hollywood production. The great part about the film is that it takes
you into the world of drug smugglers. You learn how to smuggle drugs! The clever drug smuggler has all of these
cool ways to get past the border guards with his goods. You see the *details* of his world. Instead of a typical
crime film, it's almost a procedural! And by taking us inside that world and showing us how things work, this
indie crime film becomes *fascinating*. Your story doesn't have to take place in Outer Space or Lego Land to take
us into a cool world!
A couple of years ago we had *three* films that took place in Rio de Janeiro! FAST FIVE did something interesting
and avoided the tourist locations and luxury for the gritty slums. Though there have been films that took place in
the favelas before, it is an interesting and unusual location... and part of what makes the film unique. The first HANGOVER
sequel went halfway around the globe to Thailand and gave us a tour of Bangkok along with the story. Both of these films
give the audience a sort of travelougue of places you would probably not want to visit in real life... but in the safety
of a cinema? Cool!
A few summers ago the #1 movie TOY STORY 3 took us into the world of toys, which are alive when
humans aren't looking. Though we have been in this world in two previous films, this third
installment takes us deeper into the world, since the boy these toys belong to, Andy, has now
become a man and is going off to college... the toys have been outgrown. We learn that toys are
responsible to their owner kids, that they live to be played with... and *not* being played
with is painful to them. When the toys realize their potential fates are: being sent to the
attic in a box, being donated to a child care facility, or being thrown away where a garbage
truck will crush them... we don't know which is worse. Will Andy decide to take some of the
toys with him to college? When they end up in a garbage bag, they know their fate... and escape
to the child care facility donation box.
Which brings us into a *new* world - the child care -
where old stuffed bear Lotso is the toy in charge. This is a world that we have never seen before -
not in the previous two TOY STORY films, and this is where the bulk of the story takes place. A
world where toys do not have owners - they are free. A world where toys are played with *every day*.
A world where kids may grow up, but a new group of kids replaces them - so that the toys are
always the center of attention. A place that sounds like heaven for toys... but is it? This new
world for the TOY STORY movies is what not only creates the story, but makes this story unlike
the others. And the *details* of this child care world are what make the film fun. You will never
look at one of those wire storage baskets in the same way again! The "Caterpillar Room" and the
"Butterfly Room" are different parts of this new world, and
we completely understand the differences between them. Every element of the child care facility world is part
of the story... and fascinating. This is the world the story takes place in, and it is unique and
an integral part of the story being told - not just a background to the story. TOY STORY 3 takes
us into a world where humans have never been before, which is cool!
The new STAR TREK movies take us boldly where no man has gone before. In 2009's reboot, we not only got to go to Star Fleet Academy,
we got to go to several different planets and even a different time! Since we were back with Young Kirk and
Young Spock and Way Too Young Chekov before the incidents of the first TV series, I thought the movie should
have had more of a sense of wonder than it did. But the Academy was filled with aliens and had Kirk nailing that
green alien girl between classes... hey, that stuff is supposed to come with exploring alien worlds! Not just
hanging around on Earth. The follow up also just took us back to Earth. Hey, for films based on a TV show about space
travel way out into that final frontier of space, this two new films spend almost all of there time right here on
Earth... where we live. Booooring! The
original TV series would take the Enterprise and her crew to a new planet every week where there was a new
crises, at least one new form of alien life (and some hot extra terrestrial for Kirk to nail), and some
valuable social issue lesson for Kirk to learn by the end of the show (it was the late 60s). But every
week we would be in some cool new world - whatever the writers could imagine that was still within the
budget of the show.
The wonder that may have been missing from the STAR TREK reboots can be found in the 3D animated film BATTLE FOR TERRA,
which takes us to another planet (Terra) where tadpole-like creatures live in peace and harmony and whales
can fly. One of the great things about this film is that the *technology* on Terra is completely different
than ours, as if they took a completely different turn during the Industrial revolution and technology was
based on wind and wood. Their version of the car is a parasail, their version of a sky scraper is a tall
tree. This location is unique - you have never seen anything like it on film before and that makes it
very interesting, even when the location is just the background to a conversation. Of course a couple of
minutes into the story this cool place is invaded by evil aliens hell bent on destroying paradise and
putting up a parking lot... and those aliens would be *us*.
All of this is science fiction, you say! Well, ANGELS & DEMONS takes place right here on Earth,
but takes us to places we have never been before - not only inside the Vatican and inside the Vatican
politics of electing a new Pope, but also into the world of the Illuminati - that secret organization of
rogue scientists what have been waging a top secret battle against the Catholic Church for hundreds of years.
Even on Earth there are secret worlds where film has yet to take us - and Tom Hanks and his weird haircut
was our tour guide for this one. We will not be going to any of the normal stops on the Vatican Tour,
he's going to take us to all of the cool places that are strictly off limits - in fact, if you ask the
Vatican these places don't even exist. But we're going to go there anyway - Cool!
THE 300 doesn't takes place in the world of professional bowling, as you might expect,
but takes us into the world of Spartan Warriors, trained from birth to be he perfect soldiers.
We see how hey are trained. How they fight, and even how they die glorious deaths when outnumbered
a hundred to one. For two hours we are taken into their world, and see the battles through their
eyes. The other Greek soldiers are farmers in armor, the Spartans are warriors 24/7/365. The
sequel not only takes us back to this world, it shows us a *different* world within that world.
BLADES OF GLORY takes us behind the scenes of a silly and slightly exaggerated version of
Olympic ice skating. Even though this is a comedy, we've seen a glimpse of this world in real
life during the Nancy Carrigan episode. We know that on the ice they may be graceful, but
behind the scenes it's a cutthroat competition and not everyone involved is as sophisticated off
the ice. Will Ferrell movies like ANCHORMAN are great at taking some world or occupation we are familiar with
and then showing us the behind-the-scenes part of that world... and making fun of it. We get both the
tour of the world behind the curtain... and comedy!
ROBOTS takes us into a world run entirely by those metal dudes, where two robots might fall
in love, get married, and buy a "kid kit" and build a child. Where that robot can grow up and
set out for Robot City - a world of steel and Rube Goldberg contraptions. ROBOTS cretes
a world that's amazing and real and totally different than anything you've ever seen before. A world where
the greatest Robot in history, Mr. Bigweld, can be tossed in the scrapheap in favor of
the younger, more ruthless Mr. Ratchet... who wants to phase out replacement parts for older robots (which will eventually kill them).
Soon, all robots will be exactly the same. That's a story we can relate to, in a world that's interseting and amazing.
HARRY POTTER AND THE GOBLET OF FIRE took us into the world of kid wizards.
From the magic train that departs from platform 9 (in some other dimension) to Hogwart's School
for Wizards, to the secrets street where wizards shop for magic wands and potion ingredients, the story
takes us into a fascinating world completely unlike the one where we live - even though these characters
seem to exist in our world as well. Do wizards really walk among us? Are there schools where the
spelling test is all about *casting* spells? If your magic wand gets bent (and we all know how painful
that can be) do the spells come out weird? This summer we get a new HARRY POTTER movie that will take us someplace else that is cool.
TROY takes us back to ancient Greece, where warriors still fight face-to-face with swords and Generals are
itching for an excuse to send their standing armies into battle. A world where the beauty of a woman can launch a
thousand ships and take two tribes to war. Where the best soldier in the world is treated like a Rock star... Oh, and for the ladies - Brad Pitt is often nekkid.
The stupid film VAN HELSING takes us to the most secret part of The Vatican, where an order of Monks wage a secret war against
unholy monsters - using high tech (for the time) gizmos, a network of spies, and a James Bond-like assassin named Van Helsing.
We also get to go to Transalvania, a country populated by monsters and lorded over by Count Dracula and his three
vampire brides. In Transalvania, the creatures of the night are commonplace. Your own brother might be a werewolf!
The villagers expect nightly raids from vampires, they *expect* a few people to be drained of their blood every once in a while.
They even get angry with Van Helsing for fighting the Brides... now the vampires will kill for revenge.
Even a silly rom com like 13 GOING ON 30 takes us behind the scenes at a fashion magazine where editors live in fear of having their best
stories scooped by the competition. It's like a well mannered cat fight - the editors smile perfect white teeth at each other
while they back-stab and compete for the boss' attention. We get to see this world through the eyes of a naive 13 year-old girl who
wakes up one morning to find herself an editor on the magazine... and locked in mortal combat with her
middle school rival.
The LORD OF THE RINGS Trilogy took us into the world of Middle Earth. There
are wizards here, but they aren't the cute kids from Hogwarts - they are wicked men who use
witchcraft for world domination. This is a world of warrior knights and elf princesses and cursed Kings.
A world of sword fights and charging armies on horseback and castles with moats. For almost three
hours we are taken into this world completely unlike our own, where an epic battle rages.
FAR FROM HEAVEN took us into well-manicured 1957 suburbia - a fantasy world that rivals
Middle Earth. In this perfect world everyone is well mannered - and worried about what their neighbors
might think. Homes are tastefully decorated, no one drinks too much at Christmas parties, all of the men
watch football and all of the women go to cultural events. In Middle Earth the Orcs may have foul
breath, but here everyone's breath is minty fresh 24 hours a day. It's a Stepford World lifted from the
films of Douglas Sirk where the slightest deviation from "the norm" is considered scandalous
GLADIATOR took us inside the arenas of ancient Rome. It
us how gladiators train, how they live, how they battle, what
kinds of food they ate, and how they can rise from slave to
CROUCHING TIGER, HIDDEN DRAGON took us into a magical world
where people can defy gravity by running up trees and standing on
the sides of walls. A world of sacred swords and deep
ALMOST FAMOUS took us on the tour bus with a rock and roll
band at the moment they became famous. We met the roadies, the
"band aids", the wives of the rock stars, and learned who takes
out the laundry.
TRAFFIC took us into three worlds: We see the behind the
scenes political life of the Drug Czar, we see what it's like to
be a policeman in Mexico, and we sit in the back of the truck on
stakeout with Don Cheadle and Luis Guzman.
Part of why we love movies is that we get to live other
people's lives for two hours. I don't want to join the Navy, but
I want to sit behind the stick of a F-14 fighter plane as a Top
Gun pilot for a couple of hours and experience their world. The
more details of that world you can show me, the more enjoyable my
experience. In a strange way movies are a VR ride - the more
detailed the world we create, the more the audience can immerse
themselves in it. They more realistic the experience.
Your Screenplay Checklist:
* What world is your script taking us into?
* Is this a world the audince has never been to before - somewhere unique and interesting?
* Does your story take us behind the scenes and show us something new?
* How much of that world do you let us experience?
* How detailed and realistic is that experience?
* Does your script take place in a world an audience would WANT to spend 2 hours in?
Take us someplace cool.
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?
My New Script Secrets Newsletter!
NEW AND HOT!
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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!
*** THE BOURNE MOVIES
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NOIR & MYSTERY80 minute CD 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!
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IDEAS AND CREATIVITY - 80 minute CD 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 CD 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 CDs!
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
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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!
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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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*** 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!
Over 240 pages!
*** THE TERMINATOR MOVIES *** - For Kindle!
He's back! The release of "Terminator: Genisys" (now on BluRay) is set to begin a new trilogy in
the Terminator story... 31 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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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!
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!
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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!
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.
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SCRIPT SECRETS STORE
SCRIPT SECRETS STORE
From Typing Monkey coffee cups to messenger bags to T shirts - everything a screenwriter needs to look sharp while working on that Oscar nomination!
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E BOOKS PAGE
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
MY OTHER SITES
B MOVIE WORLD
Cult Films, Exploitation, Bikers & Women In Prison, Monster Movies.
FIRST STRIKE PRODUCTIONS
Producing my own scripts, investment possibilities, pipe dreams.
NAKED SCREENWRITING CDs
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.
The 2 Day Class on CD!
Every screenwriting book in the world!
In Association With Amazon.com
From the latest screenwriting book to
guides for finding agents and producers... all with at the
BOOKLETS & PRODUCTS
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.
Seventeen Blue Books now available!
THE SECRETS OF ACTION SCREENWRITING The Best Nuts & Bolts Screenwriting Book On The
nineteen produced films, interviews with me in magazines,
several sample scripts, my available scripts list... And MORE!
CLASSES ON CD
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!
Take classes on CD!