FRIDAY'S SCRIPT TIP:

WHAT'S YOUR LINE?


Jackass DVD - Buy it!

Screenwriting is distilled writing. Finding the essence of your story so that every scene in your screenplay works to tell your story. No padding, no filler materials, no beef byproducts - 100% organic screenwriting!

Studio readers have to distill 110 pages of screenplay into a "logline" - a one sentence description that sums up the entire story. Like the blurb TV Guide will use when your film plays on HBO or the Independent Film Channel or network TV. Many writers think loglines are evil... I think we can use them to help us focus our stories. Loglines can help us have a clearer picture of what our scripts are supposed to be before we begin writing, or create guidelines when we're fine tuning our scripts in rewrites.

Often at a pitchfest or class when I hear someone pitch their script and the story is all over the place and makes no sense, I can almost guarantee the script has the same problems. If you can't get a handle on what your script is about, you're probably in trouble. Because a movie is viewed in one gulp - unlike a novel, which is usually read over a period of many days - the story needs to be focused. Not scattershot. Not overly-plotted. A screenplay is to the point. If you can't get a clear enough handle on your story to create a logline, that usually indicates problems with the story itself.

The main purpose of a logline is to give the agent or producer the *idea* behind your script. Our first - and maybe even most important - creative step is your story idea. The whole script starts with that idea and is built on that idea. Every character, every scene, every line of dialogue starts with that idea. And a brilliantly written script with a boring idea is a boring script. You need to start with a *creative* and *imaginative* idea. If the idea is boring, what are the odds that the rest of the script being imaginative and creative?

A good logline perfectly describes the story in around 25 words. Distilling everything down to the lead character and his/her internal and external conflicts...

* A city born policeman has to overcome his fear of water in order to protect his town from a giant man-eating shark (JAWS).
* A farm girl learns to appreciate her home and family when a tornado whisks her to an alien world run by witches (THE WIZARD OF OZ).
* A struggling actor has to get over his ex-girlfriend and broken heart before he can find love in the Hollywood singles scene (SWINGERS).

All three of these examples use only 22 words.

Jackass DVD - Buy it!

Because the purpose of a logline is to tell the agent or producer what your screenplay is about, don't hint - spell it out. If you have a great idea, make sure that is in the logline. A logline isn't just Act 1 of your story, it's *all* of your story. So if you have a script like Joseph Stefano's PSYCHO (based on the novel by Robert Bloch), where there's a huge twist at the end of Act 1 and our supposed protagonist is murdered, you want to find the logline that describes the whole story... and that story isn't about Marion Crane stealing money from her boss to start a new life with her fiancé, it's about the Bates Motel, shy Norman Bates and his domineering and murderous mother... who often kills people who stay at the motel. People like Marion Crane. She is part of the larger story, not the focus of the whole story. The *whole* story is about Norman and his mother, and that's what your logline should reflect.

PSYCHO also has a big twist at the end - this is a question many people ask: should I include the twist end in my logline? Well, you've got around 25 words to describe the *entire* story, I don't think you'll be able to squeeze in that twist end. But the larger question - is the twist the story? If so, something is wrong with your script! A twist is not a whole story! Does the audience sit there, bored, until the big end twist? I hope not! So what is the story *before* that twist? THE SIXTH SENSE isn't about the twist at the end, it's about a child psychologist trying to help a disturbed little boy who sees dead people. If your story isn't creative and imaginative and interesting without the twist, you have a serious problem.

You want us to read your logline and drop everything to read the script. If it's horror - I want to know what the horror *is* and have my imagination coming up with all kinds of potential scenes. A good logline sparks the reader's imagination. Focus on the conflict in your script... and make sure there is a character in the center of that conflict. Movies are about people.

A few years ago I did an experiment - I created a logline "live" for one of my new screenplays on the Writer's Building message boards. Here's the transcript...

* * *

Okay, this is completely off the top of my head, so it will probably suck...

An executed serial killer's shadow continues his rampage, starting with the 12 execution witnesses and the pretty reporter who broke his story.

I'm hoping you imagined the pretty reporter surrounded by shadows - one is the killer's. You know, it leaves out the race against time thing - the reporter trying to warn each victim and failing. So maybe I need to work on that.

A pretty reporter races to stop the shadow of an executed serial killer from murdering the 12 members of the "Death Jury"... that she was a member of.

I don't know - is that confusing? The Death Jury thing may not work. And "pretty" makes her sound more like a fashion model than a character. I used "pretty" to give you the sex of the reporter, but maybe there's a better way? 28 words, can I trim it down to 25 and give *more* information?

A single-mom reporter races to stop the *shadow* of an executed serial killer from murdering the twelve witnesses to his execution... including her.

Is that better or worse? Kind of clumsy, but I'm making it up in real-time, here. This is off the top of my head. "Instant logline". I got it down to 25 words, and "single mom" gives us more information than "pretty" and tells us what's at stake for our protagonist... and hints at that big juicy scene in the script where she must rescue her son from the killer.

One thing I'm trying to do with this script is have the killer's shadow thing as the high concept, and the Death Jury (a real thing in CA) as a secondary cool idea. I did research on who ends up being a witness to an execution and what happens at the execution - and these elements are fascinating. That's the arena for the shadow-killer story... and it got left out of the new logline. It's alluded to with "twelve witnesses", but maybe I need the phrase "death jury" in there?

What I like about this logline is that it has a "punchline" - that she is one of the witnesses on the death list. Her life is in danger. By putting that at the very end of the logline, it's like a punchline in a joke - a zinger. It's a twist at the end of the logline... and it raises the stakes - turns the story from professional to personal. Now *her* life is in danger... and her child's life.

This story was set up at Lifetime for a *nano-second* because she's a single mom reporter. They had a producer and a director lined up... then they read the "wimpy draft" and thought it was just too scary for Lifetime. They'd *really* hate it now that I've turned it into a full-blown horror script. Even though it's more of a "classic" style horror - more dread than gore - it still has enough gruesome stuff to play to today's audience.

One of the elements that I like about this story is that you can't escape from shadows. They're everywhere... and any one of them could turn into the killer. I want the audience to leave the cinema afraid of their own shadows. That's in the script, but the best I can do in the logline is hint at it.

* * *

Jackass DVD - Buy it!

Your logline needs to tell them what the concept of the story is - and be juicy and exciting enough to make them want to read the script. And the *concept* of your screenplay needs to knock their socks off. You may have to come up with 100 ideas before you find the good one... the one worth scripting. You need a unique concept and you need to EXPLORE that concept. Find the very best way to use that concept - an ACTIVE way to explore it rather than a PASSIVE story. If you give your character the power to change the world - they have to actually change it. You can't just have them think about it (passive) or change some small thing (wimpy) - you need them to make the biggest and most dramatic change possible. Take it to the limit. One of the things a logline exposes is the stakes. You want your script to be the most important incident in your character's life. A life or death situation, or a big life changing event. If your logline makes your story sound boring, you may not be telling the best story.

When you distill your script down to a logline, you end up with the essence of the story - the essential story. And that story needs to be different than any other story out there. The closest thing to a killer shadow I could find was an episode of the New Twilight Zone from the 80s about a shadow under a boy's bed who kills his enemies. Maybe there's some film I missed - but most of the audience isn't going to know it, either. The only movies about the "death jury" are reporters-race-to-find-evidence-the-convicted-dude-is-innocent stories (which go in the same file as the drunk ex-cops... been there, done that!) - so that aspect is unique to horror.

You want them to read the logline and say to themselves "I must have this, and I don't already have one like it." Your logline needs to be original, interesting, and sum up the whole story... in about 25 words.

Okay, I've done the 25 word logline for my script, it's your turn...


BRAND NEW!

OUTLINES & THE THEMATIC!

bluebook

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.

Only $4.99!


BRAND NEW!

DESCRIPTION & VOICE Blue Book!

bluebook

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?

Only $4.99


Tip FAQ

My New Script Secrets Newsletter!


NOW AVAILABLE!

bluebook

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!


NO KINDLE REQUIRED! Get the *free* app (any device, except your Mr. Coffee) on the order page on Amazon!



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!

Only $5.99


bourne

KINDA NEW!

*** 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.

Only $3.99 - and no postage!





bluebook

Strange Structures!

*** HITCHCOCK: EXPERIMENTS IN TERROR! *** - For Kindle!

***

Contained Thrillers like "Buried"? Serial Protagonists like "Place Beyond The Pines"? Multiple Connecting Stories like "Pulp Fiction"? Same Story Multiple Times like "Run, Lola, Run"?
HITCHCOCK DID IT FIRST!

This book focuses on 18 of Hitchcock's 52 films with wild cinema and story experiments which paved the way for modern films. Almost one hundred different experiments that you may think are recent cinema or story inventions... but some date back to Hitchcock's *silent* films! We'll examine these experiments and how they work. Great for film makers, screenwriters, film fans, producers and directors.

Only $5.99 - and no postage!


bluebook

GOT IDEAS?

*** 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!


bluebook

BRAND NEW!

*** HOOK 'EM IN TEN *** - For Kindle!


Your story doesn't get a second chance to make a great first impression, and this book shows you a bunch of techniques on how to do that. From the 12 Basic Ways To Begin Your Story, to the 3 Stars Of Your First Scene (at least one must be present) to World Building, Title Crawls, Backstory, Starting Late, Teasers and Pre Title Sequences, Establishing Theme & Motifs (using GODFATHER PART 2), Five Critical Elements, Setting Up The Rest Of The Story (with GODFATHER), and much more! With hundreds of examples ranging from Oscar winners to classic films like CASABLANCA to some of my produced films (because I know exactly why I wrote the scripts that way). Biggest Blue Book yet! Print version was 48 pages, Kindle version is over 100,000 words - 312 pages!

Only $4.99 - and no postage!


bluebook

WHAT IS A SCENE?

*** SCENE SECRETS *** - For Kindle!

***

What is a scene and how many you will need? The difference between scenes and sluglines. Put your scenes on trial for their lives! Using "Jaws" we'll look at beats within a scene. Scene DNA. Creating set pieces and high concept scenes. A famous director talks about creating memorable scenes. 12 ways to create new scenes. Creating unexpected scenes. Use dramatic tension to supercharge your scenes. Plants and payoffs in scenes. Plus transitions and buttons and the all important "flow"... and more! Over 65,000 words! Print version was 48 pages, Kindle version is around 210 pages!

Only $4.99 - and no postage!


bluebook

DO YOU 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!


bluebook

GREAT SUPPORTING CHARACTERS!

*** 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!


bluebook

Over 400 Pages!

*** 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!


bluebook

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.

Only $3.99 - and no postage!


bluebook

NEW BUT OLD!

*** 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!


MY BLOG!

Underpants T shirt SCRIPT SECRETS STORE
Start The Day The Coffee Way!



bluebook

MAKES A GREAT GIFT!

*** 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!


bluebook

HOW YOU TELL IT

*** 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!


bluebook

STUCK IN THE MIDDLE?

*** 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 over 208 pages!

Only $4.99 - and no postage!


bluebook

GREAT SUPPORTING CHARACTERS!

*** 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!


bluebook

THAT STAR PART!

*** 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!


bluebook

THEY SOUND DIFFERENT!

*** 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 160 pages!

Only $4.99 - and no postage!



hcd

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 2018 by William C. Martell


eXTReMe Tracker
SECRETS OF ACTION SCREENWRITING

bluebook IT'S BACK! SECRETS OF ACTION SCREENWRITING
Over 460 pages packed with tips and techniques. How to write a plot twist, the four kinds of suspense (and how to create it), reversals, ten ways to invent new action scenes, secrets and lies, creating the ultimate villain, five kinds of love interests, MORE! CLICK HERE!

CLASSES ON CD

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!
Take classes on CD!

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

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.
The 2 Day Class on CD!

BOOKSTORE

Every screenwriting book in the world!
SCREENWRITER'S BOOKSTORE
In Association With Amazon.com
From the latest screenwriting book to guides for finding agents and producers... all with at the Amazon.com discount!

ONLINE CLASSES
Furious Action Class
SCRIPT SECRETS STORE

Script Secret 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! Get your Script Secrets Coffee Cup today!

BILL'S CORNER

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


Available Scripts

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

BOOKLETS & PRODUCTS

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.
Seventeen Blue Books now available!

THE SECRETS OF ACTION SCREENWRITING OUT OF PRINT!