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And the new BLADE is... Mahershala Ali!

At every pitch clinic or pitch panel I've ever done, there are a handful of stories about vampires. And they're all made out of ticky-tacky and they all sound just the same. Not much originality or creativity.

That's because most of the vampire scripts out there are the same stuff we've seen before. There are probably two types of people who write vampire scripts - people who are rabid fans of the vampire sub-genre, and people who are trying to spice up their stories by adding vampires. Both types of writers are in the same boat - vampires have been overdone. We've seen it all before.... vampires have been part of cinema since the silent era and NOSFERATU. When Universal make DRACULA back in 1931, they actually made two versions at the same time - one in English and one in Spanish. The way, the Spanish version is my favorite, even though it doesn't star Legosi. There have been so many vampire movies made you really need a completely new spin on the story. Something with vampires that we haven't seen before.

But if you just have another story about vampires the way we've seen them a million times before, why bother?

The same is true with Cop movies and FBI movies and Werewolf movies and any other type of story we've seen a million times before. Basically, Vampires are just a type of character. They aren't a high concept. Just like any other character, you still need a story to go with the character. A cool story. A story with an idea that is interesting on it's own. ANYTHING that we've seen a hundred times before isn't going to sell (or get anyone interested in reading it). You need a brand new spin - you need to find a wild, weird, interesting new idea for vampires.

Vampires are not high concept.

If you take DIRTY HARRY and make the villain a Vampire, it's still the same basic story. You've just changed one of the characters. If you made Harry a vampire, it's still the same story. The characters have changed a little, and that might make them more interesting... but it doesn't really change the *concept*. It's a cosmetic change as far as the story is concerned.


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It all goes back to your *concept* - you need something unique. The *main idea* of your script needs to de different. So how is the main idea in your vampire story so completely different than any other vampire story ever told that it will stand out? Space Vampires and Cowboy Vampires have been done - so time period is probably not going to be the original element. That's another cosmetic change. You need to find the core concept that is unique.

There was a cool vampire flick from the late 70s or early 80s about a fangless vampire - you see, vampires have evolved to look and act just like the rest of us (natural selection) and now this kid Martin claims he's a vampire... but he uses a razor blade because he has no fangs. Is he crazy? Or is he really a vampire? That's what the film MARTIN is all about - the idea that people may fantasize about something so much that it becomes true to them... but is it true to everyone else?

Guess what? That one's taken, too.

30 DAYS OF NIGHT is a unique vampire story. Something we haven't seen before. Instead of a typical vampire movie where night is just a few hours of vampire danger, in Point Barrow, Alaska night lasts for an entire month. That town becomes the land of always night - and vampires have the advantage. This is a concept that is different than other vampire stories but doesn't mess with the vampire rules. It's not vampires in daylight, it's not vampires who can fly like Superman, it's not about vampires who order garlic pizzas. The vampire lore is the same, but the writers have found the concept within the lore that has never been done before.

That's what you need to find if you're writing a vampire script. The concept we haven't seen before. You need something completely different, or your script will be stuck in the extreme low budget genre category aimed at those folks who are vampire film addicts. That's a very small segment of the audience. You want a concept that crosses over to mainstream horror fans... and mainstream filmgoers.


If you're passionate about vampires, that's just surface story. The clothes, rather than what's wearing them. Vampires are a metaphor for *something* and that something is what you're passionate about. Dig deeper - figure out *why* the heck your story is about vampires, then figure out how you can tell a story with different clothes but the same story underneath. A vampire story about some other kind of creature or character. There are hundreds of mythical creatures that have never been on film... and you can also make up your own.

In fact, every danged story isn't real (or it'd be boring) so all that stuff is metaphor - code for whatever you are really trying to talk about. Last year I finished a script about reincarnation (finally) and it's really about how we can get trapped in our pasts and not get on with our lives. The reincarnated character is dealing with issues from her past life... she refuses to let go of all that baggage. Okay, if reincarnation were dead as a genre, I'd find some other metaphor (some other code) for holding on to your past instead of getting on with your life. The *real story* is about people getting on with their lives, not reincarnation... that's just the clothes.

So dig in and figure out what the real story is. Not the surface, the stuff underneath. That's the only part that's important. Your script isn't about Vampires, it's about humans. All stories are about humans.


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A dozen years ago I wrote a vampire movie called NIGHT HUNTER.

The script was about the last of the vampire hunters - a sword wielding, shotgun totting, motorcycle riding, badass who must kill a bunch of vampires before they multiply (during a total solar eclipse - kind of a second high concept - when day becomes night). No one had really done a vampire hunter story (Van Helsing is a great character in Dracula - imagine his biker great grandson), so that was my angle. The script was based on an old treatment I wrote about a decade earlier titled Van Helsing. This is a lesson on how to guide a story meeting - the producer was looking for a different kind of action movie. While brainstorming, he mentioned vampires... because he had been pitched a vampire script previously. Hmmm, I had an action treatment about a vampire hunter.... so my goal was to inch the story in the room to what I already had (and make it seem like it was the producer's idea). The producer wanted to do something like HIGHLANDER, with an immortal vampire hunter. I mentioned that would remove the danger from the action scenes... but what if the vampire hunters were a dynasty? What if vampire hunting was something passed down from generation to generation? So, instead of being immortal, the hunters pass down information. They even have an ancient book that lists all of the vampire families and all of the information about vampires collected for generations. Hey, and that immortal thing? What if one of the things passed down was that vampire plasma can rapidly heal wounds? That way, our vampire hunter could not only be kind of a superhero, he can also have a finite amount of plasma... so when he runs out he's vulnerable.

The producer liked how I used his immortal idea.

Some of the other ideas I came up with:

1) Vampire families are all over the world, and every race. When they meet, it's like the mafia's Appalachian Conference in the 50s - a meeting of the heads of families from different territories, and they may not agree with each other. I put them in a boardroom, and had a big conflict between the old timers who want to keep the peace and the young family heads (who came to power as a direct result of our vampire hunter hero and his family) who want to come out of the shadows and rule the world.

2) The solar eclipse thing. I know that once Dracula puts the bite on you, you've his bitch for eternity. Once you stake Dracula, all of his "slave vampires" either die or turn back into humans (depending on how often they've been bitten). But how does one become a Dracula? How does one become a *master* vampire? No answer to that one... so I looked at rare experiences where vampires might bite you, and solar eclipse topped the list. So, much like 30 DAYS OF NIGHT used the land of always night, I used the time when day turns to night momentarily.

3) I gave my vampire hunter all kinds of cool things, passed down from his father. A sawed off shotgun that shoots wooden stakes (when they missed they bounced off the walls like champagne corks). I kind of came up with a Batman utility belt for him - all kinds of gadgets that he could use fighting vampires.

The project was originally set up at Orion Pictures (I have a full page ad from Hollywood Reporter announcing it), but Orion went bankrupt and the project was set up (at a much lower budget) with a company called Moonstone as a Cinemax Premiere Movie. We went from a theatrical budget (and star) to a made for cable budget (and star). And there were additional story meetings to tailor the script to the star... who didn't want to make a vampire movie. The vampire elements were toned down, the action elements ramped up, the movie changed.

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In the original script, you had to remove the head from the body... and this was turned into breaking their backs. There was also a chase in a hall of mirrors where the vampires didn't show, but the hero did. A rooftop chase where the vampires *flew* from roof to roof and the hero had to jump. The scene that everybody loved - where the vampire hunter loses all of his equipment and McGuyvers new weapons out of garbage his finds in a dumpster. All kinds of cool stuff in the original script that's not in the movie. Add to that - the director (who is a nice guy) didn't want to shoot an entire film at night... so there are vampires strolling down the street in broad daylight (but wearing sunglasses). He also came up with the idea of shaking the camera like crazy during action scenes (a decade before Paul Greengrass did it in the BOURNE movies).

Three years after the movie premiered on CineMax, BLADE came out with just about the same story and several of the same scenes (boardroom of vampires, rave, etc).

I pitched a sequel when we wrapped, where San Francisco has been taken over by vampires, quarantined... but the President's daughter (Stanford student) ends up behind enemy lines, so they spring Jack Cutter from prison (he's a serial killer, afterall) and send him in to get her... or kill her (if she's changed over). They decided not to do a sequel... so my white picket fence kills a dozen vampires scene is still on the shelf. Maybe I'll write it as a non-sequel someday.

When it comes to movies with vampires or cops or FBI agents or werewolves or any other type of character that has been done to death, you need to do what 30 DAYS OF NIGHT did - find a high concept. A wild, weird idea that we haven't seen before. Something that fits the rules of vampires, but hasn't been used before. Just being about vampires or zombies isn't high concept - in fact, you really have to work twice as hard to have a unique idea if you're using something like vampires or zombies or serial killers that we've seen a million times before. High concept is something unique, different, interesting, and cool. An idea that's interesting on its own.

A version of this tip is in the Ideas Blue Book.


Want to look like an expert?



Does this gun fire 6 shots or only 5? In all of the excitement of writing your action scene, you might not have done the research... and your hero could be out of ammo! Whether you are writing a novel or screenplay, you can save your hero, and your story, by doing a little research first! This book looks at Why you should research, Whether you should research First or Later, PLUS the importance of World Building in Science Fiction, Fantasy... and the worlds you explore in every other genre. Movies like JOHN WICK and THE GODFATHER take place in their own unique worlds... and writers must create them! YOU are the technical advisor on your Screenplay or Novel.

Using movie examples like TOP GUN, HUNT FOR RED OCTOBER, BLUE CRUSH, ADVENTURE LAND, several of my produced films, JOHN WICK, the novels of Donald E. Westlake and Thomas B. Dewey, SPY KIDS, the LORD OF THE RINGS movies, SOYLENT GREEN (which takes place in the far off future of 2022), and many others we will look at researching stories and creating worlds. The 8 Types Of Research, the 10 Types Of Information To Look For, 12 Important Elements Of World Building. Plus chapters on How To Rob A Bank and Commit Murder And Get Away With It for those of you interested in crime fiction, and Researching The Future for those writing science fiction, and Levels Of Reality if you are writing about a version of the real world.

No matter what you are writing, this book will help you find the facts... or make them up in a convincing way! END OF MARCH.


Can You Make It bigger?



Writing something EPIC?

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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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IDEAS AND CREATIVITY - 80 minute MP3 packed with information. Tools to find ideas that are both personal *and* commercial. Hollywood wants scripts with High Concept stories... but not stupid scripts. Developing *intelligent* high concept ideas. How to turn your personal story into a blockbuster - or find your personal story in a high concept idea. Brainstorming and being creative. Ideas and Creativity is $10.00 (plus $5 S&H)

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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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*** 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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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 2023 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!
In Association With
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!