Buy The benjamin button DVD

Imagine eating your favorite meal... every day for the rest of your life! After a while it would become boring, bland. Then you would grow to hate it. Too much of anything becomes boring. Variety is the spice of life, and the key to writing a great screenplay. If your script is all serious drama, soon that drama becomes meaningless. There's no contrast. Even Shakespeare's most serious tragedies have comic relief characters which serve to INTENSIFY the tragedy by giving the audience a point of comparison. We want our scripts to be a balanced diet...

Which means even the most serious script can benefit from a little humor.

THE CURIOUS CASE OF BENJAMIN BUTTON has a simple concept, Benjamin Button is born a withered old man/baby and grows younger with each passing year... ending up a baby again. Someone in the film says we begin in diapers and end up in diapers - and, honestly, how many babies look like bald little old men? That's probably what sparked the short story ages ago, and it's what makes this film from the writer of FOREST GUMP both interesting and insightful. The film gets to deal with aging and loss and being different and feeling old when you are young and young when you look old... and how we see things and people differently. Oh, and it's a romance and an adventure and kind of does that FOREST GUMP thing with history - though more with time periods than with specific people and incidents.

Benjamin's mother dies in childbirth, and his father is unable... and uninterested in raising this freak-baby that killed his wife. So he dumps the baby on a doorstep...

The doorstep of a retirement home. Where he is taken in by the African American woman who helps care for the old folks. She raises Benjamin as her son, and the retirement home becomes *his* home. Throughout his life and his adventures, he always returns to his home and his "mother". Benjamin is surrounded by old folks who look just like him... and many have reverted to childhood. But the main thing about living in an old folks home is that characters are constantly dying. Many of the residents of the retirement home become important characters in Benjamin's life. And Benjamin learns about death at an early age. Sounds like serious stuff, right? That's why we need some balance...

One of the old guys at the retirement home tells anyone who will listen that he's been struck by lightning seven times, "Did I ever tell you I was struck by lightning seven times? Once when I was in the field, just tending to my cows." Then we get a quick flashback of the guy just tending to his cows and getting struck by lightning. And every time Benjamin comes home from one of his adventures, this guy greets him by saying he's been struck by lightning seven times, and we get another one of the lightning strikes. By the end of the film we've seen all seven, and they seem to get stranger and stranger as the film goes on. This is spread throughout the film and always gets a laugh.

Buy The better off dead DVD

A running gag is a humorous incident that plays over the entire course of the story. The same basic "gag" or event that happens again and again. A recurring character or prop or line of dialogue. In TV it's called a "runner", and some running gags can run over the entire course of a TV series. On FRASER, they used the unseen Maris character as a running gag. By spacing out running gags over the course of the film, we tend to forget the joke... then it pops back up. The great things about running gags is that they can become like that guy who was struck by lightning seven times - an old friend we are happy to see again. You want to space the gags out so that the audience has a chance to forget about it - seven lightning strike stories in a three hour film seems about right.

In the movie THE BLACK BIRD George Segal parks his car on a steep street in San Francisco and forgets to set the parking brake. The car rolls down the hill and out of frame, and we get all of those comical movie crash sounds. But that's not the end of this gag. Throughout the course of the film, that rolling car will pop up in the background of scenes, causing havoc. This is another element of a good running gag - it's often in the background, not the foreground. Instead of being what the scene is all about, it's a funny little detail that happens behind the main action in the scene.

In one of my favorite movies, Savage Steve Holland's BETTER OFF DEAD, early in the film a newspaper boy comes to collect his $2 for delivering the paper, and spends the rest of the film chasing John Cusack and screaming, "I want my two dollars!" This kid becomes more and more obsessed with getting his $2 and eventually there is a nightmare sequence with a bunch of paperboys on bicycles hounding Cusack. By the end of the film, the newspaper boy saves the day! Another running gag in this film are the two Asian street racers who pop up from time to time whenever Cusack pulls up to a red light... and they challenge him to a race, complete with Wide World Of Sports Howard Cosell play-by-play.

In the action film THE BIG HIT, a rented video has to be returned by midnight or there will be a late charge, and throughout the action scenes - in car chases and shoot outs - returning that video tape becomes a factor. At one point, it's dropped and they must go back into the middle of a dangerous situation to recover it - because getting shot is not nearly as painful as those late fees. In the comedy-action film PULP (from the director of GET CARTER) there are a pair of competing taxi cab drivers who have a little war going on in the background of the film - and their cabs become more and more beat up over the course of the film until they are complete wrecks by the end.


Buy The stae and main DVD

If you can find a way to change the "delivery" of the running gag to something less obvious and unexpected, it has even more power. There's a thing I call the "AIRPLANE spit-take method" - we've seen a million spit-takes (where a character is drinking a glass of water while another character says something outrageous and the first character spits the water in shock), but in AIRPLANE there is a scene where they don't focus on the guy doing the spitting, but on the other character as the spray of water shoots past them. Instead of the obvious version of the spit-take, we get a different and unexpected version.

In David Mamet's STATE AND MAIN there's a pot hole on main street that a couple of city maintenance guys never get around to fixing. Cars keep slamming through it throughout the film... sometimes we are in a building, in the middle of another scene, and just HEAR a car hit the pot hole outside! By *not* showing the pot hole, the pot hole running gag becomes unexpected. That's a great example of the AIRPLANE spit-take method.


Buy The don't look now DVD

In the stand up comedy world, a running gag is a "call back", where a punch line or funny twist comes back later in the routine and is applied to a completely different situation. By using the same punch line on a different situation it ends up being funny in two ways, both as a running gag and as an absurd connection between seemingly random events. A running gag or call back isn't only something that can be used for humor - experiment with your tools whenever possible - you can create a serious or scary or emotional runner. In one of my scripts the protagonist witnesses a relative step onto a chair, put a rope around their neck, then kick over the chair and hang themselves. It's a big traumatic scene. Later in the script, I have the protagonist standing on a chair changing a lightbulb... and the chair begins to wobble and tip. I'm hoping the audience connects that with the previous suicide scene and are afraid something terrible will happen to the protagonist. It's a visual call back.

I got the idea of using call backs / running gags for non-humorous situations from the great horror film DON'T LOOK NOW where Donald Sutherland and Julie Christie's daughter drowns in the pond behind their house while wearing a bright red raincoat. After the funeral, they go to Venice, Italy to escape the pain... and Sutherland keeps seeing a little girl in a bright red raincoat in the city. A reminder of his dead daughter. Like a running gag, this person in the red raincoat isn't in the foreground, but deep in the background of scenes. The scenes are not about them, but when the audience and/or Sutherland catches a glimpse of that red raincoat in the distance it brings back a flood of memories of the dead daughter. This running gag pays off later in the story when Sutherland finally catches up with the person in the raincoat thinking that it may be his dead daughter's ghost. It is not. So don't only think of running gags as something that has to be funny - you can use the tool in a variety of different ways.


Buy The exit wounds DVD

Nothing shows the power of a good running gag like Steven Seagal's (no relation to George... I think) film EXIT WOUNDS. Seagal films had gone from entertaining action to deadly serious films that ended with long boring political speeches to direct to video cheese (one is even a remake of one of my films). Before that fall - EXIT WOUNDS smartly balanced its action scenes with humor. It's a messy film with a script that often doesn't make much sense... but the running gags save it.

EXIT WOUNDS opens with Seagal in a big action scene... where his pick up truck gets exploded real good. He gets a brand new truck, and treats it like gold. Early in the film he stumbles on a drug deal, and carefully parks the new truck before going after the dealers. He captures Henchman #1, handcuffs him to the grille of the truck, the chases after the Drug Kingpin (DMX). After a chase and fight, he loses DMX and returns to his truck to find the Henchman gone... along with his truck grille! Later in the film, Seagal is going to go into the Villain's lair without backup. His partner asks why he's doing something this dangerous. His response? "I want my grille back." Near the end of the film Seagal finally corners Henchman #1, who says "I have your grille downstairs if you want it," to avoid getting beat up! Just when we've almost forgotten about the pick up truck grille, it pops up again... in an unexpected way. By using the pick up truck grille as a running gag, the writers successfully balanced the action scenes with a little humor and made a standard action film a lot of fun to watch.

Running gags, call backs and runners are great tools to balance your script with a little humor... or create a recurring element that creates an emotional response in the audience. They work just as well in a comedy film like BETTER OFF DEAD, an action film like EXIT WOUNDS or THE BIG HIT, or a piece of big Hollywood Oscar-bait like THE CURIOUS CARE OF BENJAMIN BUTTON. Does your script offer a balanced diet? Could you use a little humor to add variety? Think about adding a running gag!

"Did I ever tell you I been struck by lightning seven times? Once when I was just sittin' in my truck just minding my own business."


All About Rewrites!



Rewriting In Waves?

When You Finish Your Screenplay Or Novel...
The Rewrites Begin!

The end is just the beginning! You’ve finished your story, but now the rewriting begins! This 100,000 word book shows you how to rewrite your screenplay or novel to perfection. Everything from Character Consistency to Shoeboxing to How To Give And Receive Notes to 15 Solutions If Your Script’s Too Long! and 15 Solutions If Your Script’s Too Short! to Finding The Cause Of A Story Problem to Good Notes Vs. Bad Notes to Finding Beta Readers to Avoiding Predictability to Learning To Be Objective About Your Work to Script Killer Notes and Notes From Idiots to Production Rewrites and What The Page Colors Mean? and a Complete Rewrite Checklist! The complete book on Rewriting Your Story!

SALE $3.99

NEW in 2020!

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!

Only: $4.99

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

NEW in 2020!




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!

272 Pages - ONLY $4.99!

NEW in 2020!

Making Your Own Movie?


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.

344 Pages - ONLY: $9.99!





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!

Tips FAQ

My New Script Secrets Newsletter!




*** YOUR IDEA MACHINE *** - For Kindle!


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!





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 - and no postage!



*** 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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*** 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!



*** 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!

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





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!



*** 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!





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 and no postage!



*** DIALOGUE SECRETS *** - For Kindle!


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!



*** 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!



*** 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!



*** 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!

ONLY $4.99 - and no postage!



*** 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!




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!

THE MISSION IMPOSSIBLE MOVIES - 347 Pages - Only $3.99 !




NEW: Updates on TREADSTONE TV show!

All five "Bourne" movies (including "Legacy" and it's potential sequels) - what are the techniques used to keep the characters and scenes exciting and involving? Reinventing the thriller genre... or following the "formula"? Five films - each with an interesting experiment! A detailed analysis of each of the films, the way these thrillers work... as well as a complete list of box office and critical statistics for each film. This book is great for writers, directors, and just fans of the series.

Only $3.99 - and no postage!


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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Strange Structures!



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"?

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!



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

The new  MP3s are available now!


NOIR & MYSTERY80 minute MP3 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!


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)

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 MP3 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 MP3s!



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 2021 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 8 MP3s, plus a workbook, plus a bonus MP3 with PDFs.
The 2 Day Class on MP3!


A Whole Week Of Programming!
(no actual sex is involved)
From Trailer Tuesday to Film Courage Plus to THRILLER Thursday to Fridays With Hitchcock and more! My blog has all kinds of great stuff! Check it out! Lots of cool stuff every day!


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!