BIZ TIP TUESDAY:

YOU NEED COOL STUFF

I saw the first couple of TRANSFORMERS movies and then quit. .. until BUMBLEBEE - which was a massive step in the right direction. But I skiipped the TRANSFORMERS movies with Marky Mark, and may never see them... even though they were huge hits and made a ton of money both in the USA and abroad. I used to look at crappy films that made a lot of money and wonder if we were going to hell in a handcart. The story doesn't work, the dialogue sucks, but there are lines around the block. What's up with that? Does everyone in the world have bad taste?

I worked in a warehouse for a decade and I keep in contact with all the guys, so I started asking them why they liked these crappy movies. Guess what? They had reasons! There were actually GOOD things in these crappy films, and to most of the audience the good outweighed the bad. As a screenwriter, I was so aware of the *story flaws* that I couldn't see the "cool stuff". Then I realized that some of that "cool stuff" was missing from my scripts. I might have a coherent story and good writing and great characters... but I didn't have that part that made them line up around the block.

"Cool stuff" alone isn't good enough - you need good writing. But good writing also isn't good enough - you NEED "cool stuff" in your script or no one will want to see it in the first place, or they won't like it after they've seen in.

Though TERMINATOR: SALVATION had all kinds of problems, it was still a fun, stupid, somewhat enjoyable action packed summer sci-fi movie... but as a TERMINATOR movie? Crappy. If there had never been any Terminator movies, or if this had not been connected to the franchise - would have been dumb summer fun (though way too dark and not really much *fun* stuff). Problem is, the "baggage" of the past films means this has to be better than a dumb summer movie - and it was not. A severe shortage of "cool stuff" and way too serious.

Though I do not know the whole script backstory, from press stuff I know that John Conner was a minor character in the original script - which focused on the Marcus character. When they hired Bale and he became the *star*, he had the whole script rewritten and (by Bale's account) Bale told the writer what he wanted to do. I think this may be the case of an interesting script being turned to crap in rewrites. Remember - you can never judge a script by it's movie. Our job isn't to write the crappy movie we just paid $11.50 to see, it's to write that amazing script that the studio paid $250 million to make.

I think Marcus is the most interesting character - and all of the John Conner scenes undercut the Marcus story and undercut the film. Bale is also too danged serious an actor, and not very charismatic. Newcomer Sam Worthington, on the other hand, seems to have charisma to spare. Had this been all about Marcus, this guy who wakes up in the future after the world has gone to hell and tries to figure out what happened and figure out who he is now and what his place in this world is... that would have been involving and interesting. But when Marcus is often second banana to an emotionless dude who yells and makes speeches on the radio all the time - the film loses just about everything. For instance - the big reveal scene becomes about how Conner was betrayed by Marcus, instead of how Marcus was betrayed... which robs the film of a really cool reveal scene.

I liked the Road Warrior chase stuff - that was cool - and was shocked that the kid from ROAD WARRIOR had a sex change and was now a mute little girl. I thought the different terminators were *almost cool* - but there wasn't that one cool concept... like the liquid metal T-1000 (or the T-800 in the first film). These different terminators were okay but not mind-blowing cool. The grabber one I liked best - it made me jump a couple of times... but haven't I seen that in TREMORS? When you think about the first film - the concept of this completely unstopable killing machine from the future that can imitate the voices of your loved ones and repair it's skin and pass for human... that was all amazing stuff back then. And it's even amazing stuff now. When I rewatch that film, I realize how cool it is when the Terminator pretends to be Sarah's mother on the phone... and lures her into a trap. And the cool factor of repairing itself - the exposed machinery under the skin is right out of that Matheson short story. T2 has the amazing shape shifting T-1000 - kind of the voice imitation taken to the extreme. These things are leaps of imagination that are not present in T3 and T4 - and that is a major problem with T4 as a Terminator film. It's doesn't have anything so amazing that you wonder how someone even came up with that. Though the big *grabber* Terminators and their motorcycle attachments were cool - a great idea within the world of Terminators - there wasn't anything that was outside of what we expect... not a problem for a non-Terminator film, but the mid-blowing elements are what we *expect* in a Terminator film. We expect the cool stuff.

The other three Terminator movies are chase films - with a cool unstopabale killer robot of some sort after a human character. In T1 we have Ah-nuld chasing Sarah Conner. In T2 we have Robert Patrick chasing Sarah and teen John. In T3 we have Kristanna Loken chasing John Conner as a young man. In T4? No one is being chased! No one is being threatened! The biggest problem with this film is that both the antagonist and protagonist have non-existent or hollow goals. Late in the game someone notices that it might be a bad thing for Kyle Reese to be killed - but that isn't driving the story... nothing really is. And here's the problem with the Kyle Reese thing - Skynet has a billion chances to kill him and is so inept it doesn't act. What's up with that?

I suspect that if TERMINATOR: SALVATION had one mind-blowing cool terminator element that we had never seen before... and had never *imagined* before... it would have been a hit. But the film was killed by a lack of cool stuff.

You just have to look for the qualities that touch the audience, that *amaze* the audience. Those are the important qualities. If an audience feels NOTHING from a film, it doesn't matter how "good" it is. A film that doesn't connect with the audience and amaze the audience is defective. It's missing the most important element - involving the audience, creating an experience for the audience. Nothing else matters.

One of the first "movies" showed a man sneezing. And that was amazing to an audience at the turn of the century. But that was millions of movies ago, and sneezing isn't cool enough anymore. Our challenge is to use our imagination and creativity to come up with things the audience hasn't seen and does not expect to see, To expand the horizons of film, not just to work within them. And that's why some probably awful film like TRANSFORMERS 2 makes all of that money - it is making those leaps of imagination that amaze the audience.

My breakthrough was to stop looking for what was wrong with a movie that made $300 million (or more), and to start looking for what was RIGHT with the film. Now I look at what's GOOD about popular films that have major flaws. What are the elements that the audience likes so much that they will forgive everything else? How can I get similar elements into my (better written) scripts?

See - the parts that I thought were wrong about some movie like TRANSFORMERS are the things I already know how to do. I can write better dialogue than "I just had a full-bllown mental meltdown in the middle of my class!" - but I needed to learn how to do the things the film did RIGHT. If I can combine the things I already know how to do and the things $300 million movies know how to do, I can write a great film that attracts an audience. My script doesn't have to be *stupid* to attract a mass audience, it just needs to have to imagination and creativity and "cool stuff" that they like. Look at the new BATMAN movies - both have been intelligent, interesting, driven by character and contain a clear message about fear and the politics of fear. These are *great* movies... and also have enough cool stuff to become massive hit movies. THE DARK KNIGHT was one of the Top Movies of all time after TITANIC and AVATAR. Whatever you think of INCEPTION, it isn't a *stupid* movie (just a cold one) - and it was the hit of the summer a few years ago, even though it seems to be too complicated for most people to understand. It's not about writing *down* to the audience at all, it's about including the exciting elements in our well written screenplays.

I think that's why BUMBLEBEE worked so well. It was a real character based story about a girl trying to find herself... and her best friend is a Volkswagon Bug with some unusualy optional equipment. HERBIE THE LOVE BUG as an action flick? No, more of a character based story in the Transformers world. The cool stuff from the blockbuster series with people that we can care about at the core of the story. It could have been just been about the girl trying to figure out her place in the world... but that would have played art houses and made $1.50 at the box office. By using all of that cool stuff from the Transformers movie series it was both a well reviewed film that critcis and people who hate the Transformers movies liked, plus a box office hit with $468 million (even without Marky Mark starring). You can use the "cool stuff" to turn an intimate emotional film into something that touches a mass audience. Your emotional personal story reaches a much larger audience.

If a movie plays to an empty theater, NOBODY gets your message, NOBODY hears your story... and NOBODY cares.

The last big bad movie and all of those other films that audiences love are great movies... part of our job is to find the qualities that make them great and include those qualities in our own (better written) scripts. Your brilliant writing may not be as important these days as your brilliant imagination. The cool stuff is what sells the script (which is why this is a Tuesday Tip).

What was RIGHT with that movie?

There's a new TRANSFORMERS movie coming out on June 24, 2022... will it be a good story that uses the cool stuff to reach a larger audience? Or just another stupid Transformers movie? We'll know in a few months!

COMING SOON!

How Do I do That?

101 SCREENWRITING ANSWERS Blue Book!

New to screenwriting? You probably have questions! How do I get an Agent? How do I write a phone conversation? Do I need a Mentor? What’s does VO and OC and OS mean? What is proper screenplay format? Should I use a pen name? Do I need to movie to Hollywood? What’s the difference between a Producer and a Production Manager, and which should I sell my script to? How do I write a Text Message? Should I Copyright or WGA register my script? Can I Direct or Star? How do I write an Improvised scene? Overcoming Writer’s Block? How do I write a Sex Scene? And many many more! This book has the answers to the 101 Most Asked Questions from new screenwriters! Plus a Glossary of terms so that you can sound like a pro! Everything you need to know to begin writing your screenplay!

All of the answers you need to know, from a working professional screenwriter with 20 produced films and a new movie made for a major streaming service in 2023! 

Only $4.99

NEWEST AND BLUEST!

Want To Look Like An Expert?

RESEARCH & WORLD BUILDING Blue Book!

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!

Only $4.99

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

NEWISH!

Can You Make It bigger?

BLOCKBUSTERS (and BEACH READS) Blue Book!

Writing something EPIC?

ONLY: $4.99!

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!

Only $4.99

NEW in 2020!

Making Your Own Movie?

WRITE IT: FILM IT BOOK!

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: $7.99!

THE BOOK THAT STARTED IT ALL!

*** THE SECRETS OF ACTION SCREENWRITING *** - For Kindle!

*** THE SECRETS OF ACTION SCREENWRITING *** - For Nook!

Why pay $510 for a used version of the 240 page 2000 version that used to retail for $21.95? (check it out!) when you can get the NEW EXPANDED VERSION - over 500 pages - for just $9.99? New chapters, New examples, New techniques!

"SECRETS OF ACTION SCREENWRITING is the best book on the practical nuts-and-bolts mechanics of writing a screenplay I've ever read." - Ted Elliott, co-writer of MASK OF ZORRO, SHREK, PIRATES OF THE CARIBBEAN and the sequels (with Terry Rossio). (ie; 4 of the top 20 Box Office Hits Of ALL TIME.)

Only $9.99 - and no postage!

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

BRAND NEW!

*** MITCH ROBERTSON #2: THE FAMILY'S JEWEL *** - For Kindle!

"The Presidential Suite of the Hollywood Hoover Hotel looked like a bloody battlefield: bodies everywhere, furniture broken, red liquid dripping from the walls, dead soldiers littering the elegant Berber rug as clouds of smoke overhead bounced between two air conditioning vents.

Mitch Robertson stepped over the body of an ex-child star turned sex tape star turned pop star and entered the room, spotted a gun on the floor and picked it up... careful not to spill his coffee with three pumps of mocha syrup from Penny’s Coffee Shop. That coffee was gold, the only thing keeping him going in this dazed state of wakefulness. The gun felt light. Holding it, he saw the silhouette of an 80s action star sitting sideways on a tipped over chair. Motionless. Was he dead? Mitch was still hung over from the Awards Party the night before, and wondered whether this was all some sort of crazy nightmare that he would wake up from... but when he tripped over the brown legs of a bottomless Superhero, flaccid junk encased in a condom but still wearing his mask, and hit the edge of the sofa, gun skittering and coffee spilling, he realized that it was all very real. What the hell had happened here?"

Short Novel. Only 99 cents! - and no postage!

ADVICE FROM 1920!

*** VINTAGE #1: HOW TO WRITE PHOTOPLAYS *** - For Kindle!

***

Screenwriting books have been around as long as films have. This series reprints vintage screenwriting books with a new introduction and history, plus new articles which look at how these lessons from almost 100 years ago apply to today’s screenplays. Anita Loos book is filled with information which still applies. In addition to the full text of the original book, you get the full screenplay to Miss Loos' hit THE LOVE EXPERT, plus several new articles on the time period and women in Hollywood.

ONLY $2.99 - and no postage!

Tips FAQ

My New Script Secrets Newsletter!

STORY IN ACTION SERIES!

THE MISSION IMPOSSIBLE MOVIES

NEW: Updates On Films 7 & 8 Casting!

All Six Movies analyzed! All of the mission tapes, all of the “that’s impossible!” set pieces and stunts, the cons and capers - and how these scenes work, the twists and double crosses, the tension and suspense (and how to generate it), the concept of each film as a stand alone with a different director calling the shots (broken in the sixth film), the gadgets, the masks, the stories, the co-stars and team members (one team member has been in every film), the stunts Tom Cruise actually did (and the ones he didn’t), and so much more! Over 120,000 words of fun info!

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

BRAND NEW!

*** THE BOURNE MOVIES

NEW: Updates on TREADSTONE TV show!

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

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.

ONLY $3.99 - and no postage!

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

HITCHCOCK FOR WRITERS!

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!

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

AUDIO CLASS!

NOIR & MYSTERY80 minute CD packed with information on writing Film Noir and Mystery scripts. Using examples from CHINATOWN to OUT OF THE PAST to DOUBLE INDEMNITY you'll learn how to create stories in this dark, twisted genre. How to plant clues, red herrings, suspects, victims, spider women, fallen heroes, the funhouse mirror world of noir supporting characters... and the origins of Film Noir in literature Noir dialogue and how noir endings are different than any other genre. All of the critical elements necessary to write in this critically popular genre.
The Noir & Mystery Class is only $15 (plus $5 S&H). First 20 on Limited Black Disk!

RECESSION SALE! $5 OFF!

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

WRITING INDIES - Writing an Indie film? This class covers everything you need to know - from Central Locations to Confined Cameos. Using examples from SWINGERS, THE COOLER, STATION AGENT and others, this 80 minute CD is packed with information. How Indoe films challenge the audience (while mainstream films reassure the audience). Structures, using BOYS DON'T CRY, RUN LOLA RUN, HILARY & JACKIE, and others as example. Writing for a budget, writing for non-actors, getting the most production value out of your budget. Writing Indies is $10.00 (plus $5 S&H)

WRITING HORROR - The essentials of a horror screenplay - what do ROSEMARY'S BABY, NIGHT OF THE LIVING DEAD, THE EXORCIST, BRIDE OF FRANKENSTEIN, THE OTHERS and OPEN WATER have in common? This class will tell you! All of the critical elements necessary to write a script that scares the pants off the audience. Writing Horror is $10.00 (plus $5 S&H).

Click here for more information on CLASS CDs!

THE BLUE BOOKS!

FIND A GREAT IDEA!

*** 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!

FIGURE OUT YOUR STORY!

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 - and no postage!

GOT STRUCTURE?!

*** 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!

STORY: WELL TOLD!

*** STORY: WELL TOLD *** - For Kindle!

This book takes you step-by-step through the construction of a story... and how to tell a story well, why Story always starts with character... but ISN'T character, Breaking Your Story, Irony, Planting Information, Evolving Story, Leaving No Dramatic Stone Unturned, The Three Greek Unities, The Importance Of Stakes, The Thematic Method, and how to create personal stories with blockbuster potential. Ready to tell a story? Print version was 48 pages, Kindle version is over 85,000 words - 251 pages!

Only $4.99 - and no postage!

START STRONG!

*** 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!

MOVIES ARE CHARACTERS!

*** CREATING STRONG PROTAGONISTS *** - For Kindle!

*** CREATING STRONG PROTAGONISTS *** - For Nook!

Expanded version with more ways to create interesting protagonists! A step-by-step guide to creating "take charge" protagonists. Screenplays are about characters in conflict... characters in emotional turmoil... Strong three dimensional protagonists who can find solutions to their problems in 110 pages. But how do you create characters like this? How do you turn words into flesh and blood? Character issues, Knowing Who Is The Boss, Tapping into YOUR fears, The Naked Character, Pulp Friction, Man With A Plan, Character Arcs, Avoiding Cliche People, Deep Characterization, Problem Protagonists, 12 Ways To Create Likable Protagonists (even if they are criminals), Active vs. Reactive, The Third Dimension In Character, Relationships, Ensemble Scripts, and much, much more. Print version is 48 pages, Kindle version is once again around 205 pages!

ONLY $4.99 - and no postage!

I WRITE PICTURES!

*** VISUAL STORYTELLING *** - For Kindle! (exclusive)

Show Don't Tell - but *how* do you do that? Here are techniques to tell stories visually! Using Oscar Winning Films and Oscar Nominated Films as our primary examples: from the first Best Picture Winner "Sunrise" (1927) to the Oscar Nominated "The Artist" (which takes place in 1927) with stops along the way Pixar's "Up" and Best Original Screenplay Winner "Breaking Away" (a small indie style drama - told visually) as well as "Witness" and other Oscar Winners as examples... plus RISE OF THE PLANET OF THE APES. Print version is 48 pages, Kindle version is over 200 pages!

ONLY $4.99 - and no postage!

DESCRIPTION & VOICE Blue Book!

DESCRIPTION & VOICE Blue Book.

IS HALF OF YOUR STORY IN TROUBLE?

Most screenplays are about a 50/50 split between dialogue and description - which means your description is just as important as your dialogue. It just gets less press because the audience never sees it, the same reason why screenwriters get less press than movie stars. But your story will never get to the audience until readers and development executives read your script... so it is a very important factor. Until the movie is made the screenplay is the movie and must be just as exciting as the movie. So how do you make your screenplay exciting to read? Description is important in a novel as well, and the “audience” does read it... how do we write riveting description?

Only $4.99 and no postage!

PRO DIALOGUE TECHNIQUES!

*** 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!

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!

SUBPLOTS?

*** SUPPORTING CHARACTER SECRETS *** - For Kindle! (Exclusive)

Expanded version with more techniques to flesh out your Supporting Characters and make them individuals. Using the hit movie BRIDESMAIDS as well as other comedies like THE HANGOVER and TED and HIGH FIDELITY and 40 YEAR OLD VIRGIN and many other examples we look at ways to make your Supporting Characters come alive on the page. Print version was 48 pages, Kindle version is around 170 pages!

ONLY $4.99 - and no postage!

ACT TWO SOLUTIONS!

*** ACT TWO SECRETS *** - For Kindle!

Expanded version with more techniques to help you through the desert of Act Two! Subjects Include: What Is Act Two? Inside Moves, The 2 Ps: Purpose & Pacing, The 4Ds: Dilemma, Denial, Drama and Decision, Momentum, the Two Act Twos, Subplot Prisms, Deadlines, Drive, Levels Of Conflict, Escalation, When Act Two Begins and When Act Two Ends, Scene Order, Bite Sized Pieces, Common Act Two Issues, Plot Devices For Act Two, and dozens of others. Over 67,000 words (that’s well over 200 pages) of tools and techniques to get you through the desert of Act Two alive! Print version was 48 pages, Kindle version is well over 200 pages!

ONLY $4.99 - and no postage!

BRAND NEW!!

All About Rewrites!

Rewriting In Waves?

*** REWRITES Blue Book! - For Kindle!

The end is just the beginning! You’ve finished your story, but now the rewriting begins! This 405 page 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!

ONLY $4.99 - and no postage!

All About Endings!

GRAND FINALES Blue Book!

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!

All About LOGLINES, TREATMENTS, and PITCHING!

LOGLINES, TREATMENTS, and PITCHING! Blue Book!

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!

READY TO BREAK IN?

THE BUISINESS SIDE

*** 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!

MOVIE MAGIC SOFTWARE

Movie Magic Screenwriter is the best selling screenplay formatting software and the choice of Hollywood professionals. Screenwriter automatically formats while you write so you can focus on what you're writing, not where it goes on the page. It also formats for television, stage, novels and comic book scripts so you've got an all in one package for any story you want to write. Academy Award Tech Winner!

* * * Buy It!

copyright 2024 by William C. Martell