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What character drives your script? Your story will be about somebody who wants something... not just kinda would like it, but wants to the point of obsession. They are the driving force of your story - hey create the "through-line". A character wants something and will let nothing get in their way... but someone *does* get in their way, and that creates conflict. Story *is* conflict. The character that wants something should be driving your script, not some character who has no stake in the outcome. Who is that character? The strange part - it's probably not your protagonist.

Probably 90% of the time the antagonist drives the story - they bring the conflict. So in MY BEST FRIEND'S WEDDING there is no story until Julia Roberts gets the call that Cameron Diaz is stealing her ace-in-the-hole man. In JAWS there is no story until the shark starts eating people off the coast of Amity. In BLAZING SADDLES there is no story until Headly Lamar decides to assign a Black sheriff to that town so that everyone moves out and he can buy up the land to run his railroad through town. In THE FUGITIVE there's no story until the One Armed Man kills Kimble's wife. DELIVERANCE is just four guys on a rafting trip until those Hillbillies show up to rape them. TWELVE ANGRY MEN would be over in a minute if they all agreed with Henry Fonda's character... or were at least willing to hear him out... and there wouldn't have been 12 jurors if there wasn't a murder. Without those "Evil Exes" Scott Pilgrim and Romona would live happily ever after on page 15 and there would be no more story left to tell. It doesn't matter what the genre is - the antagonist brings the conflict, and there isn't a story until they show up. From that point on it's a game of tennis - the antagonist causes a problem, the protagonist reacts, the antagonist counter-reacts, and back and forth until someone gets married or explodes something.

JUMPER has a great basic concept - a guy who can teleport (Hayden Christensen - who can not act if his life depended on it) from one place to another. He just vanishes from here and ends up there. The movie also has lots of beautiful scenery and amazing locations and some cool special effects and cool teleportation ideas like anchors and a gizmo that keeps the wormhole open so that people can follow you, and lots of great ideas about teleoprtation - plus the great Samuel L. Jackson as the villain and...

The movie manages to squander all of that. It just kills all of those great ideas with a rookie mistake. No one is driving! This is a film without any driver... so it's going nowhere fast.

The Hero (Hayden)... just wants to be left alone. He's basically passive. He has this amazing teleportation gift, and he uses it to sight see and rob banks... leaving IOU notes behind. Nothing much happens in his life, and he has no real problems, no goals. Passive. Nothing is driving him...

The Villain (Jackson)... just wants to stop the hero from teleporting. No real reason why. And here's a major problem with the film - Jackson's reason for spending every waking moment trying to stop people from teleporting is that only God should have that power... which makes him kind of silly. He doesn't have an actual goal - nothing actually driving him - he just wants to stop Hayden from moving around so much. This also makes no sense, because Jackson actually uses the teleportation worm holes to chase Hayden... so if his goal is to stop people from doing this, he could start with himself. It's not a goal, it's just an excuse for a conflict. What is the "or else factor"? If Jackson doesn't stop Hayden from teleporting, what happens? Nothing! Things just go on as they have.

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The villain's plan is the most important element of any film, and Samuel L. Jackson's plan here is.... Oh, he doesn't have one. He just wants to stop our hero from teleporting. And for no good reason. The villain's plan is what drives most stories - so it needs to be something interesting and it needs to make complete sense. If something silly is driving the story, the story becomes silly. In Woody Allan's WHAT'S UP TIGER LILY the villain's plan was to steal a recipe for chicken salad sandwiches - and that makes the whole film silly, What drives your story needs to be something that makes sense - something that is world changing and/or life changing. In MY BEST FRIEND'S WEDDING it's not just some guy getting married, it's Julia Robert's ace-in-the-hole man, the one guy she *knows* will marry her. Without him? There is no other guy in her life. Okay, her Gay friend - but not a guy she can marry. She will die an old maid... and that is the "or else factor" for that film. The world won't change, but Julia Robert's *life* will be ruined unless she can stop this marriage. That's what gives her drive. The stakes are *high*. She is so driven in that film, she crosses over into villain territory... dragging us along with her. But Samuel L. Jackson doesn't want to do anything himself - he just wants to stop Hayden from doing something. Which means we have a passive villain. Nothing driving him either. And Hayden isn't teleporting for any reason - he doesn't have a plan either. No villain's plan, no hero goal. No one is driving! Which is why this film is such a car wreck.

Passive hero. Passive villain. Um, that means the conflict makes no sense! Because Hayden's "jumping" has no affect on the outside world at all - and no affect on Hayden's character - it's meaningless. It doesn't matter. So Jackson trying to stop him is not only silly, it also doesn't matter. Stop him from doing *what*? Moving around so much? So none of this matters to anyone - it's a fake conflict. How could such a basic story problem end up in a big budget Hollywood film? Okay, how could it end up in a low budget film? Okay, how could it end up *anywhere*? It's screenwriting 101 - storytelling 101... cavemen knew better than to have a story where both hero and villain were passive.

And that's the big problem with the movie - it's a bunch of contrived teleportation. Movement without meaning. Hey - he's in Egypt! Hey - he's in Rome! Hey - he's in his home town! But none of it means anything - he could have just sat around the house in New York and the same lack-of-plot could have happened. It's all kinds of movement, but nothing happens.


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The great Michael Rooker shows up in a subplot as his drunk and abusive father... but absolutely nothing is done with that! No scenes there! In the "prologue" Rooker gets to be drunk and abusive in one scene... but later he's just *there*. No interaction between father and son at all! They are on opposite sides of a door - and Hayden doesn't speak. They use that door as a conflict condom - instead of dealing with the relationship issues, they find a way to avoid that conflict entirely. Avoiding the relationship completely. Avoiding exploring the characters completely. Why? Again - a whole scene where no one is driving. Rooker really wants to communicate with his son - but they find a way to stop that communication so that the scene stalls out. It just sits there. A great actor on one side of the door, a wooden actor on the other... and *nothing happens*! They could have really done something with this! Rooker is a gifted actor - look at all of the different kinds of characters he has played - but they just waste him by using a closed door as a roadblock.

Rachel Bilson plays Hayden's high school sweetheart - a character created just to have someone in peril for no real reason later in the film. Since neither Hayden nor Jackson are doing anything - neither has a real goal and nothing is driving them - they put Bilson in some contrived trouble so that Hayden has something to do. But even here they screw it all up - after a completely boring, plotless and pointless story - they give us a ticking clock. Bilson is on a plane, and Hayden has eight hours to rescue her before the plane lands and Jackson captures her. I have no idea what Jackson will do with her - since he has no real plan and nothing is driving him, but hey, there might be some excitement in that scenario! A race against time means something is driving the scene. But, they just *forget* the ticking clock aspect, and then have Hayden show up late - so the clock didn't matter, then have Jackson *easily* capture her... so that we can have some sort of pointless and boring action ending. Hayden doesn't really want anything - nothing is driving him, and Jackson just wants Hayden to stop without any real reason - so nothing is really driving him either. This makes for a silly action ending, because no one really has a goal - so how can we really tell who wins? And what are they fighting about?

Diane Lane plays the hero's missing mother, and she pops up in a couple of scenes where she rescues him for no apparent reason (except he needs rescued and she's the picture in the photos of Mom)... Which makes her a Deus Ex Momchina! Right when actual conflict is about to strike, forcing Hayden into *doing something*, she shows up to instantly solve the problem and stop the conflict. Now he doesn't have to do anything! She removes the drive from the story. (Then we get a completely WTF twist ending with Lane that makes no sense - and actually makes the film so far make even less sense!)

Buy Harry DVDs

There's also another teleporter character played by Jamie Bell (that's a dude) who has no purpose in this film. Okay, I guess he's someone for Hayden to have pointless conversations with... but you can't help but wonder why this character wasn't like the Train Ghost (Vincent Schiavelli) in GHOST who teaches our hero how to use the gift. That would have given the character some reason to be in the film. Something that could have driven the scenes. In GHOST Schiavelli doesn't want to teach Swayze how to live as a ghost - and Swayze has to force him. That creates drive in the scenes they are in. Would have worked here, too. Instead, Bell's just someone to talk to and a Ratzo Rizo sidekick. A pointless character in a pointless film.

And that's another big issue with this film - no point, no theme, no character arc, no valuable lesson learned... nothing. The film is pointless. Hayden robs banks and leaves IOUs, but doesn't seem to be doing anything to make the money to pay them back. And doesn't regret robbing the banks. And doesn't care. And... well, there's nothing worse than a bland actor in a bland and pointless role!

The problem with watching a bad movie like JUMPER is that you can't help but compare it to better movies... even if those movies aren't very good. The Hayden - Jackson thing is kind of like HIGHLANDER - not a great movie by a long shot, but CITIZEN KANE compared to this piece of poop!


Hard Evidence, USA Network

In my cable thriller HARD EVIDENCE the protagonist is seldom in the driver's seat. Most of the time he's on the defensive while other people push him around. The antagonist or forces of antagonism are driving the story.

What is the character's need in the scene? The character driving the scene has to want something or the scene has no purpose. In HARD EVIDENCE Joan Severance wants to know about the woman she saw her husband kissing in one scene. She tries different methods of finding out this information within the scene: from hinting around, to tricking him, to outright confrontation. But the focus of the scene is her desire to find out about the woman and the extent of her relationship with her husband.

In SLITHER, another film featuring the great Michael Rooker, there is a scene where the Mayor of the town invaded by aliens just wants a Mr. Pibb soft drink... and is so driven to find one that he ends up exploding in rage that he can't find one. "Where is the Mr. Pibb? I told your secretary to pack Mr. Pibb. It's the only Coke I like. Goddamn Brenda exploding like a water balloon, worms driving my friends around like they're goddamn skin-cars, people are spitting acid at me, turning you into cottage cheese, and now there's no fucking goddamn Mr. Pibb?" Great scene! Know what is driving your character - what the conflict is in every scene. Usually the conflict that drives a scene is the same conflict that drives the whole story - a scene being a microcosm of the story. But some character will want something in every scene and be fighting to get it - that something might be information or a Mr. Pibb or the Lost Ark.

JUMPER ends with the set up for a sequel... that just isn't going to happen. And if it does - well, it's going to die some horrible death at the box office unless they can take this guy with super powers and give him something to do other than shopping and globe hopping. In a way, JUMPER ends up the international version of the Home Shopping Network... except the folks on that show are driven to sell you worthless stuff... Like this movie.

In every scene of your script someone must want something from another character - there must be a goal, a PURPOSE, to the characters in that scene. A scene without purpose is stalled on the side of the road. No one is driving it... it is powerless.

Give your script power - put someone in the driver's seat!


Can You Make It bigger?



Writing something EPIC?

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Rewriting In Waves?

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All About Endings!



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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!

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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?


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Writing An Indie Film?
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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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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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"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?"

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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!

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

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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!

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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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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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*** 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!

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


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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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*** 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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*** 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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NEW: Updates On Films 7 & 8 Casting!

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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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Strange Structures!



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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.

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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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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 2022 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!