FRIDAY'S SCRIPT TIP:
HIGH CONCEPT / MEDIUM BUDGET
After getting a bunch of studio meetings by accident, a few years ago I signed with a
manager who promised me a bunch of studio meetings on purpose. My cable films have all been
affordable high concept stuff - so I thought I would have a very easy transition to studio
sales... Except the manager had something to prove and wanted me to focus on very
high budget scripts. A high concept chase thriller became bloated with big action set
pieces. The thrillers I had planned to write were set aside so that I could write a trio of
massive action scripts. The manager sent the scripts out and they did get me tons of
studio meetings... where they told me how much they loved my scripts but they just
couldn't afford to produce them. DARK SALVAGE takes place either on the water or
underwater - the two most expensive places to film! I think each of the close to 50
producers I met with mentioned WATERWORLD and how unpredictable shooting on
water can be. No one bought it.
Though studios seem to be making more and more event films every year, they also do not like
expensive gambles. What everyone told me - Why not write something like
KNOCKED UP or or DISTURBIA or THE SIXTH SENSE that can be made on a medium budget
but can still become a huge hit? Well, those were the scripts that I set aside in order to
write these big, expensive blockbusters! I wished I had written something like SOURCE CODE!
The key to success is to write a script that no one can say "no" to - and my script was
all yeses until it came to budget. Hey, if I could get a high powered director like Michael
Bay or James Cameron attached that "no" would become a "yes" - but what are the
odds of that happening? You want your script to be a "no brainer yes" - something with
the potential to make a lot of money... but if it ends up opening the same weekend as
TRANSFORMERS or the next HARRY POTTER film and flops it won't sink the
studio. What we're looking for is a big, exciting idea... that can be made on a medium
budget. The story is a "yes" and the budget is a "yes" - no reason to say "no"!
Here are some examples:
SPEED - there's a bomb on a bus that will explode if the bus goes below 55mph... and
rush hour has just begun.
TERMINATOR - a killing machine from the future comes back to kill the woman who will
give birth to the man who will save the world.
DEVIL'S ADVOCATE - hot young lawyer discovers the big law firm that hired him is run
by, perhaps, Satan?
GROUNDHOG DAY - a self centered TV Weatherman is trapped living February 2nd over and over again.
WESTWORLD - android amusement park shorts out, sending cowboy robot after three
ROSEMARY'S BABY - nice young New York couple is having Satan's spawn.
50 FIRST DATES - a love 'em & leave 'em stud meets a woman with memory problems who can't
remember anything that happened the day before... making every date the first date, and she doesn't sleep with guys on the first date.
STEPFORD WIVES - the perfect small town, the perfect passive wives... hey, they're
androids like those Terminator & Westworld fellas!
THE BOYS FROM BRAZIL - remember that Hitler guy? They cloned a half dozen of
him, and an aging Nazi hunter has to find those kids and kill 'em.
THE OMEN - You know the guy that killed all of those boys from Brazil? His adopted
son is Satan's spawn... and everyone who tries to stop the brat gets killed in a freak
On an idea level, compare SPEED to SPEED 2 and you'll see what I'm talking about.
The first film was made on a medium budget (a bus driving on the freeway, hitting an
occasional car or barricade barrel of water), the second film was frequently mentioned
right after WATERWORLD as a reason why they weren't going to buy my DARK
SALVAGE script (we have a cruise ship filled with people out of control in the ocean....
eventually destroying an entire town). SPEED 2 was an expensive flop - no studio
wants to make another film like that.
Or compare THE MATRIX to either of the sequels... or BRUCE ALMIGHTY to EVAN ALMIGHTY. The first films have great *ideas* that work on their own without big special effects or casts of thousands or giant sets. The sequels all try to out-do the first, not by coming up with a great new *idea*, but by throwing money at a second rate idea. Instead of being clever, they added more explosions and bigger explosions.
Anything involving time travel to the present is cheap - TERMINATOR isn't about going
to the future, it's about bringing the future to present day Los Angeles. That's not only a
less expensive idea - it's a BETTER idea! None of us have ever been to the future so
the story isn't as easy to identify with. But it's easy to identify with Sara Conners -
working a cruddy job, living with a room mate, trying to find love - that could be our life!
We know exactly what it's like to be Sara, so it's easier to imagine those things
happening to us. The same is true with KATE & LEOPOLD - where a man from the past
ends up in present day New York. We understand Kate's world better than we
understand Leopold's. So having the story take place in the inexpensive present is
actually better from a STORY standpoint. If 95% of the script takes place in the present,
the 5% that takes place in the past or the future doesn't seem like much of a problem.
Usually, the higher the concept - the more simple and imaginative the idea - the less FX
required. THE SIXTH DAY (not a good movie - but a kick ass high concept - you need both a great concept *and* great execution) has a
military guy coming home to find his wife in the arms of another man... his clone! That's
about as high concept as you can get - and it's just the same actor playing two roles.
It's when the concept isn't so high, like "The Alamo on an aircraft carrier", that you get in
trouble. That's an expensive film, because it isn't the IDEA that's cool, it's all of the
battle stuff you need to make the idea work. Unfortunately, I also wrote that script, too. Got
me lots of meetings were they told me it was too expensive. They would have to stage
World War 3 to make the film... which is why I'm back writing really high concept
scripts where the idea is the star - wrote one about reincarnation, one shadow-people, one about a bomb planted inside some poor dude, and I have one coming up about a secret society with magical powers - the ideas are the stars, not the FX or the set or the hardware or
massive explosions. If a character says they are the reincarnation of someone else, it's
still just an actor. The idea supplies the cool stuff.
All of the scripts I set aside to write those big budget monsters the manager wanted?
That's what I writing this year. Script with amazing ideas... and no reason to say "no".
High concept scripts that can be made on a medium budget.
What you want is a script with a box office value that is much higher than the cost to produce.
Usually that begins with an amazing high concept idea - something that blows people away when they hear
*the idea*. Then, that idea must be not insanely expensive to make. Here are four more examples: SOURCE CODE, THE SIXTH SENSE, GHOST, and THE MATRIX.
SOURCE CODE - Soldier is sent back in time for 8 minutes again and again onto a commuter train just before it explodes, to identify the bomber... because he has threatened to strike again and take down a whole city. The time travel is just the actor waking up on the train! And the film takes place at basically three locations: The train, The time travel capsule, Mission control. Oh, and has only a hand full of characters: the people on the train (limited suspects), our time traveler, two scientists at Mission Control. The train explosion is the only real special effect.
THE SIXTH SENSE - boy sees dead people in Philly. All locations are easy to get (more or less), those dead people the boy sees? Just actors.
GHOST - dead guy tries to save woman he loves. All of the locations are easy to get (more or less), the ghost is just an actor. A couple of special effects here and there, but 95% of the time just an actor. By the way, this is one of the most popular films of all time.
THE MATRIX - guy discovers the real world isn't real at all. Script was written to be shot in Chicago - basic city locations. There are some special effects - the "real world" where a small portion of the film takes place is a hovercraft set and some CGI stuff, plus we get that bullet-time stuff (that's cheaper than you think). The big action scenes cost money - but the film would have worked without them. Shot in Australia to save money and because it's close to all of those kung fu folks in Hong Kong.
With a spec (for sale) screenplay what you want is the most amazing and exciting screenplay possible - but you want to use common sense and make sure that the film can be made for a reasonable amount of money. Best thing is if you have a great idea where the *idea* is what is cool, not all of the crap they need to make that idea work.
If you can come up with an amazing idea like "the world we think is real is not real" so that they can shoot the movie for the same cost as some disposable action film with a "cops chase bank robbers" plot or something, you have just opened the doors for a sale. If they have the choice between making two films - one is a standard action film and one is a wild story - and both cost the same, guess which one they pick?
The great thing about a movie like SOURCE CODE is that it can be made by an indie producer (Summit) for a reasonable cost ($32m - including all star salaries) and have the same look and feel as a big studio blockbuster.
Watch a bunch of episodes of TWILIGHT ZONE or OUTER LIMITS - both shows made on very limited budgets, but with big ideas that we still talk about today. It's a cook book!
A cool idea is better than an idea that requires a lot of cool stuff to work.
NEW: WRITE IT: FILM IT!
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.
SALE PRICE: $7.99!
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 - Only $3.99 !
NO KINDLE REQUIRED! Get the *free* app (any device, except your Mr. Coffee) on the order page on Amazon!
*** 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!
My New Script Secrets Newsletter!
OUTLINES & THE THEMATIC!
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.
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?
NEW AND HOT!
*** STRUCTURING YOUR STORY *** - For Kindle!
William Goldman says the most important single element of any screenplay is structure. It’s the skeleton under the flesh and blood of your story. Without it, you have a spineless, formless, mess... a slug! How do you make sure your structure is strong enough to support your story? How do you prevent your story from becoming a slug? This Blue Book explores different types of popular structures from the basic three act structure to more obscure methods like leap-frogging. We also look at structure as a verb as well as a noun, and techniques for structuring your story for maximum emotional impact. Most of the other books just look at *structure* and ignore the art of *structuring* your story. Techniques to make your story a page turner... instead of a slug!
Only $4.99 - and no postage!
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!
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 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!
READY TO BREAK IN?
*** 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!
NO KINDLE REQUIRED! Get the *free* app (any device, except your Mr. Coffee) on the order page on Amazon!
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!
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!
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!
*** 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!
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!
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!
*** YOUR IDEA MACHINE *** - For Kindle!
*** YOUR IDEA MACHINE *** - For Nook!
Expanded version with more ways to find great ideas! Your screenplay is going to begin with an idea. There are good ideas and bad ideas and commercial ideas and personal ideas. But where do you find ideas in the first place? This handbook explores different methods for finding or generating ideas, and combining those ideas into concepts that sell. The Idea Bank, Fifteen Places To Find Ideas, Good Ideas And Bad Ideas, Ideas From Locations And Elements, Keeping Track Of Your Ideas, Idea Theft - What Can You Do? Weird Ways To Connect Ideas, Combing Ideas To Create Concepts, High Concepts - What Are They? Creating The Killer Concept, Substitution - Lion Tamers & Hitmen, Creating Blockbuster Concepts, Magnification And The Matrix, Conflict Within Concept, Concepts With Visual Conflict, Avoiding Episodic Concepts, much more! Print version is 48 pages, Kindle version is over 175 pages!
Only $4.99 - and no postage!
PRO DIALOGUE TECHNIQUES!
*** DIALOGUE SECRETS *** - For Kindle!
*** DIALOGUE SECRETS *** - For Nook!
Expanded version with more ways to create interesting dialogue! How to remove bad dialogue (and what *is* bad dialogue), First Hand Dialogue, Awful Exposition, Realism, 50 Professional Dialogue Techniques you can use *today*, Subtext, Subtitles, Humor, Sizzling Banter, *Anti-Dialogue*, Speeches, and more. Tools you can use to make your dialogue sizzle! Special sections that use dialogue examples from movies as diverse as "Bringing Up Baby", "Psycho", "Double Indemnity", "Notorious", the Oscar nominated "You Can Count On Me", "His Girl Friday", and many more! Print version is 48 pages, Kindle version is over 175 pages!
Only $4.99 - and no postage!
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!
E BOOKS PAGE
E BOOKS: New Blue Books and Novelettes!
I am expanding all of the Blue Books from around 44 pages of
text to around 200 pages! Some are over 250 pages! See what is availabale and what is coming soon!Also, I've been writing Novelletes and there
will soon be novels.
E BOOKS: BLUE BOOKS & NOVELLETES
MY OTHER SITES
B MOVIE WORLD
Cult Films, Exploitation, Bikers & Women In Prison, Monster Movies.
FIRST STRIKE PRODUCTIONS
Producing my own scripts, investment possibilities, pipe dreams.
NAKED SCREENWRITING CDs
The NAKED SCREENWRITING CLASS ON CD!
The 2001 London Class on 8 CDs! Recorded *live* the morning after the Raindance Film Festival
wrapped. The two day class on 8CDs, plus a workbook, plus a bonus CD with PDFs.
The 2 Day Class on CD!
Every screenwriting book in the world!
In Association With Amazon.com
From the latest screenwriting book to
guides for finding agents and producers... all with at the
BOOKLETS & PRODUCTS
FIRST STRIKE BLUE BOOKS
Each Blue Book is 48
pages and focuses on a different aspect of screenwriting. Dialogue. Visual Storytelling. Your First Ten Pages. Act 2 Booster. Protagonists. Great Endings.
Seventeen Blue Books now available!
THE SECRETS OF ACTION SCREENWRITING The Best Nuts & Bolts Screenwriting Book On The
nineteen produced films, interviews with me in magazines,
several sample scripts, my available scripts list... And MORE!
CLASSES ON CD
CLASSES ON CD! Take a class on CD! GUERRILLA MARKETING - NO AGENT? NO PROBLEM! and WRITING THRILLERS (2 CDs). Full length classes on CD. Now Available: IDEAS & CREATIVITY, WRITING HORROR, WRITING INDIE FILMS, more!
Take classes on CD!