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To keep your script focused, you need to chose ONE external conflict. Your subplots will part of that conflict... like splinter beams from a prism. Each beam illustrates a different aspect of the main conflict or shows a different step in the solution of the main conflict. Dealing with each subplot moves your protagonist closer to the solution of the main plot. Or each character's relationship to your protagonist may be a little story that helps to illustrate the theme of the big story. Each of these stories will usually have a beginning, middle, and end.

In the STORY: WELL TOLD Blue Book I look at Paul Guay and Stephen Mazur's LIAR LIAR where each of the supporting characters shows a different aspect of the protagonist's conflict (the main plot), creating contrast with the protagonist which helps to define both characters. I call this the Thematic Method - where everything in the story is connected by a common theme conflict.

Fletcher Cole (Jim Carrey) works as a lawyer, where lies are valued. But every character in the LIAR LIAR, including extras and walk ons, are a reflection of the Fletcher's emotional conflict - from the law firm's Senior partner who has no respect for the truth, to Fletcher's client who is willing to lie on the witness stand to win her case, to Fletcher's secretary who is forced to lie for her boss all of the time, to the partner who turns down the case because he refuses to lie. Fletcher is a divorced dad who lied about an affair who is representing a woman who has had numerous affairs in a divorce case. His client's husband is a good father who is being punished because he is honest. Loved ones are being hurt by lies in almost every subplot. Every character in the film has honesty issues to deal with... they are exploring the main plot through their stories - like splinter beams that combine to form white light.

Each subplot is connected to the main plot. They aren't a succession of small obstacles that confront the protagonist, they are reflections of the central conflict. Subplots grow from the main plot and the theme - they support and enhance the main plot. They add shading to your story. Those scenes with Fletcher Cole and his secretary may seem like they are only there to help define Cole's character, or show another aspect of him... but they are also plot and theme related! Those subplot are part of the main story - and you can't tell the story without them! Removing them sends the whole story crashing to the ground. Every scene in your script should be required to tell the story... or it serves no purpose. Every scene in your script should contain the DNA necessary to clone the script - the conflict, the theme, the emotional dilemma.


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Guillermo del Toro and Vanessa Taylor’s THE SHAPE OF WATER is a charming but dark fairy tale that takes place in the early 1960s during the height of the Cold War. Elisa (Sally Hawkins) and Zelda (Octavia Spencer) are janitors in a top secret government scientific facility in Maryland where they clean up piss and poop in the men’s rooms, mop floors and polish desks and empty waste baskets. Elisa is beautiful but lonely - she is a mute with heavy scars on her neck. An outsider due to her “disability”... a freak. Zelda is African American in this time before the Civil Rights Act of 1964, and is an outsider due to her race. They are close friends, working side by side and covering for each other when one of the bosses or scientists or military guys tries to push them around. In a government research lab, it’s all about rank - all about who has authority over who. And *everyone* outranks these two women.

One day, a new Head Of Security, Strickland (Michael Shannon) takes over - becoming the ultimate authority. He has brought a lab specimen with him - an aquatic man creature (Doug Jones) who looks like The Creature From The Black Lagoon... only more colorful, and with huge soulful eyes. I’m going to call him Gill-Man even though he has no name in the film... he’s a magical creature. Strickland is strict, bigoted, and sees this specimen as a *thing* to be studied... and that includes cut apart. He has a cattle prod that he uses on the creature when it doesn’t do what it is told... or when Strickland wants to show it who is boss.


The story has Elisa and Gill-Man developing a friendship, which grows into a romance, and then Strickland decides there’s nothing more they can learn from the living specimen and it’s time to cut it open and look at it’s organs. Elisa and her friend Giles hatch a plan to steal Gill-Man and hide him in her bathtub until the fall rains come and she can set him free in the sea. The film is beautiful and whimsical and funny and emotional and the sets and locations are a movie version of Baltimore in the 60s that is slightly exaggerated the way the city was not quite real in THE MATRIX. It’s an idealized 1962 Baltimore, because this is a fairy tale and not reality.


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Elisa lives in an apartment above a luxurious old movie palace, and the sounds from the cinema sometimes drift up through the floorboards. Her next door neighbor, Giles (Richard Jenkins) is an old Gay man who works as an illustrator for advertisements... when photos are beginning to take over. His character has two subplot threads... maybe three if you count his toupee. Giles frequents a diner that specializes in pies because he has a crush on the handsome young waiter (Morgan Kelly). Giles takes Elisa there for key lime pie, just so he can flirt with the young man, who seems to flirt back. Oh, Giles always wears his toupee when he goes to the diner. Giles has a refrigerator full of uneaten key lime pie slices... he isn't after the pie. Giles other subplot has to do with being fired from his job at an advertising company for an unspoken reason... but we understand that it's because he's Gay. Giles has several conversations with an ex-coworker about getting his old job back, and is doing some spec illustrations of a family eating Jello to help land an account. Both of these subplots deal with Giles being Gay, and – SPOILER – also deal with Giles being an outsider, unaccepted by society due to his sexuality. A freak! So both of these subplots (and his toupee use) are connected to the main plot through being an outsider.

At the top secret government lab, the sympathetic scientist Dr. Hoffstetler (Michael Stuhlbarg) is against cutting open the creature, which he believes to have feelings and intelligence. He is a man on science in a military installation, and every time he has a conversation with Strickland we can see how little science is respected in this Cold War world. Studying a newly discovered life form is silly if you can't weaponize it. Strickland is constantly making fun of him, belittling him. To Strickland, intelligence is a sign of weakness. Hoffstetler has two subplot threads – trying to convince Strickland to keep the specimen alive and continue to study it, and – SPOILER – that's he's actually a Soviet spy. His Soviet contact is no different than Strickland – they don't respect him as a scientist and see him as an outsider amongst the spies. They speak Russian, he spends most of his time speaking English. They also only care about the creature as something to be weaponized. In both subplots, Dr, Hoffstetler is an outsider... a freak!

Zelda has a subplot with her husband Brewster (Martin Roach) who she frequently complains to Elisa about. When we finally meet him, he is the authority figure in their house, and strong willed Zelda doesn't have the final word. She is a woman, and this is a man's world. When another man comes into the house, Zelda is the outsider and the two men discuss issues that concern Zelda's future as if she isn't there.

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Oh, I haven't really talked about Gill-Man, who is the ultimate outsider... the ultimate freak. Maybe the last of his species, he is also lonely and an outsider. Even though he is beautiful, Strickland only sees that he is different... and anything different must be destroyed. That is the central conflict that all of the characters in the story are dealing with - Elisa is beautiful but different, Giles is beautiful but different, Zelda is beautiful but different, and even Hoffstetler is beautiful in his own scientific way but also different. By looking at different *types* of beauty and different types of different in each of these characters and their subplots, even when we follow a supporting character on their subplot thread - that is informing the main story about Elisa and Gill-Man. Strickland wants to destroy anything that is different no matter how beautiful, and even though Giles and Strickland only share a few seconds of screentime - Strickland is trying to kill him!

Strickland is our antagonist and some have noted that he’s almost a villain. So he has been given a couple of subplots designed to give him some “character shading” - he may be the ultimate authority at the top secret installation, but not in the military. His boss General Hoyt (Nick Searcy) is the bully in charge of the bully - always pushing Strickland for results. Of course, Strickland chooses a brutal path to get results, so the villainy is still his rather than General Hoyt’s. The other subplot takes us home with Strickland to meet his wife and family, and one of the great things with this subplot is that it not only shows a different side of the character, it shows us what a 1962 “perfectly normal” family is supposed to look like. Perfect wife, perfect kids, perfectly manicured front lawn. That adds an element of contrast when we look at Elisa’s home life or Zelda’s home life. Strickland’s suburbia is how society wants all of us to be... and doesn’t really accept the freaks. There’s a nice subplot thread concerning Strickland buying a perfect new car, but he hates the color. What color is it? Teal - basically the color of the Gill-Man. Because this car is tied to society acceptable status, he ends up defending the color... but he still doesn’t defend the Gill-Man. Here the new car’s *color* is a connection to the main plot. Always be thinking of *unity* - what connects the elements of your subplot to the main plot?


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Each of these outsiders are bullied by the authority figures in the story, so their subplots are splinted beams from the main plot. The reason why these folks all come together to help Gill-Man is that they share the same issues in their lives. Different versions of these issues, just as the different beams from the prism are different colors of light – yet all still light. Each subplot thread doesn’t distract from the main plot, it adds to it. When Giles is being ostracized because he is Gay in one of his subplots, that shows the audience how the Gill-Man must feel when he is being treated like a thing by Strickland.

And Strickland is *brutal* with Gill-Man. At one point, there is so much blood after trying to get the specimen to “conform” that Zelda worries that she will become sick cleaning it up. That’s another aspect of bringing all of the splinter beams of the story together - Zelda and Elisa are tasked with cleaning up the messes after Strickland’s sessions with Gill-Man, which logically brings both women close to creature. They are connected to the physical conflict. Elisa is the protagonist of this story, so the people around Elisa are connected to the story - but not every single character... only the “freaks”. Only the character who carry the theme and emotional conflict with them. Elisa probably goes to the supermarket and the shoe store and interacts with people, but none of those characters are part of this story. Giles is.

And there’s a moment where their landlord pops up - the owner of the cinema. Though there is a plot reason for him to be in the scene, part of his conversation is about how the movie showing at the cinema isn’t attracting an audience because it’s unusual... so he gives them a couple of free tickets. So the cinema owner’s conversation is thematic even though his purpose is plot related. All of these characters are connected to the story! Any character who isn’t connected to the story and theme is left on the “cutting room floor” and never makes it into the screenplay or film.

Once you know the big emotional conflict which your protagonist will be forced to resolve, or the theme of your screenplay, you can create subplots and supporting characters which illustrate different aspects and potential outcomes. That way you will be digging deeper into the story rather than grafting on unrelated subplots from the outside. You don’t want *random* subplots and supporting characters, you want the supportying characters who support the protagonist’s story. Subplots which are specific to this story who are involved in conflicts which are specific to this story.

Your Story Checklist:
1) What is your story’s theme? Protagonist’s emotional conflict? Protagonists’s physical conflict? How are they connected?
2) Are your subplots connected to that main story?
3) Are your supporting characters connected to that main story?
4) Do the supporting characters show different aspects of the central conflict?
5) Is every subplot required to tell the story?

Subplots are all part of the main plot. Not grafted on from the outside, not random. Connected. It’s all part of the same story. All splinter beams from the story - different colors of light that are part of that main light beam.





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!

MAY SALE $3.99!



Making Your Own Movie?
Writing An Indie Film?
Writing A Low Budget Genre Script To Sell?
Writing A Made For TV Holiday Movie?

You will be writing for BUDGET. On a standard spec screenplay, you don’t have to think about budget, but these types of screenplays writing with budget in mind is critical!

If you are making your own movie, budget, is even more important - and you need to think about budget *before* you write your screenplay... or you will end up with a script that you can’t afford to make (or is a struggle to make). Everyone is making their own films these days, and even if you have done it before there are lots of great techniques in this book to get more money on screen - for less money! You can make a film that looks like it cost millions for pocket change.

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NEW: Updates On Films 7 & 8 Casting!

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


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




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.

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Over 240 pages!

*** THE TERMINATOR MOVIES *** - For Kindle!

He's back! The release of "Terminator: Dark Fate" is set to begin a new trilogy in the Terminator story... 35 years after the first film was released. What draws us to these films about a cybernetic organism from the future sent back in time? Why is there a new proposed trilogy every few years? This book looks at all five Terminator movies from a story standpoint - what makes them work (or not)? What are the techniques used to keep the characters and scenes exciting and involving? How about those secret story details you may not have noticed? Containing a detailed analysis of each of the five films so far, this book delves into the way these stories work... as well as a complete list of box office and critical statistics for each film. This book is great for writers, directors, and just fans of the series.

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Tips FAQ

My New Script Secrets Newsletter!







Your story is like a road trip... but where are you going? What's the best route to get there? What are the best sights to see along the way? Just as you plan a vacation instead of just jump in the car and start driving, it's a good idea to plan your story. An artist does sketches before breaking out the oils, so why shouldn't a writer do the same? This Blue Book looks at various outlining methods used by professional screenwriters like Wesley Strick, Paul Schrader, John August, and others... as well as a guest chapter on novel outlines. Plus a whole section on the Thematic Method of generating scenes and characters and other elements that will be part of your outline. The three stages of writing are: Pre-writing, Writing, and Rewriting... this book looks at that first stage and how to use it to improve your screenplays and novels.

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

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*** STRUCTURING YOUR STORY *** - For Kindle!

William Goldman says the most important single element of any screenplay is structure. It’s the skeleton under the flesh and blood of your story. Without it, you have a spineless, formless, mess... a slug! How do you make sure your structure is strong enough to support your story? How do you prevent your story from becoming a slug? This Blue Book explores different types of popular structures from the basic three act structure to more obscure methods like leap-frogging. We also look at structure as a verb as well as a noun, and techniques for structuring your story for maximum emotional impact. Most of the other books just look at *structure* and ignore the art of *structuring* your story. Techniques to make your story a page turner... instead of a slug!

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Alfred Hitchcock, who directed 52 movies, was known as the *Master Of Suspense*; but what exactly is suspense and how can *we* master it? How does suspense work? How can *we* create “Hitchcockian” suspense scenes in our screenplays, novels, stories and films?

This book uses seventeen of Hitchcock’s films to show the difference between suspense and surprise, how to use “focus objects” to create suspense, the 20 iconic suspense scenes and situations, how plot twists work, using secrets for suspense, how to use Dread (the cousin of suspense) in horror stories, and dozens of other amazing storytelling lessons. From classics like “Strangers On A Train” and “The Birds” and “Vertigo” and “To Catch A Thief” to older films from the British period like “The 39 Steps” and “The Man Who Knew Too Much” to his hits from the silent era like “The Lodger” (about Jack The Ripper), we’ll look at all of the techniques to create suspense!

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The new MP3MP3s are available now!


NOIR & MYSTERY80 minute MP3 packed with information on writing Film Noir and Mystery scripts. Using examples from CHINATOWN to OUT OF THE PAST to DOUBLE INDEMNITY you'll learn how to create stories in this dark, twisted genre. How to plant clues, red herrings, suspects, victims, spider women, fallen heroes, the funhouse mirror world of noir supporting characters... and the origins of Film Noir in literature Noir dialogue and how noir endings are different than any other genre. All of the critical elements necessary to write in this critically popular genre.
The Noir & Mystery Class is only $15 (plus $5 S&H). First 20 on Limited Black Disk!


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

WRITING INDIES - Writing an Indie film? This class covers everything you need to know - from Central Locations to Confined Cameos. Using examples from SWINGERS, THE COOLER, STATION AGENT and others, this 80 minute MP3 is packed with information. How Indoe films challenge the audience (while mainstream films reassure the audience). Structures, using BOYS DON'T CRY, RUN LOLA RUN, HILARY & JACKIE, and others as example. Writing for a budget, writing for non-actors, getting the most production value out of your budget. Writing Indies is $10.00 (plus $5 S&H)

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

Click here for more information on CLASS MP3s!





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

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

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*** BREAKING IN BLUE BOOK *** - For Kindle!

Should really be called the BUSINESS BLUE BOOK because it covers almost everything you will need to know for your screenwriting career: from thinking like a producer and learning to speak their language, to query letters and finding a manager or agent, to making connections (at home and in Hollywood) and networking, to the different kinds of meetings you are will have at Studios, to the difference between a producer and a studio, to landing an assignment at that meeting and what is required of you when you are working under contract, to contracts and options and lawyers and... when to run from a deal! Information you can use *now* to move your career forward! It's all here in the Biggest Blue Book yet!

Print version was 48 pages, Kindle version is over 400 pages!

$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 *** - For Kindle!

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

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

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

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

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

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

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

ONLY $2.99 - and no postage!



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

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

ONLY $4.99 - and no postage!



*** 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!



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

*** DIALOGUE SECRETS *** - For Nook!

Expanded version with more ways to create interesting dialogue! How to remove bad dialogue (and what *is* bad dialogue), First Hand Dialogue, Awful Exposition, Realism, 50 Professional Dialogue Techniques you can use *today*, Subtext, Subtitles, Humor, Sizzling Banter, *Anti-Dialogue*, Speeches, and more. Tools you can use to make your dialogue sizzle! Special sections that use dialogue examples from movies as diverse as "Bringing Up Baby", "Psycho", "Double Indemnity", "Notorious", the Oscar nominated "You Can Count On Me", "His Girl Friday", and many more! Print version is 48 pages, Kindle version is over 175 pages!

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Use your creative energy to focus on the content; let Final Draft take care of the style. Final Draft is the number-one selling application specifically designed for writing movie scripts, television episodics and stage plays. Its ease-of-use and time-saving features have attracted writers for almost two decades positioning Final Draft as the Professional Screenwriters Choice. Final Draft power users include Academy, Emmy and BAFTA award winning writers like Oliver Stone, Tom Hanks, Alan Ball, J.J. Abrams, James Cameron and more. * * * Buy It!

copyright 2020 by William C. Martell

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bluebook E BOOKS: New Blue Books and Novelettes!
I am expanding all of the Blue Books from around 44 pages of text to around 200 pages! Some are over 250 pages! See what is availabale and what is coming soon!Also, I've been writing Novelletes and there will soon be novels.

Furious Action Class

Cult Films, Exploitation, Bikers & Women In Prison, Monster Movies.

Producing my own scripts, investment possibilities, pipe dreams.


Naked Class The NAKED SCREENWRITING CLASS ON MP3! The 2001 London Class on 8 MP3s! Recorded *live* the morning after the Raindance Film Festival wrapped. The two day class on 8MP3s, plus a workbook, plus a bonus MP3 with PDFs.
The 2 Day Class on MP3!


Every screenwriting book in the world!
In Association With
From the latest screenwriting book to guides for finding agents and producers... all with at the discount!


Each Blue Book is 48 pages and focuses on a different aspect of screenwriting. Dialogue. Visual Storytelling. Your First Ten Pages. Act 2 Booster. Protagonists. Great Endings.
Seventeen Blue Books now available!

THE SECRETS OF ACTION SCREENWRITING The Best Nuts & Bolts Screenwriting Book On The Market!


My nineteen produced films, interviews with me in magazines, several sample scripts, my available scripts list... And MORE!
...............................BILL'S CORNER

Available Scripts


Take classes on MP3!