WEDNESDAY'S SCRIPT TIP:
THE STORY IS THE STORY
So this guy is pitching me his script. It's
about a college kid who can't decide if he should go to law
school or become an artist. One day the kid finds a wallet on the
street and returns it to the owner - a powerful mobster. The
mobster offers him a summer job working in a pawn shop that sells
stolen merchandise. The kid meets the pawnshop owner's daughter
and falls in love with her. When he goes away for the weekend
with her, their car breaks down in a small town. The small town
is filled with quirky characters and the couple has several
adventures. The pawnshop owner's daughter has an affair with the
mayor's son, and decides to stay in the town even after their car
is repaired. Our hero drives back to New York where he becomes a
This script sounded to me like a collection of unrelated
scenes, but the end really confused me. It answered the question
asked in the opening of the story, like a good ending should. Was
I missing something? I asked the writer what his script was
about, and he answered Art vs. Commerce. Okay... so what did the
quirky small town have to do with that? Well, New York symbolized
commerce and the small town symbolized art. Okay, so why did the
guy leave the small town to go to New York if he was following
his art? And why did the pawnshop owner's daughter stay? He
didn't have answer for those questions, and several others I
I liked the idea of New York symbolizing commerce and the
small town symbolizing art, but I didn't understand what most of
his story had to do with art and commerce.
He hemmed and hawed when I asked about scenes or characters in
relation to Art vs. Commerce... he didn't know either.
If your story is about a guy who must decide between a future
as an artist or a future as a lawyer, that's what the story will
be about. The plot will be something that shows him both possible
futures - the good and bad of each - and constantly forces him to
decide between both possibilities. Each decision will bring him
closer to his ultimate decision.
HOUSE BUNNY is a comedy that fails to explore its own story. Anna Faris is a Playboy bunny who lives at Hef's Playboy Mansion, but gets kicked out on her 29th birthday because she's too old... you see, that's like 59 in "Bunny Years". She ends up homeless, sleeping in her car, until - while looking for a place to live on the Westside - discovers a Sorority House for nerdy brainiac girls that needs a new house mother. And hijinks ensue... just not really funny hijinks.
But the biggest problem with HOUSE BUNNY is that the film screws up it's own premise. The story is not the story.
Okay, you have the hot-but-not-brainy-Bunny who moves in with the nerdy and brainy sorority girls. Each has something the other lacks - which makes this a good premise. So, you know by the end of the film that Anna will teach all of these plain-janes how to be hot, and the girls will teach Anna to be more than a bimbo. That is the story we get from the premise... Except, that doesn't happen.
There is a scene where Anna takes the girls out to shop and spa (how they pay for this is never explained), but there is really no instruction and no transformation. When the girls return from their day with Anna, we don't recognize any of them. I mean, we really don't recognize them. We don't know which plain-jane became which hottie. No step-by-step transformation, so it's almost as if they just cast some new girls. You spend most of the rest of the movie trying to figure out who is who.
When you look at a film about characters going through some sort of physical transformation, like Kim Novak in VERTIGO going from low-class shop girl to sophisticated lady - we see each step in the process, because to some extent that is what the film is about. Eliza Dolittle doesn't become a lady in a 30 second montage - the film is about her change. The story is *about* the transformation of these girls, so we need to see these scenes. Even if we have seen a million make over scenes before! Even if every movie that comes out this year has a make over scene! The *story* is the make over - the transformation from plain jane brainiacs to popular girls. If that is a cliche, then you need to change the *story*, not leave out the scenes that tell that story.
And when Anna feels she isn't intelligent enough for Colin Hanks (male lead who just drops into this story from nowhere), do the brainiac girls help her? No. They are not involved. We get a scene with Anna at the library reading a pile of books... and then she's smart! But even that scene is more of a two second montage, rather than a real scene where she learns. It's like shorthand instead of an actual scene. This goes back to that Egri thing about character change - you need to show all of the steps, or else it seems false.
I wondered why they didn't use the premise - and have Bunny help Brainiacs and vice versa. Did they think it was too obvious? Too expected? Well, then set up something less expected! Once you set up the story, that's the story. If you can't find a "Door #3" (DEJA VU co-writer Bill Marsilli's term for the completely original and unexpected choice or solution to the problem) then your only choices are following the logical lines of the story you've created... or create a *different* story. Change the premise so that your story is less obvious. But ignoring the premise you've set up? Completely unsatisfying. If you are looking for the *best* solution - it's the one where the story works, even if we've seen it before. The "solution" where the story doesn't work at all? Crap. In the case of a light comedy like this - I think we all know how it ends and what we expect from the story. If the script gives us something *better* than we expected, great! But if it gives us much less than we expected - um, I'm not buying the DVD and telling my friends that it isn't worth the ticket price. This is the kind of thing that can probably be traced back to a bad development note - hard to believe the writers who come up with the premise, then ignored it. Karen and Kiwi are too smart for that. Or it may have been in direction - the transformations may have been given enough time on the page, but the director didn't understand how important it was and just trimmed it down. That happens - directors sometimes don't know how stories work.
The story is the story. If you want some other story, tell some other story.
One of last year's big hits was FATE OF THE FURIOUS (8) - which continued to reinvent the FAST AND FURIOUS series and tie all of the previous films together.
Every year we get a new car chase flick, and when the first film in the series came out,
many people noted there were amazing
similarities between THE FAST & THE FURIOUS,
POINT BREAK and NO MAN'S LAND - three films about rookie cops who
are recruited to infiltrate a subculture as they investigate a
series of robberies. The rookie cop befriends the charismatic
leader of the group, usually becomes romantically involved with
the group leader's sister, and steps over the line into criminal
territory when he discovers his new best friend - the group
leader - is behind the robberies. Scene after scene that all three films have in common.
It's as if the used carbon paper to create each script! But it
gets worse - my favorite undercover cop movie HOUSE OF BAMBOO has
all of the same scenes, as does the 1948 film STREET WITH NO
NAME. There seems to be a formula for undercover cop films that
all of these films follow. Why is that?
Because the story is the story.
Undercover cop movies are about young men searching for a
family to belong to. After moving out of the biological family,
they join a new family - the police force or the FBI. That family
asks them to pretend to be a member of a criminal family. The
story will test their loyalties, by creating situations where
they must decide between the two families. One family typically
offers love (the criminals) and the other family typically offers
responsibility (the police). In order to tell this story, you
will end up with scene after scene where the protagonist must
decide which family he really belongs to... and those are the
"formula" scenes all of those films share. It's not really a
formula, it's the scenes which best tell the story you are trying
to tell. If you were to try to tell the undercover cop story
without using these "formula" scenes it would end up NOT
exploring the emotional issues built in to that story. It would
be avoiding the very story you are trying to tell - usually with
filler material subplots like Pawnbroker's daughters and
The story is the story, and to tell that story you'll need the
scenes that tell that story. This may create a "formula" of
sorts, but that doesn't make the story unoriginal. The art - the
challenge - of telling a story like this is to find the unique and
unusual scenes that illustrate the two families pulling at our
undercover cop. That is where your creativity comes in - not in
ditching the story for silly subplots, but in finding the way to
tell this story that fully explores the story - yet is also original.
That takes more creativity and talent than just "kitchen sinking" some
quirky characters and scenes that have nothing to do with the story you
are telling. There are a million different ways to tell a story about a man who must
decide between a future in art or commerce - the basic decision
is the same, but each scene will be an individual creation based
on the specifics of YOUR story and YOUR characters.
Use the scenes that best tell the story and get rid of any
scenes or characters that don't tell the story.
If the story is a cliche, fix the story... don't leave out the scenes you need to tell the story.
All About LOGLINES, TREATMENTS, and PITCHING!
LOGLINES, TREATMENTS, and PITCHING! Blue Book!
Distilling Your Screenplay!
Loglines, Treatments, Pitching, Look Books, Pitch Decks, One Pagers, Rip-O-Matics?
You have written a brilliant 110 page screenplay, but how do you get anyone to read it? You need to distill it down into some form of verbal moonshine or story rocket fuel that will ignite that bored development executive or manager or agent and get them to request your screenplay. But how do you shrink those 110 pages into a 25 word logline or a 2 minute elevator pitch or a one page synopsis or a short paragraph? This 100,000 word book shows you how! Everything you need to know! From common logline mistakes (and how to solve them) to how your pitch can reveal story problems to the 4 types of pitches!
272 Pages - ONLY $4.99!
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.
344 Pages - ONLY: $9.99!
STORY IN ACTION SERIES!
THE MISSION IMPOSSIBLE MOVIES
NEW: Updates On Films 7 & 8 Casting!
All Six Movies analyzed! All of the mission tapes, all of the “that’s impossible!” set pieces and stunts, the cons and capers - and how these scenes work, the twists and double crosses, the tension and suspense (and how to generate it), the concept of each film as a stand alone with a different director calling the shots (broken in the sixth film), the gadgets, the masks, the stories, the co-stars and team members (one team member has been in every film), the stunts Tom Cruise actually did (and the ones he didn’t), and so much more! Over 120,000 words of fun info!
THE MISSION IMPOSSIBLE MOVIES - 347 pages - Only $3.99 !
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.
ALSO KINDA NEW!
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 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 $10!
RECESSION SALE! $5 OFF!
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!
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 MP3 is $10.00!
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 MP3 is $10.00!
Click here for more information on CLASS MP3s!
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 MP3s
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,
The 2 Day Class on MP3!
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 MP3
CLASSES ON MP3! Take a class on MP3! GUERRILLA MARKETING - NO AGENT? NO PROBLEM! and WRITING THRILLERS (2 MP3s). Full length classes on MP3. Now Available: IDEAS & CREATIVITY, WRITING HORROR, WRITING INDIE FILMS, more!
Take classes on MP3!