BIZ TIP TUESDAY:

DO YOU FEEL LUCKY, PUNK?


Buy Lucky You DVD

When you are on the other side of the wall it seems like the guys inside got in there by luck. They lucked out and sold something or maybe were born with luck: their father was a producer. Or maybe they got lucky by bumping into someone in the biz? The press love stories of luck, because it means that ANYONE can win the Lotto. They downplay the hard work part of any success story. It easy to get the idea that all of those guys inside had it easy, then the rules changed when you tried to get in.

Not the case.

Sure - some people do get lucky. Some people do win the Lotto.

But most people have to work their butts off to get anywhere.

The guys inside the wall went through everything that you are going through. They struggled, fought, found a way in.

The press made a big thing about SHAWSHANK REDEMPTION being Darabont's first directing gig - see, a first timer can make an amazing film! But Darabont was a screenwriter with a long resume before SHAWSHANK and had, um, directed TV movies and a short film based on a Stephen King story. Oh, and he had worked as a prop guy on film crews for years while he was trying to break in. Behind every overnight success is about 15 years of hard work that the press likes to erase so that everything is that Cinderella story... everything is that dream of luck.

Recently someone on a message board brought up John Logan who wrote SKYFALLL and GLADIATOR and LAST SAMURAI... who also wrote the low budget film BATS! (Which should be upside down like it is on the cheesy poster) and TORNADO!. I don't think anyone mentions those movies when they talk about his blasting on the screenwriting scene with ANY GIVEN SUNDAY.

Just like your characters, every successful screenwriter has a backstory where they struggled... and then they just got lucky.

I MAKE MY OWN LUCK

Buy Gilda DVD

In the classic Noir film GILDA, Johnny (Glenn Ford) is an American who is down and out in Argentina during World War 2. He's wearing a dirty suit, probably living in some hotel that's more like a rooming house. The film opens with him throwing dice in some street craps game with a bunch of day laborers and sailors. He's lucky, and wins the game - scoops up the money and gets the hell out of there before those burley guys decide they can't afford to lose their paychecks.

In a alley, he counts his winnings - a fat roll but all singles. That's when the mugger attacks him.

He refuses to hand over his money, and it looks bleak... then a man who has been observing from the edge of the alley steps forward and chases off the mugger. This is Ballin (George Macready) - the wealthy owner of an illegal gambling club. He had been watching Johnny throwing dice earlier and followed him down the alley... which is how he just happened to be there to chase off the mugger. When Johnny sees how well dressed Ballin is he calls him a lucky man. Ballin says, "I make my own luck" then suggests that Johnny come to his gambling club and try his luck there... but they won't let him play with his own loaded dice. "I didn't know it showed." "A man who makes his own luck, as I do, recognizes another."

Our job is to make our own luck. Not with loaded dice, but with creativity and hard work and some sort of *plan*.

I think that finding the way in is part of the screenwriter's job test. There ARE ways in - all of those "lucky" guys got in. Each one found a different way in... and your mission should you decide to accept it is to find YOUR way in. If you pass the test, you're inside. If you fail, you're still outside. You don't have to wait 6 months before you can take the test again, and you can takes as many tests at once as you can handle. So you ALWAYS have a new Lotto ticket! You ALWAYS have a chance to win!

Try everything. Use your creativity.

I have a notepad titled CHANCES TO WIN. I list all of the e-quieries I send, all of the scripts I send, anyone I talked to about screenwriting. It's a record of my Lotto numbers. I always try to have LOTS of chances to win. If two companies reject scripts, I work until I had two more companies reading scripts. Last thing I want was NO chances to win (that's depressing). By putting my "chances to win" on paper I have a list of things I was actually doing to get scripts sold. Not what I'm thinking of doing or dreaming of doing on planning on doing - what I *am* doing. If there's nothing on that list - I'm not doing a damned thing and not making my own luck. I'm just hoping to buy one lottery ticket and win those Mega Millions. Not likely, is it?

If you keep hammering away at that wall, you will eventually break in.

And if you get your stuff out there enough and get read enough and your scripts are good enough (the most important part) eventually something happens. People read them and like them and then somewhere down the road you may get a call from those people about some project they think you'd be perfect for. Or they read that script that is exactly what they are looking for. That may seem like luck, but if you shovel enough scripts through the doors the odds say you eventually will get the peg that fits the hole... or the winning lottery numbers... or whatever analogy you like. If you don't try, you can't succeed. The secret behind all of those lucky guys who broke in is that they kept trying... and kept trying to find some interesting way in.

INTERESTING WAYS IN

Buy The Lady from shanghai DVD

There's a two part Script Tip in the garage waiting to be worked on that lists over a dozen ways over the wall you may never have thought of. When I get that Tip rewritten it may never run - I might just use it as a chapter in the Selling Blue Book expansion. But just writing screenplays and e-mailing queries is a basic... what *else* are you doing to get over that wall? How else are you making your own luck?

In GILDA Johnny not only has loaded dice, when he goes to Ballin's casino he knows how to count cards and manipulate the deck when he cuts the cards. Though some of what he does is cheating, he's also a skilled player who doesn't just sit there and play - he is doing everything he can to win. He is looking for an angle. He is trying to improve the odds... making his own luck.

We don't have to cheat to get in, but some writers (me included) often classify an interesting way in as "cheating" when it's really just being creative. We get jealous of other people's "luck"... when it was really hard work. I know a writer who pretty much stalked a handful of his favorite directors, going to every event where they spoke or were on a panel and eventually this "payed off" when he got a job working as one of the directors' assistants... picking up his laundry and walking his dogs and buying gifts for his girlfriends. Awesome job! How lucky! Well, that "luck" paid off, because he ended up making a bunch of connections and got scripts to places that would be closed to the rest of us. Cheating? Or working his butt off finding the other way in?

I know another writer who's friend sold a script and looked like he was going places - so he offered to be his friend's assistant. Again, I think dog walking was involved... but also lots of retyping and proof reading scripts and trips to the post office (this was a while ago when everything was hard copy) and trips to the copy place. He drove his friend to meetings and when his friend's career moved up... he ended up getting paid to do these things. Yeah, before that he was doing it for free. At one point, the friend overbooked himself with assignments and the writer ended up writing the first draft of a big studio film that his friend did a quick rewrite on to give it that Barton Fink Feeling. That film was a big hit... and the writer decided to use the connections he had made working for his friend to his own advantage. Heck, he was the one who called all of the studio producers to confirm meetings and he was the one delivering drafts. Everybody knew him at this point. There were even some rumors floating around that he did some writing on that hit screenplay with his friend's name on it. So, was using all of the contacts he made cheating? Or working his butt off to find a way in?

Not everyone who is lucky was a dog walking assistant. I know another writer who is a reader, and one who is an on set production assistant, and one who is an extra, and one who is a studio security guard (hey, that's how Antwone Fisher broke in), and one who works for a state film commission, and a couple who are film editors, and a whole bunch who make web films and ultra low budget features, and...

I'm not suggesting you walk dogs, but that you use that creativity you usually use for writing screenplays when you are trying to get people to read and buy your screenplays (or hire you to write one). Look for the alternative ways over that wall. The interesting way in. From the outside it may seem like "cheating", but it's just working hard to scale the wall when nobody opens the door after you knock. Yeah, you should keep on knocking at the front door, but if the producer is out by the pool sipping martinis and can't hear you, maybe finding another way to get their attention is the best plan?

So, what are your plans to get over that wall? What are you *actually doing* to break in? Make your own Chances To Win list and keep adding to it. Keep querying and sending scripts out and making phone calls and all of the other "expected" ways to break in. Every week - do something. Don't just think about it, *do it*. Pick a day every week to e-query and do any follow ups. Yes, this may cut into your writing time a little, but what's the use of writing if nobody reads what you are writing? You need to get your work out there. Yes, most of the time no one will even respond - but that's just like buying a lotto ticket every week (except your script idea is like having the ability to know *some* of the winning numbers).

Querying and sending scripts is the A Plan, but what's the B Plan? What's the Make Your Own Luck plan? You're doing what is expected of a writer, but what are you doing in addition to that? No one gets promoted for doing the job as expected, they get promoted for doing what is expected *plus*. What's your plus? Do you go to film festivals and make contacts? Are you making films for YouTube? Are learning film editing or some other set jobs that gets you close to a director or producer or star... What are you doing to make your own luck?

There are a million ways to get in - sure, 999,999 of them won't work for you - but that ONE way WILL. If you're lucky, the one way will come early. Like Johnny and Ballin in GILDA, you have to make your own luck.



NEW!!!

Can You Make It bigger?

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BLOCKBUSTERS (and BEACH READS) Blue Book!

Writing something EPIC?

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Thinking about writing a big Disaster Movie? An Historical Epic? An Epic Adventure Film? Or maybe you like Gladiator Movies? This book looks at writing Blockbusters and those Big Fat Beach Read novels - anything epic! Usng movies like JAWS, POSEIDON ADVENTURE, LAWRENCE OF ARABIA, THE GUNS OF NAVARONE, and those MARVEL and FAST & FURIOUS flicks as examples. What *is* a Blockbuster? 107 years of Blockbuster history! Blockbuster Characters. Blockbuster Story Types! Why modern Blockbusters are soap operas! Social Issues in Blcokbusters? Big Emotions! Keeping All Of Those Characters Distinctive! How to avoid the Big problems found in Big Movies and books! More! If you are writing a Big Event Movie or a Big Fat Novel, there are tips and techniques to help you!

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NEW in 2020!

Making Your Own Movie?

WRITE IT: FILM IT BOOK! WriteItFilmIt



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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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.)

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BRAND NEW!

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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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ADVICE FROM 1920!

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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.

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Tips FAQ

My New Script Secrets Newsletter!




STORY IN ACTION SERIES!

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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 !


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BRAND NEW!

*** THE BOURNE MOVIES

NEW: Updates on TREADSTONE TV show!

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

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



HITCHCOCK FOR WRITERS!

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Strange Structures!

*** HITCHCOCK: EXPERIMENTS IN TERROR! *** - For Kindle!

***

Contained Thrillers like "Buried"? Serial Protagonists like "Place Beyond The Pines"? Multiple Connecting Stories like "Pulp Fiction"? Same Story Multiple Times like "Run, Lola, Run"?
HITCHCOCK DID IT FIRST!

This book focuses on 18 of Hitchcock's 52 films with wild cinema and story experiments which paved the way for modern films. Almost one hundred different experiments that you may think are recent cinema or story inventions... but some date back to Hitchcock's *silent* films! We'll examine these experiments and how they work. Great for film makers, screenwriters, film fans, producers and directors.

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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!

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The new CDs are available now!

AUDIO CLASS!

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

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Click here for more information on CLASS CDs!



THE BLUE BOOKS!

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FIND A GREAT IDEA!

*** YOUR IDEA MACHINE *** - For Kindle!

****

Expanded version with more ways to find great ideas! Your screenplay is going to begin with an idea. There are good ideas and bad ideas and commercial ideas and personal ideas. But where do you find ideas in the first place? This handbook explores different methods for finding or generating ideas, and combining those ideas into concepts that sell. The Idea Bank, Fifteen Places To Find Ideas, Good Ideas And Bad Ideas, Ideas From Locations And Elements, Keeping Track Of Your Ideas, Idea Theft - What Can You Do? Weird Ways To Connect Ideas, Combing Ideas To Create Concepts, High Concepts - What Are They? Creating The Killer Concept, Substitution - Lion Tamers & Hitmen, Creating Blockbuster Concepts, Magnification And The Matrix, Conflict Within Concept, Concepts With Visual Conflict, Avoiding Episodic Concepts, much more! Print version is 48 pages, Kindle version is over 175 pages!

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FIGURE OUT YOUR STORY!

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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.

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GOT STRUCTURE?!

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


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

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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!


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START STRONG!

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


Your story doesn't get a second chance to make a great first impression, and this book shows you a bunch of techniques on how to do that. From the 12 Basic Ways To Begin Your Story, to the 3 Stars Of Your First Scene (at least one must be present) to World Building, Title Crawls, Backstory, Starting Late, Teasers and Pre Title Sequences, Establishing Theme & Motifs (using GODFATHER PART 2), Five Critical Elements, Setting Up The Rest Of The Story (with GODFATHER), and much more! With hundreds of examples ranging from Oscar winners to classic films like CASABLANCA to some of my produced films (because I know exactly why I wrote the scripts that way). Biggest Blue Book yet! Print version was 48 pages, Kindle version is over 100,000 words - 312 pages!

Only $4.99 - and no postage!


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


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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!


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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!

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DESCRIPTION & VOICE Blue Book!

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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?

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PRO DIALOGUE TECHNIQUES!

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

***

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

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WHAT IS A SCENE?

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

***

What is a scene and how many you will need? The difference between scenes and sluglines. Put your scenes on trial for their lives! Using "Jaws" we'll look at beats within a scene. Scene DNA. Creating set pieces and high concept scenes. A famous director talks about creating memorable scenes. 12 ways to create new scenes. Creating unexpected scenes. Use dramatic tension to supercharge your scenes. Plants and payoffs in scenes. Plus transitions and buttons and the all important "flow"... and more! Over 65,000 words! Print version was 48 pages, Kindle version is around 210 pages!

Only $4.99 - and no postage!


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SUBPLOTS?

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


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

ONLY $4.99 - and no postage!


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ACT TWO SOLUTIONS!

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


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

ONLY $4.99 - and no postage!


BRAND NEW!!

All About Rewrites!

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Rewriting In Waves?

*** REWRITES Blue Book! - For Kindle!


The end is just the beginning! You’ve finished your story, but now the rewriting begins! This 405 page book shows you how to rewrite your screenplay or novel to perfection. Everything from Character Consistency to Shoeboxing to How To Give And Receive Notes to 15 Solutions If Your Script’s Too Long! and 15 Solutions If Your Script’s Too Short! to Finding The Cause Of A Story Problem to Good Notes Vs. Bad Notes to Finding Beta Readers to Avoiding Predictability to Learning To Be Objective About Your Work to Script Killer Notes and Notes From Idiots to Production Rewrites and What The Page Colors Mean? and a Complete Rewrite Checklist! The complete book on Rewriting Your Story!

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All About Endings!

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GRAND FINALES Blue Book!

The Perfect Ending For Your Story!

The First Ten Pages Of Your Screenplay Are Critical,
But What About The Last 10 Pages?

Creating the perfect ending to your story! This 100,000 word book shows you how to end your story with a bang, rather than a whimper. Everything from Resolution Order to Act Three Tools to Happy or Sad Endings? to How The Beginning Of Your Story Has Clues To The Ending (in case you were having trouble figuring out how the story should end) to Falling Action to How To Avoid Bad Endings to Writing The Perfect Twist Ending to Setting Up Sequels & Series to Emotional Resolutions to How To Write Post Credit Sequences to Avoiding Deus Ex Machinas, to 20 Different Types Of Ends (and how to write them) and much more! Everything about endings for your screenplay or novel!

Only: $4.99


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


All About LOGLINES, TREATMENTS, and PITCHING!

bluebook

LOGLINES, TREATMENTS, and PITCHING! Blue Book!

Distilling Your Screenplay!

Loglines, Treatments, Pitching, Look Books, Pitch Decks, One Pagers, Rip-O-Matics?

You have written a brilliant 110 page screenplay, but how do you get anyone to read it? You need to distill it down into some form of verbal moonshine or story rocket fuel that will ignite that bored development executive or manager or agent and get them to request your screenplay. But how do you shrink those 110 pages into a 25 word logline or a 2 minute elevator pitch or a one page synopsis or a short paragraph? This 100,000 word book shows you how! Everything you need to know! From common logline mistakes (and how to solve them) to how your pitch can reveal story problems to the 4 types of pitches!

272 Pages - ONLY $4.99!


READY TO BREAK IN? bluebook

THE BUISINESS SIDE

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


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

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

$4.99 - and no postage!




hcd

MOVIE MAGIC SOFTWARE

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

* * * Buy It!

copyright 2022 by William C. Martell


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E BOOKS PAGE

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.
E BOOKS: BLUE BOOKS & NOVELLETES

ONLINE CLASSES
Furious Action Class
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

Naked Class 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!

BOOKSTORE

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

BOOKLETS & PRODUCTS

bluebook 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 Market!

BILL'S CORNER

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


Available Scripts

CLASSES ON CD

Class CDs 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!