WEDNESDAY'S SCRIPT TIP:

STORY DOESN'T ADD UP!


Maybe it's because I'm a mystery guy and love John Dickson Carr and that old TV series BANACEK, but I love stories that explore seemingly impossible situations like the French thriller TELL NO ONE.

Buy The DVDs

TELL NO ONE is the story of Alex Beck and his childhood sweetheart Margot who are happily married. On vacation they visit the lake where they first met... and Margot is *murdered* and Alex is knocked out. He wakes up to find himself a suspect in his wife's murder... but the police eventually connect Margot's murder to a serial killer... but they never stop suspecting him.

Eight years later, Alex still hasn't gotten over her murder. He has never had another relationship, and visits Margot's parents on the anniversary of her death. Margot's parents think he should just get on with his life. Her father is a retired cop, and knows how traumatic an event like this can be (heck, it was his daughter who was killed), but even he thinks Alex needs to move on with his life. Problem is, Alex is still in love with her - always has been. Part of his lack of closure may be that he never saw his wife's corpse - he was in the hospital recovering. Her father identified the body, and Alex missed the funeral.

On that eight year anniversary of her murder he gets a strange e-mail... from his dead wife!

Meanwhile, the police have found two long-dead bodies at the lake where the wife was murdered... with evidence leading to Alex. The police want to re-open Margot's murder case, thinking that these two may have been Alex's accomplices (the guys who knocked him out to give him that great alibi). They want Alex to supply a DNA sample.

As Alex receives more e-mails from his dead wife, many containing information that only she would know, some witnesses and friends of his wife from the past are murdered... with evidence leading to Alex. Now Alex must go on the run to find proof of his innocence... and find out how his dead wife has access to a computer.

The first act creates all kinds of questions and no shortage of mystery. We need to keep watching to find out the answers! I love movies like this...

Buy The DVDs

The original version of D.O.A. is about a dying man who tracks his own killer. In Jon Cohen and Scott Frank's MINORITY REPORT, Tom Cruise plays the head of Washington DC's elite "Pre-Crimes Division" - with the use of psychics they arrest murderers BEFORE the commit the crime. When one of the "pre-cogs" (psychics) predicts that Cruise will kill someone, he must go on the run - evading his own highly-trained team - to find proof that he will NOT kill a man he doesn't know in 36 hours. The film is based on a story by Philip K. Dick, whose work was also the basis for TOTAL RECALL and BLADE RUNNER... and probably an inspiration for THE TRUMAN SHOW. Is Cruise DESTINED to kill this man? Can he escape his destiny? Or will fate conspire to lead him to the intended victim...and create a situation where he has no choice but to kill the man?

Let's say you come up with a kick-ass idea - A man who murders himself. You have a conundrum (always a great jumping off point for a script) but you need to know where it goes from there... And that's the hard part! You have to solve the riddle before you can write the script. The man could not have really murdered himself - or could he? With time travel he might have killed himself - or with multiple personalities. Or what if he faked his own murder, assumed someone else's identity, only to have that person be prime suspect in his killing? (kind of a play on Antonioni's THE PASSENGER). Once you know the solution to the riddle you can figure out your story.

But if you don't know the solution? You're in a heap-o-trouble! And here's the thing about stories like this - the closer the solution comes to the end of the film, the more simple it needs to be. You don't want a long, drawn out, denouement where a character has to spend five minutes of screen time explaining everything that happened and why it happened, like in the end of an Agatha Christie novel or that never-ending last scene in PSYCHO. All of that exposition just kills the story. What you want is the simple solution that makes everything that has come before make sense - like that twist end in THE SIXTH SENSE. If you *are* dealing with a complicated mystery, you'll want to resolve the mystery in pieces, so that the audience doesn't choke on a big chunk of exposition at the end. Look at THE BIG SLEEP, which solves part of the story at Art Huck's garage, part of the story in the car, part of the story while waiting for Eddie Mars to show up at Gieger's house, and the last part - the big mystery - at the very end in a simple bit of dialogue that's the final puzzle piece to the story.

FIND A VICTIM

Buy The DVDs

The most important character in a murder mystery is the victim (they are the hub that all other characters are spokes from). In the Man Who Murders Himself scenario our victim is also your protagonist - a bonus! There's a great novel by Ernest Lehman - I'm blanking on the title - about twins who switch places so that the healthy one can take the other's company physical. These guys get to live each other's lives for about a week. When one brother gets killed, his twin realizes that HE was the intended victim and must solve his own murder - while pretending to be his twin brother. And finds out what his friends REALLY think about him. He gets to examine his own life.

Once you've solved the problem - once you know how your story works, you'll need a protagonist. I'm a character arc guy - I like to figure out what my protagonist most needs to learn, and how THIS story will force him or her to learn that lesson. Then I work from that lesson - scenes and characters are designed to tell the story AND illustrate that lesson. You don't *need* a lesson or character arc, but you will need some sort of emotional conflict that humanizes your character - like still loving your long-dead wife.

Here's where you need a bunch of ideas. Ideas for characters and scenes and conflicts and plot twists. I always come up with many more ideas than I can use so that I can select the best ones. Then I order all of these ideas so that they form a story with a beginning, middle, end plus escalating threat/suspense/whatever fits the genre (might be escalating passion for a love story). I have to know where the story is going to go before I can write the scenes and the dialogue and the description that can take me there.

TOO MANY COMPLICATIONS ENSUE

Buy The DVDs

In TELL NO ONE, as strange plot twists mount and the bodies pile up, the mystery of Margot's e-mail form beyond the grave becomes more and more complicated... and you begin to wonder how the hell they're going to come up with a solution that covers everything that has happened... and that's when the film begins to go south. Because there are a half dozen crimes in the past that resulted in the murder of Margot... and the film sinks under the weight of too many backstories. There is so much going on, and so many complicated past relationships that lead to various crimes and crimes to cover up those crimes and crimes to cover up the cover ups that we have not only lost the great concept of the Dead Wife's E-mails, we now have so many complications that we can't possible dig ourselves out of this mess. We end up with kind of a Rube Goldberg explanation of what happened to a dozen characters who aren't even part of the present story which lead up to this twist ending... But it's like a half hour of backstory! The film just goes into reverse! Act three is all exposition!

Buy The DVDs

The film has two great stunt scenes are very realistic - when Alex runs across the freeway to escape the police causing a huge pile up - cars skidding close to hitting him - you wonder how they managed to get a crashing car so close to *the star* without killing him. Though CGI could have been used, it doesn't look like it. France has that great precision driving team from RONIN and the BOURNE movies, so maybe they were involved in this. This scene, by the way, is right from the novel. The other great, realistic stunt scene I don't remember from the book - and I suspect was an accident that they used in the film - Alex is running flat out, trips, and does a very realistic face plant on a sidewalk. You can't help but say "Ouch!" outloud.

The thing that elevates this from just being another just thriller is the love story aspect - and the end of this film is powerful due to the love story. Alex and Margot are soulmates - and the great flashbacks to when they were kids and first fell in love give this film a gravity and depth that stick with you long after the house lights go up. The tree where they carved their initials in a heart when they were kids... is still on that tree the night Margot is killed... and 8 years later when Alex is brought back to that spot at the end of the film. There are big emotions involved at that location - and using a location as a symbol of their love and relationship is a great idea. The film could have used more of this kind of focused storytelling in the mystery portion.

One of the elements in the story (book and film) is a MARATHON MAN subplot element with some local thugs who become Alex's little army when the police *and* the badguys are chasing him. A few of the reviews have mentioned that the actor who plays Alex resembles Dustin Hoffman - and that probably adds to the MARATHON MAN echoes.

British actress Kristen Scott-Thomas plays one of Alex and Margot's friends, and she speaks fluent French and *acts* French in this film... it takes you a moment to recognize her!

FILMS MOVE FORWARD - LIKE SHARKS

Buy The DVDs

You know, scripts are written in the present tense... and a film story should move forward and be about things happening now - not things that happened a long time ago that result in big chunks of exposition. TELL NO ONE gives us the exposition and flashback combo - so we see all of these long ago things... but they are still long ago events. And there are *so many of them* that the whole film seems to be moving backwards instead of coming to a conclusion - for about half an hour. And just when you thought the backstories were all over... we get a *different* version of one of the backstories exposing a character's lie. All of this is just too much - someone should have simplified all of this stuff and cut away all of the unrequired complications - there is one event that could have caused all of the present problems - we didn't need every bad thing that has ever happened to Alex throughout his life to be explained... and part of some conspiracy! Make sure your scripts are about what happens *now* - not what happens before the film starts. (Yeah, CITIZEN KANE and MEMENTO... but those are the exceptions). You want to keep the story moving forward... and keep the backstory to a minimum.

But the very end of the film is saved by a flashback to the lovers as children - showing just how strong Alex and Margot's love is... it has lasted beyond the grave. In a strange way, the end reminded me of another French film CACHE. That film had such a strong image (the suicide) near the end that you forgave all of the problems that came before... and here the unending love of two people makes us forget all of that backstory...

Buy The DVDs

TELL NO ONE is a riveting story with some great plot twists... and way too much backstory and a plot that needed to be streamlined and focused for the screen. Films like FLIGHTPLAN seem to come up with a great impossible hook, but don't seem to have the solution in place, so they fumble around at then end and just kind of fall apart. You want *everything* in your screenplay to be leading to that solution - and that means you know what the solution is as soon as you create the impossible situation. If you create a problem but DON'T know the answer, you run the risk of painting yourself into a corner... then all of those pages you have written will end up in the trash can instead of in a producer's hands. You want to know your end, not wander around trying to find it. You want to make sure the closer to the ending of the script you get, the more simple and focused the ending. You want the audience to go "Aha!" rather than "WTF?" Keep the exposition to a minimum! When Faye Dunnaway says "She's my sister and my daughter" those six words not only explain a huge chunk of the mystery, they have a strong impact because it's brief. The more words you use to explain, the less impact!

And whatever you do - no act 3 set ups for major plots that will have to be endlessly explained ten pages from now! Set things up in Act 1, resolve them in Act 3.

You have to know where you're going and how you're going to get there BEFORE you write the script. Come up with an impossible problem and then come up with the solution! You are the "pre-cog" for the world of your screenplay - you know what happens next. Every scene in your script is the next step to the end of the script - even if the audience doesn't know it. Just as Tom Cruise doesn't know his victim, the audience doesn't know what happens next - the script is constantly surprising them. But when we reach the end, all of those scenes add up - we realize why each scene needed to be there to bring us to this conclusion. That means YOU must know the end to your script. If a scene isn't leading to the end of your script, pluck it out.


BRAND NEW!

OUTLINES & THE THEMATIC!

bluebook

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.

Only $4.99!


BRAND NEW!

DESCRIPTION & VOICE Blue Book!

bluebook

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?

Only $4.99


Tip FAQ

My New Script Secrets Newsletter!


BRAND NEW!

bluebook

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!


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


bourne

Brand New!

*** THE BOURNE MOVIES

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!



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!

Only $5.99




MY BLOG!

SCRIPT SECRETS STORE - Do you have a monkey mug yet?


bluebook

You MUST Have This Book!

*** 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!

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


bluebook

Over 400 Pages!

*** 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!


bluebook

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!


bluebook

HOW YOU TELL IT!

*** 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!


bluebook

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!


bluebook

Over 240 pages!

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


He's back! The release of "Terminator: Genisys" (now on BluRay) is set to begin a new trilogy in the Terminator story... 31 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!


bluebook

NEW 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!


bluebook

STUCK IN THE MIDDLE?

*** 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!


bluebook

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!


bluebook

BEST SELLER!

*** 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!


bluebook

STORY IS CHARACTER!

*** 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!


bluebook

TOP DIALOGUE TIPS!

*** 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 160 pages!

Only $4.99 - and no postage!



hcd

FINAL DRAFT SOFTWARE

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 2018 by William C. Martell


eXTReMe Tracker
SCRIPT SECRETS STORE

Script Secret Store SCRIPT SECRETS STORE From Typing Monkey coffee cups to messenger bags to T shirts - everything a screenwriter needs to look sharp while working on that Oscar nomination! Get your Script Secrets Coffee Cup today!

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
Visual 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 NEW! 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!