"Mother died today. Or, maybe, yesterday; I can't be sure. The telegram from the home says: YOUR MOTHER PASSED AWAY. FUNERAL TOMORROW. DEEP SYMPATHY. Which leaves the matter doubtful; it could have been yesterday."

stranger - Buy it!

For many of us, that opening paragraph from Camus' THE STRANGER influenced our writing and world-view. After years of melodrama, the existentialists like Camus and Sartre experimented with fiction by removing passion entirely - creating a contrast between the anarchy of the world around us and the cocoon of our thoughts. As the world becomes more crowded, the existentialists provided a way for us to be alone - individuals among the blur of humanity. I found Camus through James M. Cain - Camus was a fan of Cain, and any fan of Cain was a writer I wanted to read.

In THE STRANGER the protagonist is more concerned with the day the telegram was sent than his mother's death... or maybe that's his defense mechanism. If you look at the world intellectually instead of emotionally, nothing can hurt you. Later, when he's accused of murder, his lack of passion works against him.

A world insulated from pain because it removes passion is very attractive to writers. Most of us had crappy childhoods, broken hearts; we are the outsiders of society looking in. If we can just remain aloof - above the pain - we can survive. If we can give up caring, we can no longer be hurt. As attractive as existentialism may be to us as outsiders, it's not the best choice if you plan on writing for a mass media like film. Even those of us who love Camus go to the movies for SAFE emotional experiences. When the lights go down, we WANT to live the sort of passionate lives that we may be afraid of outside the mass-dream of movies. Existentialism and film usually don't mix.

man who wasn't there - Buy it!

We can make a list of great films directed by the Coen Brothers, but one film that might not be on it is THE MAN WHO WASN'T THERE. Wait... never heard of it? Have to look it up online? Hey, it's the film they made right after O BROTHER WHERE ARE THOU? Should have been a big hit, right? Should be on my DVD shelf, right? Scarlett Johansson stars in it... what happened?

Well THE MAN WHO WASN'T THERE is a somnambulistic paced story of a barber whose wife is having an affair with her boss. It's James M. Cain territory, right down to the name of the store where the wife works (Nerdlinger's - the name of the wife in DOUBLE INDEMNITY... and there's a character named Diedrickson, the name of the wife in the movie... this whole film is an homage!). As in DOUBLE INDEMNITY the protagonist commits a murder, falls in love with a girl young enough to be his daughter, and is eventually convicted of a crime he didn't commit... but would have to admit to a real murder in order to prove he was innocent. Both end with a gas chamber scene. Wow! This sounds like a great movie, except for that slow pacing part.... And the subdued emotions. This is a Film Noir homage that is a little cold around the heart.

Billy Bob plays the barber with cool detachment - the murder seems like the actions of somebody else witnessed by the barber. Even the Barber's love for his friend's daughter is played without passion - piano lessons and classical music are okay, oral sex is just too personal. The voice over - another element from DOUBLE INDEMNITY - is a monotone comment on what happens. The Barber is looking at his own life from the outside...

Which is a problem with some of the Coen Brother's movies: someof them are *removed* - they don't create an emotional doorway for the audience, so we end us seeing the films as dispassionate observers (instead of being involved in the story). Their movies are sometimes a little cold around the heart. Aloof. Distant. RAISING ARIZONA is a great goofy outlier, I think that's because the events are so big that we need the cool narration as an anchor to reality. The same is true with BLOOD SIMPLE, though we bounce from Ray's point of view to Abby's point of view... then lose both when they are murdered by Creighton (same character name as the murder victim in MAN WHO WASN'T THERE). If the story is wild - an emotional rollercoaster of events that are larger than life - you may want to take an outsider's dispassionate point of view to create balance. But when the story itself is low-key like in MAN WHO WASN'T THERE you bleed all of the passion from the story and end up with a film that's interesting and quirky but not involving. The audience watches the movie, but doesn't FEEL anything.

But wait, this is Film Noir, are we supposed to feel something?


double indemnity - Buy it!

Sure. Why not? The protagonist may seem unemotional in DOUBLE INDEMNITY, but the story is all about his passions and desires. The thing that fuels that story is his lust for Phyllis and his fears that his only future is to take over Keyes job at the insurance company when Keyes retires - they talk about this early in the film. Neff can't sell insurance forever, but he can work behind a desk for the company like Keyes does. That's one of the motivators for the scheme to kill Phyllis' husband... that and his passion for Phyllis. He did it for money and a woman, but he doesn't get the money and he doesn't get the woman. So Neff may seem low-key and unemotional - but the whole danged story and every scene is *packed* with emotions. Love, betrayal, regret... anger. And add to that the center of the film - Neff's relationship with Keyes, his mentor. That is the greatest heterosexual man-love story on film. The scenes with Keyes are Neff's chances to show his emotional side and the end with Keyes lighting his cigarette (the way Neff has been lighting Keyes' cigars throughout the film) is a big moment. This relationship is what gives the film heart, and allows us to care about Neff. We *understand* his character and we want him to succeed and get away with murder... even though that goal doesn't make him "likeable". The film isn't aloof and distant, it takes you inside the story and makes *the audience* feel. There's a difference betrween *repressed* emotions and having no emotions at all.

If your story itself is filled with big emotions, it makes sense to tone down the reactive emotions to avoid melodrama. An overly emotional emotional story is just too much emotions... and so is an unemotional story told without emotions. Balance is the key.

THE MAN WHO WASN'T THERE doesn't do that - it's out of balance - the unemotional story told without emotioins. It is always outside the story, looking down on what happens from the God's eye view. Heck, it's the Coen Brothers and they are geniuses and I have almost every one of their films on by shelf... but sometimes their movies are detached... and that doesn't work well at the screenplay stage (since this is about writing). It also didn't work well for this film, which flopped hard after the success of O BROTHER. As writers we need to involve the reader (and audience) on an emotional level - even if the story is about a character who is unlikeable.

Maybe especially if the character is unlikeable.

The Coens are *filmmakers* - they don't sell their screenplays. They find the money to make their films. The screenplay sometimes doesn't matter. The company putting up the money will be more interested in the stars and the budget and all of those other things that we don't have to worry about as writers. They were coming off one of their biggest hits, and if they showed the investors scribbles on a napkin and said they were going to make a film with Billy Bob and Scarlett, someone would have written them a check. So this film is a bad example when you are looking at what you can do with your screenplay... but maybe a good example of what you shouldn't do - since it's one of the Coens biggest flops.

"Think of film noir and if you picture the story as a maze, you don't want to be hanging above the maze watching the characters make the wrong choices because it's frustrating. You actually want to be in the maze with them, making the turns at their side, that keeps it more exciting." -- Christopher Nolan.


heist - Buy it!

I had a similar problem with HEIST from David Mamet, another of my favorite writers turned writer-director... and another guy who often makes movies that are a little cold around the heart. In SPANISH PRISONER and HOUSE OF GAMES Mamet created an audience identification character (emotional doorway) who is just as confused by the twists and turns of the plot as we are. We can put ourselves in her shoes, and *experience* the story. But in HEIST the protagonist is the twist-master... but we aren't let in on his twists. The doorway is closed. We are kept at arms-length from the character, at arms-length from the story, and end up just watching instead of being *involved* in what happens. The character we should be identifying with is giving us the cold shoulder!

I believe you can involve an audience either *emotionally* or (less likely) *intellectually*. One of my favorite of Mamet's films, HOUSE OF GAMES, is great at putting us inside the maze - showing us the puzzle and letting us try to figure it out. Movies like MEMENTO and EXOTICA also give us puzzles and involve us on an intellectual level. But HEIST tells us there's a puzzle but doesn't let us look at the pieces - they are all in Gene Hackman's mind, and he ain't sharing. When the twists occur they have no emotional effect on us, because they happen to characters we don't identify with - so Hackman fools Sam Rockwell? Serves Rockwell right - he's a creep. Though you might think this makes Hackman look smart and we would like him - he fools all of these creeps, right? Instead we aren't allowed any information on Hackman's "fall back plans" so they seem to come out of the blue.

WE don't get to feel as if WE'VE outsmarted Rockwell. The story is so detached the only emotions come from a shocking scene where Ricky Jay throws himself in front of a car so that Hackman can get away from the police - that scene works because the events are so big that the dispassionate approach creates contrast.

A big emotional event told in a dispassionate way.

spartan - Buy it!

Mamet's follow up movie SPARTAN and the Coen's follow up THE LADYKILLERS both suffered from the same problem - they're movies you *watch* rather than movies that you *experience*. That means for two hours we may be entertained on a surface level, but unlike Quaker Oatmeal, they don't stick with you for the rest of the day. You aren't emotionally involved in Tom Hanks' struggles to outwit his landlady, nor do you care much if Val Kilmer discovers what happened to the President's daughter (if that's even who she is - this film is so tight-lipped you never know who anybody is). You can be so quirky or so cool that you hold the audience at arm's length, and prevent them from becoming emotionally involved in the story. By the way, I liked SPARTAN... but I'm in the minority on that. The film only made around $4 million and I doubt it cleaned up on home video. Most people didn't seem to like it or be interested in seeing it, because most people go to the movies to "laugh and cry and kiss $12 goodbye" - they want to feel something. There are a minority (includes me) who like puzzle movies, but that's because I can *participate* by trying to solve the puzzle. I'm *involved* in the story intellectually. I can be involved emotionally or intellectually, but if your story doesn't involve me at all - if it's distant and aloof - I won't have any way to care about the outcome. It's just stuff happening that doesn't involve me.

And that's what makes a movie or books or door to door puppet show connect with the audience - they need to be involved in the story... "Attached" rather than "Detatched".

Emotionally. Maybe intellectually - but that will work for a much smaller segment of the audience. Most people don't go to the movies to think (which is a shame, but I can't change reality and neither could Mamet or the Coen Brothers).

I love the Coen Brothers and IMamet - when they get it right they hit it out of the park, but they often make movies that don't involve the audience.

My friend Joe once said something off the top of his head that are words to live by: "Movies aren't thinkies, they're feelies." Yes, there are exceptions - but most films are emotionally involving for the audience. They want to laugh and cry. They want to be scared or fall in love. Even those of us who try to escape the pain of everyday life by being cool and dispassionate go to the movies for an emotional experience. For two hours, we WANT to be involved in the story, we WANT to feel pain and joy and love and heart break... and al of the other stuff Nicole Kidman says before the films at AMC Cinemas. Don't rob us of feelings by giving us just the cold unemotional facts. Take us *inside* the story. Put us in Walter Neff's shoes when he discovers that Phyllis is cheating on him - oh, crap... is she going to double cross me? Or has she *already* double crossed me and the cops are outside that door? Even a Noir protagonist worries that the plan will backfire and he'll end up in the gas chamber... our job is to make the audience worry as well. To create emotional scenes, even if the characters seem unemotional. To make the audience feel something.

Just say no to existentialism when it comes to screenwriting.

We're writing feelies.


How Do I do That?



New to screenwriting? You probably have questions! How do I get an Agent? How do I write a phone conversation? Do I need a Mentor? What’s does VO and OC and OS mean? What is proper screenplay format? Should I use a pen name? Do I need to movie to Hollywood? What’s the difference between a Producer and a Production Manager, and which should I sell my script to? How do I write a Text Message? Should I Copyright or WGA register my script? Can I Direct or Star? How do I write an Improvised scene? Overcoming Writer’s Block? How do I write a Sex Scene? And many many more! This book has the answers to the 101 Most Asked Questions from new screenwriters! Plus a Glossary of terms so that you can sound like a pro! Everything you need to know to begin writing your screenplay!

All of the answers you need to know, from a working professional screenwriter with 20 produced films and a new movie made for a major streaming service in 2023! 

Only $4.99


Can You Make It bigger?



Writing something EPIC?

Over 500 Pages, ONLY : $4.99!

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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All About Endings!



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!






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!



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 - SALE:: $7.99!




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!




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.

268 pages - Only $3.99


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!

Tips FAQ

My New Script Secrets Newsletter!







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

Only $4.99!






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!



*** 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!



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

The new MP3MP3s are available now!


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


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

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

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

Click here for more information on CLASS MP3s!





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

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

Only $9.99 - and no postage!




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

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

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

$4.99 - and no postage!

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



*** STORY: WELL TOLD *** - For Kindle!

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

Only $4.99 - and no postage!





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

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

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

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

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

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

ONLY $2.99 - and no postage!



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

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

ONLY $4.99 - and no postage!



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

*** YOUR IDEA MACHINE *** - For Nook!

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

Only $4.99 - and no postage!



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

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

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

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

copyright 2024 by William C. Martell

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

Furious Action Class

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

Producing my own scripts, investment possibilities, pipe dreams.


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


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


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

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


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

Available Scripts


Take classes on MP3!