BIZ TIP TUESDAY:

YOUR FIRST CONTRACT


The good news: A producer loves your script and wants to buy it!
The bad news: He doesn't want to pay you much (or anything) up front, but assures you that this can be your big break into the business! Your name up there on the big screen!

You need a lawyer. Anyone who represents himself has a fool for a client. There is no such thing as a standard contract - everything is negotiable. The contract a producer offers you is stacked in the producer's favor... it was drawn up by HIS lawyer. You need your own lawyer to balance it out. But lawyers can be expensive - how can you tell if this deal is worth the expense?

Here is some quick, lay-advice on contracts. I am not a lawyer, but I've sold enough scripts to know what a bad deal looks like, so here are some things to watch out for...

SIGNATORY OR NOT?

Buy writer got screwed

The big game changer on your first contract will be the answer to the question: WGA Signatory Company... or not? Many writers believe that no matter what the budget of the film they will get WGA minimums, but you will only be paid WGA minimums if the company is WGA signatory - and *many* companies are not... including most of the low budget and indie companies you may come into contact with at the beginning of your career. If the company that wants to buy your screenplay *is* WGA Signatory, then your deal will follow the MBA (basic WGA contract) and you should try for any "bumps" (explained later in the tip) or bonuses that your lawyer can squeeze into the contract. Even a basic WGA contract is negotiable (upwards) - which is why Akiva gets paid much more than I do. Always try to get the best deal that you can - which is one of the reasons why you need a lawyer (or an agent) negotiating your deal. Actor Peter Coyote says if they haven't said "No" you haven't asked for enough money.

But most of this tip is aimed at the non-signatory companies you might sell your first script to - and their minimum payment for a screenplay is $1. They can pay whatever they want, and will try to pay as little as possible... because the screenplay is one of the very first expenses - and may be out of their pocket before they have the film funded. If that is the case, you'll want an option deal on your script for enough money that it means something to the producer - there is a tip in rotation about options with some details on that process. But you will still want a reasonable deal for the sale of the screenplay, which is the subject of *this* tip.

Because there are no minimums for non-sig companies, you need to get *everything* spelled out in your contract. I do not know the ratio of non-sig companies to signatories - but there are a lot of them out there, and just because a company seems big and established does not automatically make it signatory. A WGA member can not sell to a non-sig company (unless they create a signatory LLC on the side), but a non-WGA writer *can* sell to a non-sig, which may give you an advantage. Non-sigs are non-sigs for a reason, and are not going to go signatory just because they love your screenplay. Though I think it's just wrong that a company that will hire SAG actors and maybe even a DGA director will not want to pay WGA rates, that happens often in the indie and low budget world. But just because a company is not signatory is no reason for the writer to get ripped off. Even if it is your very first script sale, they can't make a movie without a screenplay - you are an important part of the equation.

DEFERRED SALARIES

Buy suppa protect self

Are worthless. If a producer offers you no (or little) money up front against a percentage of the finished film's sales, run away! There are garages full of completed films that have no distributor and will never earn a cent. My friend runs a large film crewing agency - he crews about 3,000-4,000 films a year. Less than 500 of those get ANY form of release. The rest don't get theatrical or video or cable or shown in drive-ins or on airplanes or in prisons or even video release in foreign countries. Nobody ever sees them and they never make a cent. They LOSE money! If the film is made and NEVER RELEASED not only do you make nothing off a deferred salary deal, your script is dead forever (unless you have a clause returning it to you). You have just sold your script for a percentage of profits that don't exist! You sold your script for nothing. My friend with the crewing agency tells his people not to work for deferred salaries, and that's my advice, too.

On any film where you are not paid up front, you are a PRODUCER - you are investing your screenplay into the project. If they have the cajones to offer you a deferred salary, are they also offering you a producer credit and gross participation in the profits?

They are going to spend actual money to rent equipment, buy raw stock, pay lab fees, hire actors. The crew will be getting paid (my friend at the crewing agency will see to that) so why should the writer be the only guy not paid? If they can afford to pay for equipment, they can afford to pay for the script. If they CAN'T afford to pay for the script, the film is probably so low budget that it has no chance of being released (so that deferred pay means nothing). Movie distributors want stars (some level), and professional production values. The film is sitting on the shelf at Blockbuster next to some big Hollywood blockbuster - the consumer needs some reason to rent THIS film over the one that stars Bruce Willis and his asteroid. (#2 has to try harder). If this film is offering NOTHING, it will not be picked up... and end up in someone's garage forever.

These days, everyone with access to a video camera wants to make a "no budget" movie, and all they need is a script. So they want your script on a deferred deal... Hey, even the crew is getting deferred salaries on these films. Problem is, movies made for nothing are even bigger gambles. I know a guy who has made seven "no budget" films, and not a single one has any form of distribution! No DVD, no nothing! My advice on a "no budget" film is - if this guy can find no money and an all volunteer crew to make a movie, so can you. Do the film yourself, and if it makes any money or gets distribution, it's *your* movie. Yes, some of you will not want to go to the trouble of making the movie yourself, but give it some consideration - you jump from unproducer writer to *writer-producer* and probably make a bunch of connections along the way.

Exception to no pay: If you're doing it for love. If this project's value to you is NOT as a commercial venture. Know that when you enter into any deal, the money in your contract is all you will ever get. Those "monkey points" are worthless. The back end deal just means the writer takes it in the back end. Any money contingent on something else happening is no money at all. If you want to DONATE your script to a film - that's your call. You can screen the film in your garage, and be happy.

WHAT YOU SHOULD MAKE

Buy The Book

On a low budget (including non-WGA) movie a screenwriter should make about 2%-3% of the film's budget (you may make more or less, but that's the ballpark). When most indie films increase budget, most of that increase is going to a star, not the whole film - and producers aren't about to cut into the star's money to raise your pay. But try to stay in that 2%-3% range *excluding* the star's salary. If the producer has no idea what the budget will be, work out a deal for a reasonable base rate or 2.5% of the budget, whichever is greater.

Greg Goodell's Independent film budgeting book says to budget 5% for script purchase and development overhead (I think it's on page 72). That percentage is echoed in every budgeting book I've ever seen. If your producer thinks 3% is too much to pay, have him look it up (he'll probably be using that budgeting book anyway, since it focuses on low budget films). Paying a writer 3% of the budget is completely reasonable.

You should have your lawyer try for additional "bumps" based on the film's performance in ancillary markets. These "bumps" will be bonuses if the film sells a large number of DVDs or has a successful foreign theatrical release or shows on additional cable networks. Instead of a % of *each* DVD, which will be difficult because the producer wants to sell their movie to a distrib without all kinds of book keeping costs passed on to the distrib... but a bonus if the film ships an amazing number of units on DVD is easy. Find out how many units a successful similar film sold (Video Business mag online or one of the others might have this info) and then build in a bonus payment when sells, I don't know, 50k more copies than the example film. Basically what you are doing is not getting any extra money if the film sells a normal number of DVDs, but sharing if the film is a big hit on DVD. My contracts have "bumps" for HBO, Showtime, USA Network sales and for over a certain number of videos & DVDs sold. These "bumps" cost the producer nothing - but if the film is successful, I participate in all of that cash pouring in... as I should. I made up the story.

You should also get "net points" - also known as "monkey points" - a percentage of any net profit. You should get somewhere between 2% and 5% depending on how important your script is to the over-all deal. "Monkey points" are usually worthless - creative book keeping makes sure that even the biggest hit film never makes any actual profit. Remember that the first HARRY POTTER movie grossed hundreds of millions of dollars... but seems to be still in the red according to a recent article on studio accounting - No "monkey points"!

One issue with non-sig companies and points is that means they have to really do book keeping and have open books - and they hate that. It's paperwork. I'd try for it, but no movie ever makes a profit, so don't make this your big fight.

A TON OF MONEY!

Buy producer book

Once that contract is signed you get a massive check, right?

Wrong.

The average low budget (non-sig) contract is similar to the average WGA Signatory contract in that you will not get all of your money at once... and you may not even get all of the money in your contract. The screenwriting payment is broken up into pieces. Usually there is a fee paid on the signing of the contract - and make sure this fee is a reasonable amount. If this is in the form of an option, make sure that the option is enough to make your script a priority to the producer... and enough to cover at least some of the time it took you to write that script. The actual script fee is often paid on first day of principle photography, but you want to get some money just from signing the contract, in case the film never gets made. Plan on the film not getting made when you make your deal - because only one in ten purchased scripts makes it to principle photography.

You will also get a fee for each rewrite - there will usually be two rewrites and a polish in the contract. You want to make sure that these portions of the fee pay for the time it will take you to do a major rewrite on the screenplay. You also want to make sure that these rewrite fees are *not* subtracted from your total payment if they choose not to have you do the rewrites. If 25% of your total fee is for rewrites, you don't want to end up with only 75% of your agreed upon fee because they didn't have you do the rewrites... or had their girlfriend do them for free. Always try to create an incentive to keep you on as the writer!

You will probably get the larger part of your total script fee as a "production bonus" when the film actually goes into production - you want to make sure that you get the production bonus even if other writers are involved. On a signatory film the writers split the production bonus - but it is also a great deal more money than we are talking about on a low budget film. If the producer does want to split the production bonus, you need to make sure that without it you are paid a reasonable rate - at *very least* two times what it cost you in time to write the script (unless you are a really slow and lazy writer) - and no less than what you would be paid weekly during the pre-production, production, and post production of the film - you don't want some PA (go-fer) getting paid more than you on the film! The secret key to screenwriting is "one for you and one for me" - make at least enough money to pay for the time it took you to write the script you sell, plus write another script to sell. You want to be getting ahead, not just "breaking even".

Buy mind your business

Most contracts will have a "buy-back" clause in the event the film never goes into production. Make sure your lawyer puts a buy-back clause in your contract! You don't want to have any scripts in limbo - you don't own them, but the producer has no plans to make them. Because many scripts never make it to screen, without some sort of buy-back, you may end up with dead scripts all over town. I have a couple of scripts I sold when I first started out that had no buy-back clause, and I do not own the rights to them. A few years ago I had a meeting with one of the producers to get the script back, and the SOB told me I could buy it back for what I get paid *now* plus 25%... not what I was paid for it a couple of decades ago. He would make almost 100 times what he paid me if I did that... and I can not sell the script to anyone else unless I buy it back. Once you get into the WGA this isn't a huge problem with WGA signatory scripts, because the MBA has a built in buy-back clause: after the project has been dead for 5 years you can buy it back for what they paid you. That may still be an issue if you made a lot of money from that script sale - you may need to weight the benefits of having that script to sell again. Because some scripts actually take 10 years to get to the screen, companies tend not to be interested in some sort of reduced rate buy-back clause in the contract... but have your lawyer give it a try anyway.

On a non-WGA project I would try to get the credit locked in - and "single card" (means you get the whole screen for a moment). On a WGA contract, credits are decided by the WGA (so whatever it says in the contract doesn't matter).

CAN I TRUST THESE GUYS?

Buy Fast Cheap & Under Control

Last: There are two types of low budget, and two types of criminal activities. Organized and small time wackos. Organized crime are guys like Eric Roberts in THE DARK KNIGHT, they make money, they wear suits, they are businessmen. They have offices. You can depend on them. They've been doing this for years. They play by the odds and don't take any chances. Small time wackos are guys like Heath Ledger's joker - they rob a liquor store because they need a heroin fix... or maybe just for fun. As Michael Caine says - "Some men just want to watch the world burn." They are undependable, have no idea if they will live out the day.

Everything is a long shot. You don't want to work with the wackos. There are plenty of organized low budget guys out there with offices, distribution deals in place, and plenty of past credits. The thing that separates a REAL producer from someone who just claims to be a producer is...

What have they produced?

That should be the very first question you ask after they tell you how much they loved your script - "Great! I'd like to get a feel for the kind of films your company produces, can you recommend one of your films for me to rent?"

Then really go out and rent the movie. It will give you a very good idea of what you're getting in to!

I'd find a lawyer who knows this stuff, because I'm just some dude who writes scripts.
If I were a lawyer, my parents would be *happy* about my career choice.



Back To School Deal! CLASSIC CLASSES @ HALF PRICE as MP3s!
Full Set Of Six: $25.


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

GET IT NOW!

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


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

Only $4.99 - and no postage!



LEARN SUSPENSE FROM THE MASTER!

*** HITCHCOCK: MASTERING SUSPENSE *** - For Kindle!

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

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

Only $5.99


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!

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!





Blue Book

SWEET SEVENTEEN! Get them all at one low price!
The SWEET SEVENTEEN Blue Book Deal includes the Secrets of: Ideas, Outlines, Structure, Story, First Ten Pages, Protagonists, Visual Storytelling, Dialogue, Descriptions, Scenes, Supporting Characters, Act Two, Blockbusters, Great Endings, Rewrites, Treatments & Loglines, and Selling Your Script! Almost everything you need to know! Each Blue Book is 48 pages of paper (NOT the expanded ebook versions) * packed with information!

Oh... and the Pitching Blue Book is included in the set!

These Blue Books are $4.99 each - but get them all and save!

bluebook bluebook bluebook bluebook bluebook bluebook bluebook bluebook bluebook bluebook bluebook bluebook bluebook

For more information about BLUE BOOKS - SWEET 17 The deal is back!


MY BLOG!

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


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!


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


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

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

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 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

TOP DIALOGUE TIPS!

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

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

Expanded version with more ways to create interesting protagonists! 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 2017 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!