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People in screenwriting groups always complain about all of the terrible movies with terrible screenplays and wonder why nobody is buying their masterpiece. I mean, is the business rigged? Do you have to know a secret handshake to get people to read and buy your screenplay? They have all kinds of crazy conspiracy theories, and point to some terrible film as an example that proves their theory. One of the things that I always say is that you can’t judge a screenplay on it’s movie - so often a the screenplay that sold bares no resemblance to the film that was made. If you read the original screenplay - the one that they paid a ton of money for - it was worth all of that money. But along the way this changed and that changed and soon it became something unrecognizable by the original writer.

I have been there. My original screenplay for the movie CROOKED got me a bunch of studio meetings based on word of mouth. That was one of several of my screenmplays that got passed around town by people who read it, and landed on the desks of production companies at Warner Bros and Paramount and Sony... leading to meetings at all of those places. It was written to be made on a budget, and dealt with post 9-11 trust issues - in an action packed cop story that had its roots in film noir. Heck, even the characters were named after famous film noir screenwriters! Though I had all of these meetings at studios, the script was “too small” for them - which is fine, it was written to be made on a budget - and most places asked what else I had and I got to shovel through screenplays for a while until things just kind of petered out, as they do.

When a new low budget company (people who I knew) was looking for a screenplay, I sent them a list of loglines and they read a couple of screenplays and picked this one... which worried me a little. I would rather have an established company make it, because it had already gotten me studio meetings. But I took a chance on this new company and sold it to them... and that ended up being a mistake, because they changed *everything*. They changed the *concept* of the story! All of the very things that the studio based producers loved about it... were the first things to go. It’s as if they ate my good screenplay and pooped out this film - which stank. Anyone seeing it would wonder why they bought this terrible screenplay instead of their great one... heck, I even wondered that!

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I wasn’t there for any of these changes, but I suspect that many had to do with casting. Someone - not me - did rewrites to make the casting work, and those rewrites changed important parts of the story. I did one rewrite for casting that I *hated* when they cast a name in a small role, and either the name or the producer wanted more scenes with the name... who died on page 3 or 4 of the script. So they had to live a little longer - which screwed things up. And with every bit of casting the story evolved to fit these people and soon it wasn’t anything like what I wrote. One of the more amusing parts of this was the actor cast as the villain - who I was against because they always played villains and this script (used to) have a mystery element in it. So the mystery element went out the window... which meant the story didn’t work at all... which meant they tried to prop up the story in another way... and soon everything is different. And worse. And that name actor who usually plays villains? I guess they had problems with him - and killed his character off halfway through the film just to get rid of the actor. So someone else had to become the villain and it didn’t make any sense....

And this happens on big Hollywood movies, all the time. Check out my blog entry on the flop version of ROBIN HOOD by Ridley Scott... which began as a screenplay that wasn’t even about Robin Hood that sold for a pile of money. I have read that original screenplay - it was worth the money. Or look up the history of DEAD DROP (hot screenplay) to CHAIN REACTION (flop film) or even PREMONITION (hot screenplay) to ARMAGEDDON (completely different story!). What goes in one side isn’t what comes out the other. The constant changes can turn a silk purse into a sow’s ear... it seldom works the other way. When they buy a screenplay because it is the best version of the story, when they change it again and again it usually doesn’t get better. There’s a Script Tip on how *casting* often changes the story - if the character is a shy brainiac who solves problems with their mind and they cast The Rock? He becomes an action hero and that only changes everything. That happens constantly with Studio films.

So let’s look at another way that bad movies can be made...


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Let’s get into the Delorean and get it up to 88 miles per hour and 2001 when I first wrote this Script Tip....

At Cannes in 2001, Tom Cruise (promoting THE OTHERS which he produced) bumps into (the late) John Frankenheimer (promoting his BMW commercial AMBUSH written by Andrew Kevin Walker). Cruise loves SECONDS and BIRDMAN OF ALCATRAZ and really loves THE GYPSY MOTHS (1969). The two hit it off. "We ought to work together someday!" Frankenheimer tells his agent he'd love to do a sequel to THE GYPSY MOTHS... and that Tom Cruise is interested in it. "It" isn't a script at this time, it's a conversation in a bar at 2am between an actor and a director. This is one of the way that movies get made - two people who can get a film made decide to get a film made... even if there is no screenplay to make.

The studio realizes GYPSY MOTHS was about sky diving, and they already *own* a sky diving action film script! In fact, they've spent millions on a bunch of writers who still can't get it right, and this may be a way to recoup some of that money! Now, if you have seen the Frankeheimer film, it is not an action movie - it’s a drama where the characters have an “active lifestyle” - to make the drama exciting, the lead characters are a band of daredevil sky divers who go from town to town putting on exhibitions... kind of like a carnival. They often find a family to stay with to cut down on expenses, and this story is about the interactions between the daredevil sky divers and this small town family on the days leading up to the big exhibition. Because these are exciting people, wives often cheat on their husbands with these guys... and this creates all kinds of drama. It’s a swell movie, but it is in no way an action film.

But the studio owns an action script about skydivers.

And, let's face it - Cruise & Frankenheimer = HIT!

So they get the script to the actor & director... and have a "go project".
The film is now put on the release schedule for July 2, 2003.

Because this is a business - and they have to choose a release date before they have made the film - ready or not, here it comes! July 2, 2003 Tom Cruise will be doing his own stunts in John Frankenheimer’s GYPSY MOTHS 2.

Wait! It's still a crappy script!

But at this point in time that doesn't matter. The studio has a huge star and a veteran director attached to the project. That's a movie, folks! Posters are designed. Teaser trailers are tacked onto the front of VANILLA SKY. Full page ads pop up in the trades. More writers are thrown on the script. They get it half good (which means half crap, by the way). It’s still an action script that has nothing to do with the original film - which starred Burt Lancaster and Deborah Kerr as the housewife who cheats and Gene Hackman and Scott Wilson and Bonnie Bedelia and Sheree Noth and William Windom. Though Lancaster starred in his share of action films, he was also a great dramatic actor who looked for challenging roles. So this 30 plus years later sequel has nothing to do with the original, except for the title... I’m sure that you have seen at least one of those.

But the screenplay is still half crap... and everyone knows it.


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Okay, you're the head of the studio producing this mess. Start date for filming is two weeks away. Do you pull the plug because the script sucks? If you delay the project, you'll lose Cruise to MISSION IMPOSSIBLE 3 - he has a busy schedule. Frankenheimer has other projects in the works, too... a sequel to THE EXORCIST believe it or not. The problem is, if you stop the train you'll never get it started again. You *have* to ride it to the end of the tracks... even if the tracks go off a cliff! (you don't really *know* where the tracks lead at this time.) The project has also built up some weird momentum - Gene Hackman who was the young romantic lead in GYPSY MOTHS worked with Cruise on THE FIRM comes out of retirement and signs on to reprise his role. Demi Moore is trying to get back into the business and signs on as the female lead (she worked with Tom in A FEW GOOD MEN). The cast just keeps attracting cast!

So you put a bad script into production and pray that Frankenheimer can keep it moving fast enough that no one will notice how lame it is, and that Cruise will flash that smile and make the thing a hit. If you pull the plug, you have *nothing*. Plus you're out all of those millions of dollars you spent throwing writers on the project trying to make it work. If you make the bad script, it's possible that GYPSY MOTHS 2: TOO CLOSE TO THE FLAME will overcome the bad script to make $550 million worldwide, right? MISSION IMPOSSIBLE 2 made a ton of money ($546 million), and it didn't make any sense at all. The strange part about a movie is that sometimes a movie has all of the ingredients that the audience wants to see at that particular time... and what we screenwriters think of as “quality” doesn’t matter. It has the other qualities. Explosions! Tom Cruise smiling a lot! The return of Gene Hackman! Cool skydiving stunts! This train is speeding down the tracks!

Once a project actually gets started, no one wants to stop it!
Even if it stinks.
It's a runaway train.

Then we line up to see it on some hot summer Friday night a year from now and while the closing credits are rolling we're wondering how all of these talented people could make a film with a script that just sucks. Didn't anyone read the script?

If a film has enough momentum, enough names signed to the project, the script doesn't matter. It should matter, but it doesn't.


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Now let’s get back in the Delorean and head back to COVID country....

I made up GYPSY MOTHS 2 back in 2001 after reading about Cruise and Frankenheimer bumping into each other at Cannes... but there are plenty of real movies like that, and we will look at one in a moment,..

Here's our problem as screenwriters: We have to write a script that's so good that a studio will dump the all-star cast GYPSY MOTHS 2: TOO CLOSE TO THE FLAME and make ours instead... except that isn’t going to actually happen. The reality is that even if out screenplay is amazing, they are still going to make that bad script because it gets a big name actor and a big name director together. Do you remember that irritating remake of WAR OF THE WORLDS (2005) that starred Cruise and was directed by Spielberg? That came about because Cruise wanted to work with Spielberg again, and when Spielberg had a project stall out (INDY 4) he had a “hole” in his schedule and decided to make it. There was a screenplay that was in development - though it wasn’t supposed to be shot until 2007. Hey, star and director are available, let’s just make it now. We’ll fix the screenplay in the days before production starts!

That’s Hollywood, folks! When you see that terrible film, you can’t say “I can write better than that!” because of course you can, anyone can! That was a film that didn’t work - nobody is looking to make another one of those. They are looking for the great screenplay that can go through all of the crap that happens along the way and is still okay. The High Octane screenplay that can be watered down again and again on its way to the screen... and still get the car started and going fast enough to hit 88 miles per hour . My friends Terry Rossio and Ted Elliott have a column over on Wordplay called CRAP PLUS ONE about seeing a terrible film and think ing that you can write better than that - when the goal isn’t a screenplay that is slightly less crappy, the goal is a screenplay that can have all kinds of crap done to it and still be pretty good. That’s what you should be aiming for - the screenplay that is so good that it can withstand all of the problems heaped on it along the way.

You can’t judge a script by it’s movie.

Now it’s time to get back to work...
I know my script needs a couple more rewrites!





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!

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Making Your Own Movie?
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Writing A Low Budget Genre Script To Sell?
Writing A Made For TV Holiday Movie?

You will be writing for BUDGET. On a standard spec screenplay, you don’t have to think about budget, but these types of screenplays writing with budget in mind is critical!

If you are making your own movie, budget, is even more important - and you need to think about budget *before* you write your screenplay... or you will end up with a script that you can’t afford to make (or is a struggle to make). Everyone is making their own films these days, and even if you have done it before there are lots of great techniques in this book to get more money on screen - for less money! You can make a film that looks like it cost millions for pocket change.

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

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Most screenplays are about a 50/50 split between dialogue and description - which means your description is just as important as your dialogue. It just gets less press because the audience never sees it, the same reason why screenwriters get less press than movie stars. But your story will never get to the audience until readers and development executives read your script... so it is a very important factor. Until the movie is made the screenplay is the movie and must be just as exciting as the movie. So how do you make your screenplay exciting to read? Description is important in a novel as well, and the “audience” does read it... how do we write riveting description?

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

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

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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!




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

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

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

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The new CDs are available now!


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


IDEAS AND CREATIVITY - 80 minute CD 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 CD is packed with information. How Indoe films challenge the audience (while mainstream films reassure the audience). Structures, using BOYS DON'T CRY, RUN LOLA RUN, HILARY & JACKIE, and others as example. Writing for a budget, writing for non-actors, getting the most production value out of your budget. Writing Indies 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 CDs!





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

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

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*** 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!

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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!

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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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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.

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

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

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

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*** 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!

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

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copyright 2020 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 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!


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