MONDAY'S SCRIPT TIP:
FUNNY FOR A MINUTE
You know the difference between a really
bad SATURDAY NIGHT LIVE skit and a really good one? The bad skit
starts with a funny premise, but doesn't explore it. Sometimes
it's just a character that's funny, sometimes it's a situation,
sometimes it's just a concept. It's as if the basic idea is
supposed to be funny enough to carry the whole 10 minute skit. No
one idea is ten minutes of funny. A funny character isn't funny
for ten minutes (which explains why the movie SUPERSTAR flopped -
that character wasn't funny for a whole skit!) - the character is
funny when introduced... then you have eight or nine minutes left
in the skit with nothing funny happening.
A really good SNL skit takes the funny idea or character and
comes up with a series of escalating comic events that explore
the situation. Each of these events is funny on its own - a gag -
but when combined with the funny skit or character creates one
laugh after another, each gag topping the one that came before.
Basically, you need more than one funny thing to sustain a ten
minute skit. The premise or character is the FRAMEWORK that you
hang funny gags on. Each gag EXPLORES the premise or character
but is also funny on its own.
A VERY HAROLD & KUMAR 3D CHRISTMAS does the opposite of a bad SNL sketch - it begins with a fairly mundane premise and then manages to find both jokes and real emotions buried deep within that premise. It doesn't just milk the concept, it gets gallons of milk from a stone.
The concept: Harold & Kumar must find the perfect Christmas Tree on Christmas Eve.
The film begins six years after they escaped Guantanamo Bay Prison, with the Hope & Crosby of the stoner set no longer roommates. Harold (John Cho) has finally married his long time girlfriend Maria (Paula Garces) quit smoking weed, gotten a real job on Wall Street, and settled down in the suburbs two years ago. Kumar (Kal Penn) still lives in the apartment and still spends his days smoking weed on the couch... depressed after having broken up with Vanessa (Danneel Harris). When a package for Harold is delivered to the apartment on Christmas Eve, Kumar figures it might be a Christmas gift and decides to take it to Harold's house and dump it on the porch, then split. But Harold is home alone, and invites Kumar in for a moment. In that moment, Kumar manages to torch the Christmas tree that Harold's hard-ass father-in-law (Danny Trejo... in a sweater) has grown from a sapling... and now the pair must find a new tree before the rest of the family comes home from Midnight Mass... and hijinks ensue.
The story manages to find everything that could possibly be related to Christmas and the holiday season and find a large selection of gags for each. There's a department store Santa (Patton Oswalt) and the real Santa (Richard Riehl) and Christmas parties and the most popular toy that is sold out (Wafflebot!) and Jesus and Neil Patrick Harris dancing with a chorus line of Rockettes and Angels and that Midnight Christmas Mass and the reindeer and painful scene recreations from A CHRISTMAS STORY and Rosenberg and Goldstein pop up at White Castle for a discussion of Christmas from the Jewish perspective and... well, just about anything and everything that has to do with Christmas is in this film... and they find as many gags as possible from each. Plus, the usual Harold & Kumar drug humor and a Russian mobster and some Occupy Wall Street gags and dozens of gags about how stupid 3D films are... in a 3D film. And the odd thing about it is that it is still a heart warming Christmas story about friendship and family and what you will freely give up for the person you love. Oh, and Charles Dickens A CHRISTMAS CAROL sneaks its way in... Uncle Timo (who is anything but tiny) shows up on crutches after escaping from prison for the holidays - and we think that is the joke... until he ends up having Tiny Tim's lines from the holiday classic. They milk the concept of Christmas for jokes... and still manage to make a film about the spirit of Christmas. Plus, there are scenes at a Christmas tree lot run by a pair of African American brothers who take turns being the "gansta brother" to pressure white people into spending more on a tree than they'd planned to. Just as Harold and Kumar are the Hope and Crosby of the stoner set, these two brothers are an old fashioned comedy team. No joke is left unturned!
Another set of brothers can be found in the 92 minute comedy film THE BROS
which I saw at the Raindance Film Festival back in 2001... but wasn't released until 2007.
Unfortunately this film did *not* do a good job of milking its comedy premise. The film is about a
pair of white suburban kids who dream of becoming gangsta
rappers. That's a funny premise.... but that's all the script
has to offer. They rap in mall parking lots, they steal credit
cards when they need new sneakers, they smoke dope, they make a
demo tape on their K-mart cassette recorder... but they don't do
or say anything particularly funny, nor do they become involved
in any situations that are funny. The film has a loose, improvised style -
and I suspect that most of the dialogue *was* improvised. It's cluttered with
pauses and padding. Some film makers think the improvisation makes things
more real - and it does... but no matter how clever someone is they always
come up with the great line an hour later... which is why actual written dialogue
will trump improv every time - an hour later you can go back and write that great funny line.
Without clever lines or gags or situations or even an over-all plot, the film just
kind of sits there. The movie has one joke: White
guys pretending to be Black. We get that in the first 2 minutes,
which makes the remaining 90 minutes tedious.
Never underestimate the importance of funny stuff in a
So where do you find that funny stuff? Mine the conflict! THE
BROS never establishes any conflict, it's just a string of
events. They meet with a manager who thinks they have no talent -
this seems like a conflict, but there's no struggle involved.
It's a dead scene. There are conflicts built in to "White guys
who think they're Black", but the script never explored them.
Think of how funny the scene with Eddie Murphy is the redneck bar
was in 48 HOURS... why not do a similar scene? Many thought Elvis
was Black from listening to his music, they were shocked when
they met him. What situations could you get these two suburban
white guys into where they'd be fish out of water? Performing at
a Black Panther rally? What if they became some gangbanger's
favorite rap stars and he invited them over to the crib? There
are a million possibilities - this film explored none of them. It
stuck with the initial concept, never escalating the conflict or
exploring different aspects of it.
Compare this to UNDERCOVER BROTHER - a film with a funny premise that keeps the jokes coming.
Once we introduce UB - who seems to be trapped in a 70s movie - the story involves him in an adventure right out of the 70s:
The Man - who lives in an island fortress has an evil plan to drain Black culture of its soul with drugged fried chicken.
The film contains gag after gag - all mined from the premise. Though not every gag works, there are so many that there's always something funny happening.
Plus - we get those great comedy set-pieces, from the kidnapping of James Brown to UB going undercover as a completely bland middle class Afro American, to a car chase featuring UB's version of James Bond's spy cars (funny 1970s gadgets).
The film digs into the premise to find more and more humor.
I missed MEET THE SPARTANS, but thought the SCARY MOVIES got better in 3 & 4...
when there was a parody of a film that *also* had jokes... and I liked SUPERHERO MOVIE, too.
I think that's the key
to Parody Films - they can't just chimp some other movie, they have to have jokes as well.
They need to start with that parody scene then mine it for every possible gag - so that
instead of waiting for the next joke, we are laughing so hard we *miss* some jokes and
have to (pay to) see the movie again.
If you look at a film like AIRPLANE, they do a parody of the beach scene in FROM HERE TO
ETERNITY where Burt Lancaster and Deborah Kerr make out in the sand as waves crash over them.
This is a famous scene because when that film was made it was pushing the envelope as far as
sex was concerned. You couldn't show a woman in bra and panties making out with a man in his
underpants at that time, but they did something sneaky and had a man and woman in their bathing
suits making out. Not much difference, really... except when those waves came crashing over
the couple we had *wet* bathing suits that showed every curve of Deborah Kerr's body. So this
was a really hot scene in its day. A bad parody movie would just run their characters through
this scene - hey, it's a famous scene from a movie! Let's just put our characters in it!
But the AIRPLANE version doesn't just chimp the scene...
When the waves wash over the couple making out, they leave seaweed and other debris behind.
That's joke one. And every time a wave crashes over them, it leaves something else behind -
crabs, kelp, fish... this is the joke that keeps on giving!
The couple continues kissing with all of this junk on them... then they have a great
*story-related* dialogue scene about him leaving on a top secret mission in the morning -
he tells her the exact target, where they'll bypass the enemy radars, etc - every single
detail of the mission. But when she asks when he'll be back... he tells her that's classified.
So there's another bunch of jokes.
Oh, and the names of the cities they're attacking are the names of tropical mixed drinks.
A half dozen cities mentioned is a half dozen other jokes.
Then, another wave washes over them... practically taking them out to sea! The last gag and
the end of the scene.
They not only parody the scene, they add a ton of jokes - and it's *story related*! They mined the story,
the characters, the premise for the jokes. They didn't go wider - they went deeper. And one scene
ends up not just a parody of a famous scene - but also supplying a couple dozen jokes on top of the parody.
In my 2 day class I show a clip of the most important scene in AIRPLANE. It's the one where she
has to re-inflate the automatic pilot using a tube on his belt-line. Okay, that's a really funny
scene, but it also shows that the autopilot is unreliable and they need a real pilot to land the
plane (our hero) and shows the flight attendant moving on with a new relationship after breaking
up with our hero *seconds* before boarding the plane. The scene does some other story related
things as well - you CAN NOT cut that scene from the film - it's critical to the story. Without
that scene, they don't need our hero to fly the plane, "Auto" can do it. Hey, that's the physical
conflict part of the story! And the end of the romantic relationship with the flight attendant
is the emotional conflict! That's the whole story! A scene needs to be funny *and* story related.
It's important to brainstorm as many gags as you can - don't
censor yourself. HAROLD & KUMAR has jokes to offend almost everyone (the Nun's locker room at the church!
Getting a 2 year old high on every known illegal substance! Altar boy pillow fights! No shortage of racial
jokes!) - if it's funny: write it down! If the guys in THE BROS are going to pass as Black, will
they need an Ebonics Dictionary? Maybe a Berlitz audio course?
Will they watch video of Snoop Dogg an imitate his moves? Will
one experiment with Coolio hairstyles? Could the master-plan be a
reverse Michael Jackson - where they get plastic surgery to look
more Black? What about penis extenders? Can we use humor to
explore racial cliches and misconceptions? Make a huge list of
funny ideas so that you can pick the best for the script.
Comedy can also be found in the relationships with other
characters. The best way to do this is through contrast - Harold & Kumar are complete opposites (there's
a Script Tip about Comedy Opposites that uses the pair's introduction in GUANTANAMO as an example). The
premise of THE BROS lends itself to using contrast humor to
explore the character's search for identity... too bad they never
used it! We have these two suburban White kids who pretend to be
Black... but instead of bringing out the humor in this situation
by making their parents contrast with their choice by being
ultra-suburban and ultra-white, But the chartacters are Springerized
white trash. The parents create NO contrast - so there's no
chance for humor from scenes featuring the family. UNDERCOVER BROTHER henchman Chris Kataan's previous film CORKY ROMANO
makes the same mistake - by making all of the mobsters quirky,
they dissipate the humor from the situation. Corky FITS his
family perfectly... and there's no humor in that! The more
contrast between Corky and his family, the more humor - which
means the mob guys have to play it straight!
THE BROS could have mined humor from the contrast between the
wanna-be-gangsta-rappers and their suburban parents, then mined
humor from the white gangsta rappers and the REAL world of
gangsta rappers. They could have been fish out of water TWICE!
But the film doesn't even use comedy method this once.
About 60 minutes into THE BROS we get our first comedy set-
piece: a couple of robberies. This points out a serious pacing
problem. The film not only has one joke, it has one comedy set
piece! In over 90 minutes! Any genre needs something exciting
happening about every ten minutes, or else it will drag. Pacing
is the heart beat of a script, and you don't want to have one
beat in the entire script! That's a dead film! A funny set piece
about every ten minutes insures that the audience has something
new to laugh at on a regular basis, and that you'll have at least
9 funny really situations in your film. But that means you have to come
up with the 9 really funny situations! One funny situation in a 92
minute film isn't enough. You need more than one joke to make a
movie... You need to have as many gags as UNDERCOVER BROTHER or HAROLD & KUMAR or AIRPLANE or SUPERHERO MOVIE so
that when some don't work, there are plenty more coming! UNDERCOVER BROTHER has so many gags
that they've saved a handful for the closing credits... and SUPERHERO MOVIE has about *a hundred gags* in
the closing credits! There are characters who only show up in the closing credit gags (like Toilet Paper Man).
Does your comedy have enough of that funny stuff in it?
For every scene, brainstorm up a page of gags. That way you can select the best gags, amd still have enough in the script so that if some fail you still have laughs (plural) in the scene. That's why the HAROLD & KUMAR movies work - they keep the gags coming!
Writing comedy is not easy.
OUTLINES & THE THEMATIC!
OUTLINES & THE THEMATIC Blue Book.
ARE YOUR SCENES IN THE RIGHT ORDER?
AND ARE THEY THE RIGHT SCENES?
Your story is like a road trip... but where are you going? What's the best route to get there? What are the best sights to see along the way? Just as you plan a vacation instead of just jump in the car and start driving, it's a good idea to plan your story. An artist does sketches before breaking out the oils, so why shouldn't a writer do the same? This Blue Book looks at various outlining methods used by professional screenwriters like Wesley Strick, Paul Schrader, John August, and others... as well as a guest chapter on novel outlines. Plus a whole section on the Thematic Method of generating scenes and characters and other elements that will be part of your outline. The three stages of writing are: Pre-writing, Writing, and Rewriting... this book looks at that first stage and how to use it to improve your screenplays and novels.
DESCRIPTION & VOICE Blue Book!
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?
My New Script Secrets Newsletter!
NEW AND HOT!
*** STRUCTURING YOUR STORY *** - For Kindle!
William Goldman says the most important single element of any screenplay is structure. It’s the skeleton under the flesh and blood of your story. Without it, you have a spineless, formless, mess... a slug! How do you make sure your structure is strong enough to support your story? How do you prevent your story from becoming a slug? This Blue Book explores different types of popular structures from the basic three act structure to more obscure methods like leap-frogging. We also look at structure as a verb as well as a noun, and techniques for structuring your story for maximum emotional impact. Most of the other books just look at *structure* and ignore the art of *structuring* your story. Techniques to make your story a page turner... instead of a slug!
Only $4.99 - and no postage!
NO KINDLE REQUIRED! Get the *free* app (any device, except your Mr. Coffee) on the order page on Amazon!
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!
*** 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!
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!
RECESSION SALE! $5 OFF!
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!
THE BOOK THAT STARTED IT ALL!
*** THE SECRETS OF ACTION SCREENWRITING *** - For Kindle!
*** THE SECRETS OF ACTION SCREENWRITING *** - For Nook!
Why pay $510 for a used version of the 240 page 2000 version that used to retail for $21.95? (check it out!) when
you can get the NEW EXPANDED VERSION - over 500 pages - for just $9.99? New chapters, New examples, New techniques!
"SECRETS OF ACTION SCREENWRITING is the
best book on the practical nuts-and-bolts mechanics of writing a screenplay I've ever read."
- Ted Elliott, co-writer of MASK OF ZORRO, SHREK, PIRATES OF THE CARIBBEAN and the sequels (with Terry Rossio). (ie; 4 of the top 20 Box Office Hits Of ALL TIME.)
Only $9.99 - and no postage!
READY TO BREAK IN?
*** 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!
*** 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!
MOVIES ARE CHARACTERS!
*** CREATING STRONG PROTAGONISTS *** - For Kindle!
*** CREATING STRONG PROTAGONISTS *** - For Nook!
Expanded version with more ways to create interesting protagonists! A step-by-step guide to creating "take charge" protagonists. Screenplays are about characters in conflict... characters in emotional turmoil... Strong three dimensional protagonists who can find solutions to their problems in 110 pages. But how do you create characters like this? How do you turn words into flesh and blood? Character issues, Knowing Who Is The Boss, Tapping into YOUR fears, The Naked Character, Pulp Friction, Man With A Plan, Character Arcs, Avoiding Cliche People, Deep Characterization, Problem Protagonists, 12 Ways To Create Likable Protagonists (even if they are criminals), Active vs. Reactive, The Third Dimension In Character, Relationships, Ensemble Scripts, and much, much more. Print version is 48 pages, Kindle version is once again around 205 pages!
ONLY $4.99 - and no postage!
ACT TWO SOLUTIONS!
*** ACT TWO SECRETS *** - For Kindle!
Expanded version with more techniques to help you through the desert of Act Two! Subjects Include: What Is Act Two? Inside Moves, The 2 Ps: Purpose & Pacing, The 4Ds: Dilemma, Denial, Drama and Decision, Momentum, the Two Act Twos, Subplot Prisms, Deadlines, Drive, Levels Of Conflict, Escalation, When Act Two Begins and When Act Two Ends, Scene Order, Bite Sized Pieces, Common Act Two Issues, Plot Devices For Act Two, and dozens of others. Over 67,000 words (that’s well over 200 pages) of tools and techniques to get you through the desert of Act Two alive!
Print version was 48 pages, Kindle version is well over 200 pages!
ONLY $4.99 - and no postage!
*** 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!
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!
ADVICE 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!
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!
*** 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!
PRO DIALOGUE TECHNIQUES!
*** 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!
Only $4.99 - and no postage!
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!
SCRIPT SECRETS 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
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
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
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
BOOKLETS & PRODUCTS
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
nineteen produced films, interviews with me in magazines,
several sample scripts, my available scripts list... And MORE!
CLASSES ON CD
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!