From The Breaking In Blue Book

When I first came to Los Angeles I didn't have any connections at all. I was an ex-forklift jockey from Concord, California who had dropped out of a 2 year community college after 3 years and who had accidentally sold a script to a company with a deal at Paramount. I didn't have an agent, didn't know any producers, and didn't know how to get my scripts into the hands of people who might buy them and make them. Though most of my career has been accidental - one of my scripts gets passed around town until it lands on the desk of someone who either wants to buy it or meet with me to talk about other projects - the normal way to get a script read is through connections.

The way I got my job at Safeway Grocery was through connections. There was a Safeway store manager I had a nodding acquaintance with and I asked him how to get a job there. He told me where to fill out an application and said I could use his name in the "recommended by" space. That's one of the things that also helps in Hollywood... having someone who will recommend you, or someone you kind of know who can help you out. But where do you find these people?


Over the holidays you just missed a chance to work with Harrison Ford and Jennifer Love Hewitt and Michael Douglas and Minnie Driver and Cindy Crawford and Chris Pine and a dozen other stars! On the same project! Every year on the day before Thanksgiving, everyone who is anyone works at the Los Angeles Homeless Mission serving turkey dinners to Homeless people. They are always looking for volunteers to help set up, serve, and clean up... and that could put you standing next to a big star or big producer or big director. Though most of the stars work the soup line once a year as their good deed, many others donate their time and money all year long, a chance for you to work next to someone who might help your career, become actual friends with them, and also do something good for people in need.

There are also big holiday Toy Drives before Christmas, and on Martin Luther King Day people all over the United States volunteer to do community improvement projects... and all of the producers and directors and stars who aren't at Sundance can usually be found working somewhere. You could be working next to them!

There is also Habitat For Humanity which builds homes for the poor - sort of the non-televised every day version of that Home Makeover show, but building hundreds of houses all over the United States and the world for the poor and homeless. Habitat began in President Jimmy Carter's home state, and he is a tireless volunteer for the program... but if you happen to be pounding nails for Habitat in New Orleans, you'll probably be working with this guy named Brad Pitt who is heavily involved in that branch. The great thing about charity work is that you are helping people, and maybe making a connection or two at the same time.


Many writers end up working as readers to pay the bills. Because there are so many writers and only a handful of reader jobs, it tends to be a difficult job to land. You usually have to know someone. And once you're working as a reader? Well, you may wish that you weren't. Though there are union readers at studios, the job you'll probably end up with is a freelance job for a producer, which may pay as little as $35-50 to read and write a reader's report (coverage) on a screenplay. So you have to read a stack of scripts a day just to pay rent.

But the good thing about being a reader is you learn by other's mistakes, and you are dealing with producers and development people - they read your writing every day! Every once in a while a reader manages to sell a script or land an assignment on the basis of the writing in their coverage. That writing opens the door for someone to read their script... covered by some other reader... and that can lead to an assignment. One of the things to remember is that *everything you write* is a writing sample of some sort - it will be judged. Even if it's just your query letter. Even if it's the coverage you do at your day job. If you can write great coverage, maybe you can write a great script?


When a writer makes enough money, they may hire an assistant. Someone to do research for them or pick up script copies at Kinkos or pick up their laundry or walk their dog or maybe work on the rough draft of the script they just got paid a million to write. Most writers hire writers as assistants, and it's usually their out of work friend... but sometimes it's a total stranger. Easier to get a stranger to work than your slacker friends, sometimes. Being a writer's assistant is a great job because you may be answering the phone when Spielberg calls, so the big name writer's connections can also become your connections. Plus, you are getting a master class in screenwriting, just by being in the same room as the writer. You are looking over their shoulder as they write their next hit film.

Of course, like any assistant, you can easily be abused by those evil writers who are looking for a lackey. Though most of the good abuse stories come from assistants to stars and producers, I'm sure there are some SOB writers out there. Plus, I know of one writer's assistant who was hired because of his script sample, and found himself writing first drafts for many of his boss's assignments because his boss loved to over-book himself. My friend would write the first draft, his boss would give it that Barton Fink Feeling with a rewrite, and the studios never knew the difference. All sounds like a Ira Levin plot, doesn't it? Several of the supporting characters in a massive hit film that I guarantee you have seen are named after my friend's *dogs*. Not much of a happy ending, here - when my friend demanded some help with his career after several years of helping his boss, I think he was fired. That is actually the only writer's assistant horror story I know - I know of a couple of writer's assistants with big success stories! Both used their education and contacts to sell spec scripts... and one was made and was a big hit.


There are a couple of ways you can use screenings to make connections. The obvious way is to go to the screenings with Q&A afterwards. There are tons of these in Los Angeles. A year ago I went to the first Script Magazine movie screening, which was DOUBT with writer John Patrick Shanley speaking afterwards. That other screenwriting magazine used to do regular screenings in Los Angeles, as does Entertainment Weekly and Premiere and Starbucks and just about every Radio Station in town. Scriptwriter's Network used to do a screenwriter series at the Arclight Cinemas in Hollywood, and the Arclight still does special screenings with Q&A afterwards - A couple of months ago I saw THE FLY with David Cronenberg and Howard Shore taking questions from the audience after the movie. Most of these screenings have cast or key creative folks doing Q&A afterwards - and there is often a mob ready to talk to them after they leave the stage.

There's also the New Beverly Cinema, which is now owned by Quentin Tarantino. They are the last revival house in Los Angeles, so it's *all* special screenings, and often they have cast members and directors talking between movies. The American Cinematheque at the old Egyptian Theater is also all special showings - and they almost always have Q&A between showings. I met Sam Fuller there, and Curtis Hanson and where else are you going to see almost the whole cast of MACON COUNTY LINE in one place? The great thing about the New Beverly and Cinematheque are the people sitting next to you in the cinema - this is where Hollywood stars and directors and producers go to see these films. I mentioned meeting Sam Fuller at Cinematheque, but the amazing thing was the cinema was packed with all of the industry folks who were fans of Fuller - there was a well known director sitting right behind me, and we talked between films.

And that's the other way you can meet people at screenings - they are sitting in the audience with you. Every time I have seen a movie at the Sunset 5 Cinema in Hollywood, I have had some star or director in the cinema, too. That's where movie stars go to see movies. I've had Drew Barrymore sitting in the cinema with me (well, not *with me*) a half dozen times that I know of. Once, some dude was *loudly* making out with a chick in the row behind me, and when I turned to "shhh" them, it was Tarantino! Kevin James and his wife sat in the seats next to me at some movie a few months back. If you go to the movies on a regular basis in Los Angeles, you'll see stars. And, if you know what producers look like, you'll see them, too. This Post Holiday Season is when everyone gets into the movies on their guild cards to see Oscar possible films... and that means the cinemas are packed with potential connections. There are also movies that attract a cult audience - like THE ROOM (which is so bad it's good) - and the midnight showings (hey, at the Sunset 5!) are packed with industry people. Have a laugh at a bad film with the producer of your next film!


As everyone know, the difference between Los Angeles and Yogurt is that Yogurt has culture... and that means many producers and studio folks like to look as if they have culture by going to the THEATRE. Yes, as everyone knows, if you take the same actor you wouldn't audition and put them on a stage - that actor is suddenly the best thing you have ever seen. Los Angeles has a bunch of theatres where they are performing stageplays, and industry folks are there to get some of that culture stuff.

And on the stage? Stars. The ones who really love to act, and when they aren't being paid $20 million to be in some blockbuster, they may be making close to nothing performing on stage. I live in Studio City, and a few blocks north is the NoHo Theatre District of North Hollywood which is FULL of stages FULL of actors. Go a few blocks east of me and you'll bump into the Falcon (Now Garry Matrshall) Theater, that was built by the late movie and TV director Garry Marshall. Because Garry owned the stage, that theatre ends up getting all kinds of TV and movie stars in his shows... and all kinds of Industry folks coming to see them. I used to see Garry walking around in the neighborhood, going to Bob's or Priscilla's for coffee...


Which brings us to coffee shops. You may have noticed that there is a Starbucks on every corner, and a Coffee Bean every other corner, and a Panera in the center of every section of the city... and a bunch of great independent coffee shops like Priscilla's. And in each of them, a dozens screenwriters are typing while a dozen out of work actors sit outside and bitch about residuals as they chain smoke and a half dozen producers are meeting with D.P.s about working on some project.... and all of those people could be connections of some sort. Just from typing in the same coffee shop for a couple of years, I have met directors and stars and Robin Williams and producers and all kinds of other people who might help my career. A couple of directors have taken my scripts to their contacts, because they know me from Starbucks (of all places). The easiest way to make connections in Los Angeles is to get the hell out of your apartment and into the real world... and become a "regular" somewhere. A friend of mine was making a movie for pocket change and got a TV star to play a major role for *nothing* because they were friends from a neighborhood coffee shop (I think he had to pay him $100 due to SAG rules).


So, there is this club down the street from me called FIREFLY... no sign outside, it's just a building covered with moss. Used to be a BBQ restaurant. Now it's one of those trendy clubs that stars and industry folks go to. Most of those clubs are on Sunset, but we have this one in the Valley... and there are all kinds of people in the biz who live in the Valley... and many more who work here. This is where Disney and Universal and Warner Bros studios are - and all of the stars and execs who have offices there (and at Radford - a section of independent production offices next door to CBS Radford Studios) need a place to drink while they're waiting for traffic to die down, or to celebrate the end of a shoot, or just the end of a touch day, or maybe a big deal they just set up... and those folks end up at Firefly. I'm not exactly the clubbing type, but the few times I've been there, I have seen producers from the studios.

George Clooney's production company is on the Warner's lot, and one night a writer friend of mine was in Firefly when he came in with his team to celebrate a deal or a nomination or something... and bought drinks for everyone in the joint. My friend got hammered on Clooney's dime! Hey, a night of paling around with Clooney and his production team is a great way to get your scripts somewhere.

Of course, if you live on the other side of the hill there are dozens of trendy clubs to hit.

As with everything else, you don't want to force a script into someone's hands, you want to develop friendships and relationships that can eventually lead to one of your friends in high places asking to read your script. If you play it cool, and don't act like an idiot pest, you can use these connections to get your scripts over that wall that surrounds Hollywood... which obviously isn't doing a very good job, since people are breaking in every day. Look at the guy who wrote GRAN TORINO!

The thing about "breaking in" to the business is that there are a million different ways to do it - a million different ways to make connections and find your way over that mythical wall that surrounds Hollywood. There are so many different ways to make connections, that there is a whole chapter in the Breaking In Blue Book with ways to make connections *before* you move to Los Angeles! First thing to do is look around you - and use the same amount of imagination you use writing screenplays to find an interesting and creative way in.

Your career is in your hands - do something with it!


Can You Make It bigger?



Writing something EPIC?

ONLY: $4.99!

Thinking about writing a big Disaster Movie? An Historical Epic? An Epic Adventure Film? Or maybe you like Gladiator Movies? This book looks at writing Blockbusters and those Big Fat Beach Read novels - anything epic! Usng movies like JAWS, POSEIDON ADVENTURE, LAWRENCE OF ARABIA, THE GUNS OF NAVARONE, and those MARVEL and FAST & FURIOUS flicks as examples. What *is* a Blockbuster? 107 years of Blockbuster history! Blockbuster Characters. Blockbuster Story Types! Why modern Blockbusters are soap operas! Social Issues in Blcokbusters? Big Emotions! Keeping All Of Those Characters Distinctive! How to avoid the Big problems found in Big Movies and books! More! If you are writing a Big Event Movie or a Big Fat Novel, there are tips and techniques to help you!

Only $4.99

NEW in 2020!

Making Your Own Movie?


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

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

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

344 Pages - ONLY: $7.99!





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

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

Only $9.99 - and no postage!

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




"The Presidential Suite of the Hollywood Hoover Hotel looked like a bloody battlefield: bodies everywhere, furniture broken, red liquid dripping from the walls, dead soldiers littering the elegant Berber rug as clouds of smoke overhead bounced between two air conditioning vents.

Mitch Robertson stepped over the body of an ex-child star turned sex tape star turned pop star and entered the room, spotted a gun on the floor and picked it up... careful not to spill his coffee with three pumps of mocha syrup from Penny’s Coffee Shop. That coffee was gold, the only thing keeping him going in this dazed state of wakefulness. The gun felt light. Holding it, he saw the silhouette of an 80s action star sitting sideways on a tipped over chair. Motionless. Was he dead? Mitch was still hung over from the Awards Party the night before, and wondered whether this was all some sort of crazy nightmare that he would wake up from... but when he tripped over the brown legs of a bottomless Superhero, flaccid junk encased in a condom but still wearing his mask, and hit the edge of the sofa, gun skittering and coffee spilling, he realized that it was all very real. What the hell had happened here?"

Short Novel. Only 99 cents! - and no postage!




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!

Tips FAQ

My New Script Secrets Newsletter!




NEW: Updates On Films 7 & 8 Casting!

All Six Movies analyzed! All of the mission tapes, all of the “that’s impossible!” set pieces and stunts, the cons and capers - and how these scenes work, the twists and double crosses, the tension and suspense (and how to generate it), the concept of each film as a stand alone with a different director calling the shots (broken in the sixth film), the gadgets, the masks, the stories, the co-stars and team members (one team member has been in every film), the stunts Tom Cruise actually did (and the ones he didn’t), and so much more! Over 120,000 words of fun info!

THE MISSION IMPOSSIBLE MOVIES - 347 Pages - Only $3.99 !




NEW: Updates on TREADSTONE TV show!

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!


Over 240 pages!

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

He's back! The release of "Terminator: Dark Fate" is set to begin a new trilogy in the Terminator story... 35 years after the first film was released. What draws us to these films about a cybernetic organism from the future sent back in time? Why is there a new proposed trilogy every few years? This book looks at all five Terminator movies from a story standpoint - what makes them work (or not)? What are the techniques used to keep the characters and scenes exciting and involving? How about those secret story details you may not have noticed? Containing a detailed analysis of each of the five films so far, this book delves into the way these stories work... as well as a complete list of box office and critical statistics for each film. This book is great for writers, directors, and just fans of the series.

ONLY $3.99 - and no postage!

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



Strange Structures!



Contained Thrillers like "Buried"? Serial Protagonists like "Place Beyond The Pines"? Multiple Connecting Stories like "Pulp Fiction"? Same Story Multiple Times like "Run, Lola, Run"?

This book focuses on 18 of Hitchcock's 52 films with wild cinema and story experiments which paved the way for modern films. Almost one hundred different experiments that you may think are recent cinema or story inventions... but some date back to Hitchcock's *silent* films! We'll examine these experiments and how they work. Great for film makers, screenwriters, film fans, producers and directors.

Only $5.99 - and no postage!



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

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

Only $5.99

The new 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!




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


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!





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

Only $4.99 - and no postage!



*** 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!



*** 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!



*** 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!





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!



*** 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!





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 and no postage!



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


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!



*** SCENE SECRETS *** - For Kindle!


What is a scene and how many you will need? The difference between scenes and sluglines. Put your scenes on trial for their lives! Using "Jaws" we'll look at beats within a scene. Scene DNA. Creating set pieces and high concept scenes. A famous director talks about creating memorable scenes. 12 ways to create new scenes. Creating unexpected scenes. Use dramatic tension to supercharge your scenes. Plants and payoffs in scenes. Plus transitions and buttons and the all important "flow"... and more! Over 65,000 words! Print version was 48 pages, Kindle version is around 210 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!



*** 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!


All About Rewrites!


Rewriting In Waves?

*** REWRITES Blue Book! - For Kindle!

The end is just the beginning! You’ve finished your story, but now the rewriting begins! This 405 page book shows you how to rewrite your screenplay or novel to perfection. Everything from Character Consistency to Shoeboxing to How To Give And Receive Notes to 15 Solutions If Your Script’s Too Long! and 15 Solutions If Your Script’s Too Short! to Finding The Cause Of A Story Problem to Good Notes Vs. Bad Notes to Finding Beta Readers to Avoiding Predictability to Learning To Be Objective About Your Work to Script Killer Notes and Notes From Idiots to Production Rewrites and What The Page Colors Mean? and a Complete Rewrite Checklist! The complete book on Rewriting Your Story!

ONLY $4.99 - and no postage!

All About Endings!



The Perfect Ending For Your Story!

The First Ten Pages Of Your Screenplay Are Critical,
But What About The Last 10 Pages?

Creating the perfect ending to your story! This 100,000 word book shows you how to end your story with a bang, rather than a whimper. Everything from Resolution Order to Act Three Tools to Happy or Sad Endings? to How The Beginning Of Your Story Has Clues To The Ending (in case you were having trouble figuring out how the story should end) to Falling Action to How To Avoid Bad Endings to Writing The Perfect Twist Ending to Setting Up Sequels & Series to Emotional Resolutions to How To Write Post Credit Sequences to Avoiding Deus Ex Machinas, to 20 Different Types Of Ends (and how to write them) and much more! Everything about endings for your screenplay or novel!

Only: $4.99

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




Distilling Your Screenplay!

Loglines, Treatments, Pitching, Look Books, Pitch Decks, One Pagers, Rip-O-Matics?

You have written a brilliant 110 page screenplay, but how do you get anyone to read it? You need to distill it down into some form of verbal moonshine or story rocket fuel that will ignite that bored development executive or manager or agent and get them to request your screenplay. But how do you shrink those 110 pages into a 25 word logline or a 2 minute elevator pitch or a one page synopsis or a short paragraph? This 100,000 word book shows you how! Everything you need to know! From common logline mistakes (and how to solve them) to how your pitch can reveal story problems to the 4 types of pitches!

272 Pages - ONLY $4.99!



*** 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!



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!

* * * Buy It!

copyright 2022 by William C. Martell

eXTReMe Tracker

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!