FRIDAY'S SCRIPT TIP:

NOT OF THIS WORLD!


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“The first sentence can’t be written until the final sentence is written,” Joyce Carol Oates.

As screenwriters, we are the creators of worlds. We start with a blank page, and only using our imagination and 26 letters in various combinations, end up with a world and characters that an audience believes in for two hours. In the first 30 pages or so (Act One if you're a fan of Aristotle) we set up the rules of our world. We set the tone of the story, decide the level of "realism", introduce the important characters, introduce the central conflict, decide the basic locations, tell the audience what the genre will be, and set up any other information that will be important during the remaining two thirds to three quarters of the script. We create our world...

But then, we have to live in it. Once that world is created, it's "real" and the rest of our script must take place within the reality we've established. What is true on page 30 is also true on page 70. If we paint ourselves into a corner on page 53, we can't have the world we've created suddenly change in order to solve the problem... we must find a solution within that world we've created. If your hero is unarmed and cornered by the villain, you can't just have a gun materialize in his hand by magic (unless you've previously established that your hero is a warlock-cop). This can't be the one day your hero decided to wear his bullet proof vest - he either wears it all the time or not at all. Your hero can't suddenly become Superman, or dematerialize, or have a secret hidden gun that he seemed to forget about for a 10 page fight scene but suddenly remembers now that he's cornered and about to die. You have to use what you have previously established.

Whatever happens at the end is something that you have set up at the beginning. The world can’t suddenly change, the reality that you have established can’t suddenly change. Anything that is true at the end of your story is also true at the beginning of your story. Whatever happens in Act Three is something that has been set up in Act One. So you can’t really write your first sentence until you have figured out that final sentence...

Even “pantsers” who don’t outline usually know the ending of their stories, and every scene and line of dialogue and bit of action is always leading towards that ending. Those who are “headlight writers” (they only know as far in the story as they can see in their headlights) are stuck on the road that they are driving down, and can’t start in New York and end up in Hawaii - there are no roads that go there. They tend to build on the past to create the future of their stories. Both types of writers may not know their ending, but they are still heading towards it with every word... and not doing anything crazy that breaks the rules of the world that they have created.


WELCOME TO THE REAL WORLD

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But what is "reality"? Let's say you have a romantic triangle - your protagonist has to decide between a wealthy, handsome but unromantic man and a broke ugly guy who is the ultimate romantic. She spends the whole script trying to decide which man she likes best - and finally decides on a wealthy & handsome guy... but can't bring herself to tell the broke ugly guy they have no future together. He’s a nice guy, and she doesn’t want to ber the one who breaks his heart. This is her big decision, the big dramatic moment in the story... the whole story - from the beginning - has been headed towards this decision and the scene where she breaks up with one of these two guys. And now, on page 86, she has made her decision and goes to break this man’s heart... But on page 87, an old TelStar satellite from the 1960s falls out of orbit and kills the ugly guy as he waits to cross the street. Problem solved! She no longer has to break his heart, because that Telstar satellite did it for her.

You may argue that there really are TelStar satellites, and they really do fall out of orbit every once in a while, and if one fell in a populated area it might kill somebody. So this is a legitimate way to resolve your problem, right?

Wrong. It's not part of the "reality" you have created for this particular script.

Though you don't need to introduce every single detail of "your world" in the first 30 pages - your characters might hop a plane on page 67, but that doesn't mean you need to show an airplane in the first 30 pages or explain the theory of flight. But anything *unusual* that does directly impact the story needs to be set up in those first 30 or so pages. Being killed by a satellite that falls out of orbit is unusual... and not really part of the world you've created in this romantic triangle story.


OUT OF LEFT FIELD

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The first time I was on the jury for the Raindance Film Festival in London back in 2002, one of the films in competition was A MA SOEUR! (THE FAT GIRL) written and directed by Catherine Breillat. It's the candid story sibling jealousy and friendship between a beautiful 15 year old girl and her pudgy 13 year old sister. It’s a very personal and emotional story, and was one of the best films that I saw that year... until the ending.

Their parents takes them to a beach resort on vacation, where they talk of love and sex and loneliness. All of the elements of those difficult years between childhood and adulthood. This is the summer that will change their lives. The 15 year old meets an attractive older Italian boy, who seduces her in one of the most realistic scenes ever put on film. He’s pretty obviously just after sex, but the older sister is caught up in the romance of the moment. They have sex in the girls’ room, with the pudgy younger sister watching... jealous and alone. All of the sibling rivalry between the two sisters escalates as one becomes a woman and the other is left behind. The pudgy girl resents her beautiful sister - it isn’t fair that boys flock to her sister and completely ignore her. It isn’t fair that no matter how much she tries to be attractive, it never quite works... but her sister can do nothing at all and all of the boys flock to her. The sisters, who must share the same room for this holiday, grow further and further apart as time goes on. You want the older sister to console her, assure her that in time she will blossom. And the younger sister to realize that the older sister isn’t doing any of this out of spite or competition - that this is a big moment in her life and the younger sister should be happy for her. You hope that they will once again be giggling about boys together.

So, as a boy who was pudgy who had friends who were attractive to women when I was not, I completely understood this movie. But after 90 minutes of this coming of age sibling rivalry filled with raw emotions that were so real I was almost brought to tears, there is a sudden, shocking end.... that comes completely out of left field!

And it ruined the whole film that came before it. At least, for me.

A character is introduced in the last 3 minutes that directly impacts the story - a character who doesn't fit this story or genre at all! Not set up at all. Not of this world.


SPOILER

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As they return from the holiday, the tension between the two sisters having escalated to the breaking point, just when you know there will be that big scene between the girls where they hash out the problems between them and either become sisters again or forever are alienated from each other... One is a “happy” ending and one is not. Nothing requires that a story have a happy ending. The girls might be forever alienated from each other - I know plenty of people who are estranged from a family member for the rest of their lives. There’s no reason why a pair of teen sisters shouldn’t be estranged for the rest of their lives after and event like this. It’s a realistic resolution to the problem, and I would have been happy if that’s what have happened after they had their big emotional scene. But maybe they could split the difference and be estranged now but decide to put aside their differences as older women in some scene that takes place thirty years in the future.

But instead of any of those resolutions, a crazed killed murders them. This crazed killer was never set up in Act One - not even on some hacky news bulletin about his escape from an asylum or anything. There was no crazed killer possible in the story up until this ending. It still wouldn’t have worked with the hacky news bulletin - he still doesn’t belong in this story of the two sisters, in the world created so far - but at least it would have been something. It would have been poorly set up, but at least set up. But nope. He just shows up out of nowhere and kills everybody, the end.

I hated the movie.

I loved it right up until that ending, and then I hated it.

Instead if a resolution - happy or sad - we got this deus ex machina excuse that avoided any actual emotions and drama. A complete “cop out”. Instead of getting into the difficult emotions required by the conflict that has been simmering throughout the story, we get this excuse for an ending that resolves nothing.

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It's almost as if Breillat didn't know how to end this realistic emotional story, so she dropped in this shocking violent end from some other story - some other world. It's completely out of place - and a "cop out"! Instead of finding a solution within the world she created, she found an easy out. An end that doesn't fit the story that came before it. The story had been heading towards some sort of confrontation between the two sisters, that is where the conflict was and that is where the resolution needs to be. That resolution would have been emotionally difficult to write, and maybe that’s why she came up with this last minute excuse to end the story. One of the problems with personal emotional stories is that they are often too close to use - so we might be writing what we know, but it becomes too personal, too painful... and we want to avoid telling the story through some left field device like this killer. Instead of being honest, the story becomes extremely dishonest - a downright lie. It ruined the film for me.

There’s a theory that Breillat did all of this on purpose - that the film was meant to seduce us and then dump us, the way the Italian boy dumps the older sister after he gets what he wants... but even that could have been set up. And wasn’t. I suspect this theory is from someone like me, who loved this film right up until the end... and then tried to find some to make sense out of the nonsense ending. That same seduce and dump ending could have been done within the world created. But wasn’t.

Remember that every scene from the beginning of your story is leading to that ending. Every line of dialogue is leading to that ending. Every bit of action is leading to that ending. So that once we reach that ending, even if it is a twist ending like in THE SIXTH SENSE, it makes complete sense within the world of the story. Hey, Malcolm has a new kid patient who claims he can see dead people... and the twist ending is that the kid can see Malcolm and Malcolm is dead. We’ve been heading there since page 7 of the screenplay. When you watch that film again, you notice how all of these scenes are really about Malcolm being dead. The ending was completely part of the world of the story - there all along.

When you create the world of your story, you must find resolutions to the conflicts from within the realities of that world. Making up something at the end that conveniently resolves the problem (but hasn't been set up and isn't an organic part of the world you've created) is just lazy writing. Deus Ex Machina endings (or even Axe Murder Ex Machina endings) are bad writing, whether you're a famous French writer-director or a new screenwriter from Canton, Ohio. You create the "rules" of your world - you have to live with them!




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All About Rewrites!

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REWRITES Blue Book!

Rewriting In Waves?

When You Finish Your Screenplay Or Novel...
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STORY IN ACTION SERIES!

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THE MISSION IMPOSSIBLE MOVIES

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 !


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BRAND NEW!

*** THE BOURNE MOVIES

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.

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Over 240 pages!

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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.

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WRITE IT: FILM IT BOOK! WriteItFilmIt



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Writing An Indie Film?
Writing A Low Budget Genre Script To Sell?
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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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THE BOOK THAT STARTED IT ALL!

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"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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Strange Structures!

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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"?
HITCHCOCK DID IT FIRST!

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.

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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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Tips FAQ

My New Script Secrets Newsletter!


THE BLUE BOOKS!

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FIND A GREAT IDEA!

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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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FIGURE OUT YOUR STORY!

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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.

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GOT STRUCTURE?!

*** 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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STORY: WELL TOLD!

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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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START STRONG!

*** HOOK 'EM IN TEN *** - For Kindle!


Your story doesn't get a second chance to make a great first impression, and this book shows you a bunch of techniques on how to do that. From the 12 Basic Ways To Begin Your Story, to the 3 Stars Of Your First Scene (at least one must be present) to World Building, Title Crawls, Backstory, Starting Late, Teasers and Pre Title Sequences, Establishing Theme & Motifs (using GODFATHER PART 2), Five Critical Elements, Setting Up The Rest Of The Story (with GODFATHER), and much more! With hundreds of examples ranging from Oscar winners to classic films like CASABLANCA to some of my produced films (because I know exactly why I wrote the scripts that way). Biggest Blue Book yet! Print version was 48 pages, Kindle version is over 100,000 words - 312 pages!

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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!

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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!

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DESCRIPTION & VOICE Blue Book!

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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?

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PRO DIALOGUE TECHNIQUES!

*** 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!

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WHAT IS A SCENE?

*** 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!

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SUBPLOTS?

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


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

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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!

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All About Endings!

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GRAND FINALES Blue Book!

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!


All About LOGLINES, TREATMENTS, and PITCHING!

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LOGLINES, TREATMENTS, and PITCHING! Blue Book!

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!


READY TO BREAK IN? bluebook

THE BUISINESS SIDE

*** 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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FINAL DRAFT SOFTWARE

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

copyright 2021 by William C. Martell


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E BOOKS PAGE

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

ONLINE CLASSES
Furious Action Class
MY OTHER SITES

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

FIRST STRIKE PRODUCTIONS
Producing my own scripts, investment possibilities, pipe dreams.

NAKED SCREENWRITING MP3s

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

THE BLOG!

A Whole Week Of Programming!
SEX IN A SUBMARINE
(no actual sex is involved)
From Trailer Tuesday to Film Courage Plus to THRILLER Thursday to Fridays With Hitchcock and more! My blog has all kinds of great stuff! Check it out! Lots of cool stuff every day!

BOOKLETS & PRODUCTS

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

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

BILL'S CORNER

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


Available Scripts

CLASSES ON MP3

Class MP3s CLASSES ON MP3! Take a class on MP3! GUERRILLA MARKETING - NO AGENT? NO PROBLEM! and WRITING THRILLERS (2 MP3s). Full length classes on MP3. Now Available: IDEAS & CREATIVITY, WRITING HORROR, WRITING INDIE FILMS, more!
Take classes on MP3!