Martell's "Theory of Dog Energy" is that all dogs have the exact
same amount of
energy. For a normal sized dog, like a Retriever or a Shepard, that's the perfect
amount of energy... but a really big dog barely has enough energy to move (which
explains St. Bernards) and really small dogs have LOTS of extra energy (which
explains Chihuahuas).
This theory also works with characters. In order to be memorable to the audience
everyone in the script has to have the minimum daily requirement of character... the same
amount of character no matter how big or small the part is. This is easy when you are
dealing with lead characters who have 110 pages to meet their minimum
requirements, you can spread it out. A little character here, a little character there. You
can be subtle... show character through actions or show gradual changes in reactions
to similar situations. Lead characters can take a while to get to know... you have the
time to peel back layers and show us different, conflicting aspects of the character.
But when you have a supporting character who may only be in a couple of scenes,
the character is going to come in strong, concentrated doses in order to meet the
minimum requirements. Patrick Shane Duncan (Mr. HOLLAND'S OPUS, COURAGE
UNDER FIRE) says that the less time a character spends on screen, the broader
(bigger) that character has to be to make an impression on the audience. With a small
character, you don't have the time to build character... they have to come fully
assembled. They also have to come on strong enough to leave an impression... or the
audience will forget who they are. They aren't on screen long enough to be subtle.
The smaller the character the more exaggerated or quirky they need to be.
The British film BEND IT LIKE BECKHAM was nominated for a Writer's Guild Award a few years back.
As Ebert said on that little TV show of his,
"If you liked GREEK WEDDING, you'll love BEND IT LIKE BECKHAM" - it's much better
written than GREEK WEDDING and much funnier. The story is simple - Parminder Nagra plays Jessie, a high school
senior who loves playing soccer, but her traditionalist Indian parents think it's time for her to
stop playing games, learn to cook, and find a husband. If she can't find a nice Indian boy on her
own, her parents would be happy to find one for her (arranged marriages are part of the
tradition). Talk about universal stories - how many of us have dreams and parents who think it's
time to wake up and find a real job? In order to dramatize the concept of finding a husband and
settling down, the story takes place in the months leading up to her older sister's wedding. That
way we can SEE what her parents want for her. The traditional wedding isn't an abstract idea -
we can see the steps involved. The other side of the dramatic dilemma is represented when Jessie is
asked to join a girl's soccer league... and becomes one of the team's top players.
That's how BECKHAM ends up with a huge cast of characters. We have Jessie's family and all
of the relatives in town for the wedding (plus the in-laws and their family) and we have the
soccer team, her coach, and her best friend on the team Jules (Keira Knightly).... plus we have Jessie's parents.
Oh, and there are Jessie's neighborhood pals - she plays soccer in the park with them. They're all
hunky Indian guys who see her as a pal rather than dating material. She's too much of a
tomboy.
You might think with this huge cast of characters that we wouldn't get to know any of them
very well, but you'd be wrong. Writers Gurinder Chadha and Paul Berges do a fantastic job of distilling each character
down to their essentials so that we instantly know them. Her team mates and coach are people
you know, her family is your family, and the guys at the park are your pals. To illustrate how well
this is done - there's a minor character at the engagement party - I don't think he has a single line
of dialogue... but you really know who this guy is. At the engagement party, an entire sofa full of
aunts and old women ask Jessie when she's going to get married... and what kind of Indian boy
interests her - a clean-shaven man or one with a full bushy beard? A bearded guest at the
engagement party pushes closer to overhear her answer. This guy may be traditionally dressed,
but he gives off a Disco Dan vibe... and later when there is dancing he grabs Jessie and tries to
force her to dance with him. Yikes! This is the Indian community's most eligible bachelor!
Throughout the rest of the film, whenever there's a family function in preparation for the
wedding, this guy is there to hit on Jessie. He may not have any dialogue, but he shows his
character through actions. This guy is all hands! He's constantly inappropriately touching women
- his hand slips while dancing. In one scene he "accidentally" nuzzles the breasts of a woman
he's dancing with.
Though this is a only a minor character, he symbolizes Jessie's worst nightmare
- he's the guy she could have to marry if her parents opt for an arraigned marriage. That is his character's STORY PURPOSE -
remember, even if you have a cast of thousands, each character must have a purpose in the story... why else
would you pay an actor $650 a day to play the role? If the have no purpose - cut them. By the end of
the film Jessie's worst nightmare husband has found a single gal who doesn't mind the way his hands slip when they are
dancing... and they end up making out in the bathroom at the wedding reception. This guy
may not spend much time on screen, but he is given a juicy character and juicy actions that
expose his character in every scene he's in. You really know who this guy is.
All of the other characters in BEND IT LIKE BECKHAM are also well-drawn. Jessie's father (Anupam Kher),
who spends much of the film in the background, is a fully developed character. We know him,
we understand him, we care about him... we feel HIS dilemma of being a traditional man with a
modern daughter. There's a great scene when he sneaks into a soccer game and watches his
daughter play - at first angry that she has disobeyed him, then slowly becoming involved in the
game and rooting for her. Again - the key is to know the essence of the character and find
situations the pull the character to the surface.
Are your small characters big enough? If they only pop up in two scenes, is there
enough CHARACTER in the first scene so that the audience can easily remember
them in the second scene? Do all of your characters meet the minimum requirements?
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 100,000 words of fun info!
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.
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?
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!
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!
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.
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.
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!
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!
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!
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!
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!
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!
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.
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.
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.)
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!
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 over 208 pages!
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!
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!
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 160 pages!
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!
IT'S BACK! SECRETS OF ACTION SCREENWRITING
Over 460 pages packed with tips and techniques.
How to
write a plot twist,
the four kinds of suspense (and how to create it), reversals, ten ways to invent new action scenes, secrets and lies,
creating the ultimate
villain, five kinds of love interests, MORE!CLICK HERE!
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!
MY OTHER SITES
B MOVIE WORLD Cult Films, Exploitation, Bikers & Women In Prison, Monster Movies.
Every screenwriting book in the world! SCREENWRITER'S BOOKSTORE In Association With Amazon.com From the latest screenwriting book to
guides for finding agents and producers... all with at the
Amazon.com discount!
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
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!
