MONDAY'S SCRIPT TIP:

NEGATIVE GOALS


HART'S WAR wasn't a bad film, but it was an unsatisfying one. It's well photographed, has interesting characters, no shortage of plot, a couple of good twists, and even tackles some interesting issues. So what went wrong?

Naked

At first HART'S WAR wanders around for about an hour looking for a story - The movie opens with young Lt. Hart (Colin Ferrall - no relations to Will) working in Allied HQ during World War 2. While chauffering a soldier and a case of champagne to a General's office, he's captured by the Germans... interrogated for enough screen time to make us wonder if that's what the film will be about... then sent by train to a POW camp. The train ride to the POW camp seems like a movie in itself - when snow covers the POW markings on the roof of the train it is attacked by US planes who think it might be carrying supplies. Several POWs die (one in Hart's arms) and they end up walking the rest of the way to the POW camp. After numerous subplots involving the evil Nazi Commandant (Marcel Iures) and ranking soldier Bruce Willis locking horns, and the problems of integrated prisoners of war in a still-segregated military, the film finally settles on a story - a courtroom drama.

Black fighter pilot Terrence Howard is accused of murdering bigoted prison camp crime kingpin Cole Hauser (yes - relation to Wings) and Willis insists on an official military Courts Martial before the Germans execute Howard. Hart is given the job of defending him. Howard says that he's innocent, and the case is purely circumstantial. What little physical evidence there is when Hart is appointed seems to substantiate Howard's story of innocence. It looks like Howard was framed because he's Black - previously another Black POW was framed for trying to escape and executed. Howard is presented to us as an innocent man falsely accused.

There are two problems facing Hart in the Courts Martial trial:

1) He was a second year law student when the war began, and the soldier acting as prosecutor was a hot-shot Harvard educated lawyer before being called up. Hart doesn't even know the basic rules of a Courts Martial, and doesn't own a trial manual.

2) Willis orders him to lose the trial. You see, Hauser was murdered outside of the barracks AFTER lock-down. While the Nazis think the POWS are safely locked up for the night, they are actually sneaking around the camp doing mischief. They have a secret door (complete with hinges) built into the latrine (yech!). Even though Willis is a POW, he's still trying to fight the Nazis in whatever way he can - stealing supplies, giving bread to the starving Russian POWs, etc. Willis can't let the Germans know they have a way out of the barracks after lock-down... even if it means an innocent man will be sentenced to death. Allowing the Germans to believe that two POWS found a way out of the barracks to settle their personal dispute is okay, but Hart can not introduce other suspects without explaining how they could be outside the barracks after lock-down. In war, sometimes a man must jump on a grenade in order to save his fellow soldiers... Hart is ordered to lose the trial and let Howard be executed to save all of the other POWs. So Hart does his part to win the war... by losing the trial.

Do you see the problem with this scenario? It's a negative goal. We are placed in the position where we must root for Hart to fail, so that an innocent man will die.

And how can we tell the difference between Hart losing the trial on purpose and losing it because he's incompetent? Guy is a second year law school student who doesn't know what he's doing, right? How can we see someone *not* accomplish something?

STANDING STILL? OR NOT RUNNING?

Naked

This is not a scenario where Howard sacrifices himself by jumping on a grenade to save the other men - Howard just sits there in the courtroom, the prosecution is performing the actions. Hart is not sacrificing himself, nor is he DOING ANYTHING to aid in the sacrifice... Hart is DOING NOTHING. He is going through the motions of investigation without digging too deep, he is going through the motions of defending Howard without doing a good enough job to win. His goal is to do nothing... so how do we know he's achieved it?

The only way to show that a man is NOT running is to have everyone else run. If everyone is standing still, how will we know that one guy isn't running? If some people are walking and others are running, our guy could be NOT running or NOT walking. It's only when EVERYONE is performing an action EXCEPT our guy that we can know he's NOT performing the action... and there are still variables that might explain why he isn't running. How do we know he's not running on purpose? He might be not running by accident or stupidity! So if we're trying to show our guy isn't running because he's brave, we still haven't really shown that. It's almost impossible to clearly show a negative goal - someone NOT achieving something on purpose.

Naked

A couple of years ago I was up for a rewrite on a Dennis Hopper film about a college town cop chasing a serial killer who sent quizzes to College students - if they answered the questions correctly, he killed them. See, the quiz was all about pop culture, and the serial killer thought college kids should spend more time reading War And Peace and less time watching FRIENDS and listening to SmashMouth's latest CD. The leading lady was smart... but is she smart enough to answer the questions wrong? I pointed out to the producer that two types of people could escape the serial killer - college students who studied so hard they didn't have time for pop culture, and complete morons. But what about college students who studied hard AND also knew the names of all of the characters on FRIENDS? I knew all kinds of things about Brittany Spears, but I don't think I'd ever heard one of her songs all the way through at the time. You can know pop culture and know others things as well - one doesn't exclude the other. I'm kind of a knowledge junkie. I know that the Pledge Of Allegiance didn't contain any reference to God before 1954 - before then the separation of Church & State was taken more seriously. I know that James Buchanan was the only "confirmed bachelor" President - he never married... maybe he was Gay? I know that there are 287 Indian Reservations, and that each is a nations within our nation. I know that Phoebe's twin sister is named Ursula. I know that Galileo not only discovered the four largest moons of Jupiter, he invented the thermometer.

Just because someone knows about pop culture doesn't mean they haven't been doing the homework in their college class... And it creates a situation where if our leading lady wants to survive, she has to answer the quiz questions wrong. She has to look stupid to prove she's smart. That's a contradiction. Stupid people also look stupid, but they aren't smart. And there's something just wrong with rooting for a character to fail on purpose - it's impossible to know if that person failed because they worked hard to fail, or if they failed because they really are incompetent. My suggestion was to have the serial killer asking college exam questions... but the story was supposed to be about the evils of pop culture, so I did not get that rewrite job. Problem is, it's almost impossible to show a negative goal has been achieved on purpose!

CELEBRATING LOSS!

A negative goal puts the audience in a strange position - it's natural to reward someone for their efforts, to root for people to succeed. But when success is measured by failure, it's easy for the audience to become confused. Do we cheer when OUR TEAM drops the ball? When OUR TEAM screws up? Our natural instinct is NOT to cheer - but to be angry or disappointed. If we're angry and disappointed at the hero's success in achieving his goal we're not feeling satisfied at the end of the film. It's difficult for the audience to root for failure... and that creates an unsatisfying story situation.

Edmund Burke said, "The only thing necessary for the triumph of evil is for good men to do nothing." Our hero is doing nothing... and it's hard to cheer him on.

So in HART'S WAR we are rooting for Hart to lose the case - but is Hart trying really hard to lose the case, or is he just a moron who would have lost the case anyway? Remember - he's the underdog in the trial, the 2nd year law student. So he may just be incompetent. Do we want the audience to reward his incompetence? That's another problem with a negative goal - because the only way to see the goal is by failure when the hero should have succeeded. For a failure to fail is undramatic - Hart should have been the slick Harvard lawyer who has never lost a case... because then we would know he is losing this one on purpose. Also, there would be some drama built in to that - he would have to swallow his pride and look like a loser... in order to be a winner.

But that scenario doesn't really work, either: If Hart is above failure and perfect... Well, perfect characters are undramatic and boring and difficult to like. He'd have to be some sort of arrogant prick for the story to really work... and audiences *want* to see that type of character fail. Drama practically requires the hero be an underdog - we don't cheer for Goliath, we cheer for David. But for a negative goal to work, we have to take Goliath's side in the battle with David. The thing that makes a negative goal work for the story also manages to repulse the audience - we don't want to root for the big guy to stomp the little guy!

I'm sure the decided to make this novel into a film *because* the story was subversive - certainly not because the audience was clamoring for a World War 2 Courtroom Drama. But the scenario out-clevers itself. To show that Hart isn't losing the case because he's a moron he can't be the underdog, in order to gain audience sympathy he must be the underdog. That's another contradiction that tears the audience apart when you're dealing with a negative goal story.

ON THE PAGE vs. ON THE SCREEN

Naked

Though in a novel this might have worked due to the thoughts and feelings of the character, those are elements that do not translate to the screen. I haven't read the screenplay, but can imagine a clever writer finding ways to "cheat" in thoughts and feelings so that the scenario worked on the page and we understood that Hart was trying to lose... but since none of those things would ever end up on the screen, the movie was doomed to fail. We can not know that he is failing *on purpose* on screen. We can only know if he is failing or succeeding. Any "cheats" that tell us *why* stay on the page - never making it to the screen and the audience. In a novel (or a screenplay full of "cheats") the reader may understand that Hart is trying to fail, but on screen all we can see is the failure itself. The audience can't read the "cheats" and probably hasn't read the novel, so they never get that critical information.

We can't really show Hart *not* investigating the crime. We can't really show Hart *not* calling a witness. We can't really show Hart *not* asking a witness on the stand an important question. We can't really show Hart *not* objecting to a question. So how can we really know that Hart is losing the case on purpose? How can we show a negative goal? And if we can ever figure out that question, we come to the other big question: How can we get an audience to root for our hero to fail and an innocent man to be put to death?

You can show people DOING THINGS on screen, but it's almost impossible to show them NOT DOING THINGS. A man not running might also be not walking or not singing or not flying or nor skipping or not strolling or not jumping up and down or not... We can't really know what someone is NOT doing or NOT saying. Film requires people doing things - we can see the MOTION. If Hart never makes a motion - either in the courtroom or in the field investigating - nothing is happening. There is no information being imparted to the audience. That's why HART'S WAR is just an okay movie - the most important thing the hero does is... Nothing.

How do you show a character *not* doing something?

Beware of any situation where a character's goal is NOT to perform an action. Beware of creating a story where the hero must fail in order to succeed. Beware of stories with negative goals.


BRAND NEW

OUTLINES & THE THEMATIC!

bluebook

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.

Only $4.99!


ALSO NEW!

DESCRIPTION & VOICE Blue Book!

bluebook

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?

Only $4.99!


Tips FAQ

My New Script Secrets Newsletter!


NEW BOOKS!

bluebook

NEW AND HOT!

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


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

Only $4.99 - and no postage!


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


LEARN SUSPENSE FROM THE MASTER!

*** HITCHCOCK: MASTERING SUSPENSE *** - For Kindle!

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

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

Only $5.99


bourne

BRAND NEW!

*** THE BOURNE MOVIES

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

Only $3.99 - and no postage!





The new CDs are available now!

AUDIO CLASS!

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

RECESSION SALE! $5 OFF!

IDEAS AND CREATIVITY - 80 minute CD packed with information. Tools to find ideas that are both personal *and* commercial. Hollywood wants scripts with High Concept stories... but not stupid scripts. Developing *intelligent* high concept ideas. How to turn your personal story into a blockbuster - or find your personal story in a high concept idea. Brainstorming and being creative. Ideas and Creativity is $10.00 (plus $5 S&H)

WRITING INDIES - Writing an Indie film? This class covers everything you need to know - from Central Locations to Confined Cameos. Using examples from SWINGERS, THE COOLER, STATION AGENT and others, this 80 minute CD is packed with information. How Indoe films challenge the audience (while mainstream films reassure the audience). Structures, using BOYS DON'T CRY, RUN LOLA RUN, HILARY & JACKIE, and others as example. Writing for a budget, writing for non-actors, getting the most production value out of your budget. Writing Indies is $10.00 (plus $5 S&H)

WRITING HORROR - The essentials of a horror screenplay - what do ROSEMARY'S BABY, NIGHT OF THE LIVING DEAD, THE EXORCIST, BRIDE OF FRANKENSTEIN, THE OTHERS and OPEN WATER have in common? This class will tell you! All of the critical elements necessary to write a script that scares the pants off the audience. Writing Horror is $10.00 (plus $5 S&H).

Click here for more information on CLASS CDs!



bluebook

THE BOOK THAT STARTED IT ALL!

*** THE SECRETS OF ACTION SCREENWRITING *** - For Kindle!

*** THE SECRETS OF ACTION SCREENWRITING *** - For Nook!

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

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

Only $9.99 - and no postage!


READY TO BREAK IN?

bluebook

NEW!

*** BREAKING IN BLUE BOOK *** - For Kindle!


Should really be called the BUSINESS BLUE BOOK because it covers almost everything you will need to know for your screenwriting career: from thinking like a producer and learning to speak their language, to query letters and finding a manager or agent, to making connections (at home and in Hollywood) and networking, to the different kinds of meetings you are will have at Studios, to the difference between a producer and a studio, to landing an assignment at that meeting and what is required of you when you are working under contract, to contracts and options and lawyers and... when to run from a deal! Information you can use *now* to move your career forward! It's all here in the Biggest Blue Book yet!

Print version was 48 pages, Kindle version is over 400 pages!

$4.99 - and no postage!

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


bluebook

STORY: WELL TOLD!

*** STORY: WELL TOLD *** - For Kindle!


This book takes you step-by-step through the construction of a story... and how to tell a story well, why Story always starts with character... but ISN'T character, Breaking Your Story, Irony, Planting Information, Evolving Story, Leaving No Dramatic Stone Unturned, The Three Greek Unities, The Importance Of Stakes, The Thematic Method, and how to create personal stories with blockbuster potential. Ready to tell a story? Print version was 48 pages, Kindle version is over 85,000 words - 251 pages!

Only $4.99 - and no postage!


bluebook

MOVIES ARE CHARACTERS!

*** CREATING STRONG PROTAGONISTS *** - For Kindle!

*** CREATING STRONG PROTAGONISTS *** - For Nook!

Expanded version with more ways to create interesting protagonists! A step-by-step guide to creating "take charge" protagonists. Screenplays are about characters in conflict... characters in emotional turmoil... Strong three dimensional protagonists who can find solutions to their problems in 110 pages. But how do you create characters like this? How do you turn words into flesh and blood? Character issues, Knowing Who Is The Boss, Tapping into YOUR fears, The Naked Character, Pulp Friction, Man With A Plan, Character Arcs, Avoiding Cliche People, Deep Characterization, Problem Protagonists, 12 Ways To Create Likable Protagonists (even if they are criminals), Active vs. Reactive, The Third Dimension In Character, Relationships, Ensemble Scripts, and much, much more. Print version is 48 pages, Kindle version is once again around 205 pages!

ONLY $4.99 - and no postage!


bluebook

ACT TWO SOLUTIONS!

*** ACT TWO SECRETS *** - For Kindle!


Expanded version with more techniques to help you through the desert of Act Two! Subjects Include: What Is Act Two? Inside Moves, The 2 Ps: Purpose & Pacing, The 4Ds: Dilemma, Denial, Drama and Decision, Momentum, the Two Act Twos, Subplot Prisms, Deadlines, Drive, Levels Of Conflict, Escalation, When Act Two Begins and When Act Two Ends, Scene Order, Bite Sized Pieces, Common Act Two Issues, Plot Devices For Act Two, and dozens of others. Over 67,000 words (that’s well over 200 pages) of tools and techniques to get you through the desert of Act Two alive! Print version was 48 pages, Kindle version is well over 200 pages!

ONLY $4.99 - and no postage!


bluebook

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!

ONLY $4.99 - and no postage!


bluebook

Over 240 pages!

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


He's back! The release of "Terminator: Genisys" (now on BluRay) is set to begin a new trilogy in the Terminator story... 31 years after the first film was released. What draws us to these films about a cybernetic organism from the future sent back in time? Why is there a new proposed trilogy every few years? This book looks at all five Terminator movies from a story standpoint - what makes them work (or not)? What are the techniques used to keep the characters and scenes exciting and involving? How about those secret story details you may not have noticed? Containing a detailed analysis of each of the five films so far, this book delves into the way these stories work... as well as a complete list of box office and critical statistics for each film. This book is great for writers, directors, and just fans of the series.

ONLY $3.99 - and no postage!


bluebook

ADVICE FROM 1920!

*** VINTAGE #1: HOW TO WRITE PHOTOPLAYS *** - For Kindle!

***

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

ONLY $2.99 - and no postage!


bluebook

I WRITE PICTURES!

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


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

ONLY $4.99 - and no postage!


bluebook

BEST SELLER!

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

*** YOUR IDEA MACHINE *** - For Nook!

Expanded version with more ways to find great ideas! Your screenplay is going to begin with an idea. There are good ideas and bad ideas and commercial ideas and personal ideas. But where do you find ideas in the first place? This handbook explores different methods for finding or generating ideas, and combining those ideas into concepts that sell. The Idea Bank, Fifteen Places To Find Ideas, Good Ideas And Bad Ideas, Ideas From Locations And Elements, Keeping Track Of Your Ideas, Idea Theft - What Can You Do? Weird Ways To Connect Ideas, Combing Ideas To Create Concepts, High Concepts - What Are They? Creating The Killer Concept, Substitution - Lion Tamers & Hitmen, Creating Blockbuster Concepts, Magnification And The Matrix, Conflict Within Concept, Concepts With Visual Conflict, Avoiding Episodic Concepts, much more! Print version is 48 pages, Kindle version is over 175 pages!

Only $4.99 - and no postage!


bluebook

PRO DIALOGUE TECHNIQUES!

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

*** DIALOGUE SECRETS *** - For Nook!

Expanded version with more ways to create interesting dialogue! How to remove bad dialogue (and what *is* bad dialogue), First Hand Dialogue, Awful Exposition, Realism, 50 Professional Dialogue Techniques you can use *today*, Subtext, Subtitles, Humor, Sizzling Banter, *Anti-Dialogue*, Speeches, and more. Tools you can use to make your dialogue sizzle! Special sections that use dialogue examples from movies as diverse as "Bringing Up Baby", "Psycho", "Double Indemnity", "Notorious", the Oscar nominated "You Can Count On Me", "His Girl Friday", and many more! Print version is 48 pages, Kindle version is over 175 pages!

Only $4.99 - and no postage!



hcd

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 2018 by William C. Martell


eXTReMe Tracker
SCRIPT SECRETS STORE

Script Secret Store SCRIPT SECRETS STORE From Typing Monkey coffee cups to messenger bags to T shirts - everything a screenwriter needs to look sharp while working on that Oscar nomination! Get your Script Secrets Coffee Cup today!

E BOOKS PAGE

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 CDs

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!

BOOKSTORE

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!

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 CD

Class CDs 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!