BIZ TIP TUESDAY:

WRITING A SEQUEL


The summer of sequels is here! The number one film over the weekend was CONJURING 2 - which kicks off a summer of sequels and remakes and reboots! We've already had CAPTAIN AMERICA: CIVIL WAR and MUTANT NINJA TURTLES 2 and X-MEN: APOCALYPSE and ALICE 2 and NEIGHBORS 2... And coming soon are some you may be looking forward to like INDEPENDENCE DAY 2 and BOURNE (4 or 5?). Of course, there's a new STAR WARS movie coming at the end of the year, too.

2011 was a record year for movie sequels, with 27 sequels coming out before the end of the year! Lots of movies with numbers after the title, like CARS 2, DIARY OF A WIMPY KID 2: RODRICK RULES, THE HANGOVER PART II, HAPPY FEET 2, HOODWINKED TOO! HOOD VS. EVIL, JOHNNY ENGLISH REBORN, KUNG FU PANDA 2, PIRANHA 3DD and SHERLOCK HOLMES: THE BOOK OF SHADOWS... Plus ALVIN AND THE CHIPMUNKS: CHIPWRECKED, BIG MOMMAS: LIKE FATHER, LIKE SON, MADEA'S BIG HAPPY FAMILY, PARANORMAL ACTIVITY 3 and TRANSFORMERS: DARK OF THE MOON... Not to mention MISSION: IMPOSSIBLE GHOST PROTOCOL, PIRATES OF THE CARIBBEAN: ON STRANGER TIDES, SCREAM 4, SPY KIDS 4: ALL THE TIME IN THE WORLD and THE TWILIGHT SAGA: BREAKING DAWN (PART ONE)... Plus FAST FIVE, FINAL DESTINATION 5, PUSS IN BOOTS, X-MEN: FIRST CLASS AND WINNIE THE POOH, THE MUPPETS, RISE OF THE APES and HARRY POTTER AND THE DEATHLY HALLOWS PART TWO. That was a lot of sequels!

Say you have a great idea for the *next* INDIANA JONES movie, or a killer concept for LETHAL WEAPON 5, or a fantastic notion of what might happen to Alex Foley in the next BEVERLY HILLS COP movie... should you just write the script and hope for the best? Who do you submit it to? Directly to the studios? To Spielberg or Eddie Murphy?

Sorry to break this to you - you can't submit that script to anyone. Writing it was a waste of time. Those characters are OWNED by producers, so writing about them would be stealing (not that the police will bust down your door for it, but if you tried to sell it you'd be in a heap-o-trouble). A sequel, even to a minor hit like FRIDAYS, is like gold to a producer or studio. They are always looking for stories with "franchise-able characters" - characters who can appear in several sequels. Why? Because you don't need to advertize a sequel as much - we KNOW how funny Eddie Murphy was in the first BEVERLY HILLS COP so we'll go see the next one hoping it will be just as funny. The character becomes famous, and they don't need to buy TV commercials that explain who Indiana Jones IS. People flocked to see PHANTOM MENACE because it was a STAR WARS movie - not because it starred Ewan McGregor. So any sequel to an existing film is a cash cow for the studio - a VERY valuable asset. They don't just let anybody write a sequel - these are the most important scripts a studio has.

The producers hire the writers to do the sequels. Not just any writers - they hire the best writers for the job. For MATRIX 2 and 3 Joel Silver hired the Wachowski Brothers (who wrote the first one)... if they were uninterested, Silver would have "auditioned" professional writers and chosen the one with the most interesting "take" on the material. After auditioning writers for LETHAL WEAPON 4 they still hired 4 different writers to create POSSIBLE scripts then picked the script they liked. Your script wasn't in the running - COULD NOT have been in the running.

TERMINATOR was owned by the bank that funded the last flop film, and they've sold it to those wacky Ellison kids (Annapurna Productions and Skydance productions) and they've announced a new *trilogy* starting next year - they could hire Cameron & Wisher to write the sequel, or they could hire someone else. Looks like Ah-nuld is back as an old T800 and the director of THOR: THE DARK WORLD has joined the team to make T5, and have landed a distribution deal with Paramount. James Cameron does NOT own the rights to the sequels - he sold those when he sold the original script & film to Hemdale. Whern the Carolco guys bought the rights to make TERMINATOR 2 they hired Cameron & Wisher to write the sequel. They could have hired anybody - it's their call. Because the producer picks the writer, they're going to pick a writer they know... not you. For TERMINATOR 3 they originally picked the writer of TANK GIRL because they had produced other films she had written...

After a director was hired, they decided to start from scratch with a new script... and hired the guys who wrote THE NET and THE GAME. Why? The director has worked with them before and the producer liked them. Then the TERMINATOR series has been *sold* to another company for $10 million and they made TERMINATOR: SALVATION as the first of three new movies without Ah-nuld... but T4 flopped. So, if you were wondering how much a producer might charge you for the rights so that *you* can write a sequel - the answer is $10 million! The producer decides who writes sequels BEFORE the sequel is written.

Sequels are written as assignments. That is - the producer of the original film (or whoever owns the rights) hires a writer to write the sequel. They DO NOT look at spec sequel scripts. In fact, looking at such a script would place them in a difficult legal situation in the event ANYTHING in the spec was similar to the sequel script they are paying to have written. Since you are dealing with the same characters & backstory, there will probably be many accidental similarities... and that means lawsuits.

Heck, there's a lawsuit now against a film about the British Secret Service by the Bond producers. They sue you for telling a true story if it's too close to a property they own! So writing a spec sequel get syou nowhere (except maybe court).

HOW DO I GET THAT GIG?

The only way to write a sequel is for the producer to hire you.

The way to make that happen is to write some great original scripts with your own characters and become established as a screenwriter so that you are on that list to come in and pitch your "take" on the sequel story.

In order to be that writer, you need to have written a hot ORIGINAL script that was successful. Sequels are valuable to a studio, so they don't let just anyone write them. If a sequel does well, they'll have a "franchise" (like Indiana Jones or James Bond or even Rick O'Connell from THE MUMMY) and can keep making sequels. So they need a writer who has PROVEN that he or she can write a hit film. It's not just one sequel at stake, here, it's several. It's pointless for you to write a sequel script without FIRST being hired by the studio.

By the way - think of any movie that could have a sequel and I guarantee the studio already has a writer working on it, or has a finished script. Even movies you think could never have a sequel, have writers working on sequels. Did you ever think there would be a HANGOVER 2? Or 3? TOP GUN 2 is coming up... with Tom Cruise! Any movie that ever made money (and some that didn't) have sequels in the pipeline. You know how everyone complains that Hollywood never does anything original? That everything is a sequel or a remake? Well, that's true. Heck, they used to wait 20 years before remaking a movie, but AMAZING SPIDER MAN was made only *five* years after SPIDER MAN 3. In the past there have been films remade *the year after* the original came out. Sequels? Heck, evry movie has a number after it these days!

For every movie that gets made there are *NINE* purchased screenplays or developed projects that never get made. Many of those developed projects are sequels that have finsihed, polished screenplays and maybe even some actors and directors involved... but end up on the shelf for now. So just because they haven't made a sequel to BATTLEFIELD EARTH doesn't mean there isn't a sequel script finished and ready to go. In fact, there are screenplays for BATTLEFIELD EARTH 2 and BATTLEFIELD EARTH 3 on a shelf ready to go right now. Someone came in and pitched their take on the property and they hired him to write #2... and then hired some other dude to write #3, just in case #2 was a hit.Before a film comes out and tanks, there's a lot of heat... and they often call in writers to pitch their take and hire someone in the event the film is a massive hit. They'll be able to announce the sequel the Monday after it breaks weekend box office records.

WHAT'S A TAKE?

I have a whole Script Tip in rotation on Pitching Your Take, but basically it's explaining your unique angle on the material. So before Stephen Summers got the job of remaking Universal's THE MUMMY as an Indiana Jones like action adventure flick, John Sayles had written a screenplay (and probably did a couple of rewrites on it) that was THE MUMMY in present day. A completely different take! There are a million directions a remake of THE MUMMY could go, and the studio listens to all of these possibilities pitched by screenwriters they have called in and select the one they like. And sometimes if that one isn't working, call in all of those writers again and start from scratch.

With *original* screenplays, studios are always looking for something that is The Same But Different, and that's even more true with sequels. The problem with sequels is that you want a story that is similar to the original (so that it *is* a sequel) but different enough that people won't skip it because they've already seen that story. I think the best type of sequel is the ALIEN to ALIENS type. Both are about those danged chest bursting, face hugging aliens who have acid for blood... but one is an old dark house horror movie and the other is a military action flick. The same but different.

Some of the complains about HANGOVER 2 was that it was a search and replace sequel. They seemed to just change the locations. To the point that Doug, the misplaced groom from the first film, wasn't part of the search for the misplaced brother in the second film... even though there was no reason for him not to be part of the search party! Too much "the same" and not enough "different". It would be like the Alien in ALIEN just attacking some other ship with some other crew... that Ripley just happened to be part of (you always bring back the star). The thing that made HANGOVER fun was the creative the story was told, and what they should have done is find a *different* way to tell the story in the sequel which was also creative and fun. You can't just leave out the creative way the story is told, then there would be a "hole" in the story. You need to find a different creative way to tell it. That way what made the first film special (and made it a hit) would be replaced by something that will make the sequel special... rather than just the same as the first film. You want ALIEN and ALIENS.

This was one of the great things about CAPTAIN AMERICA: WINTER SOLDIER. The first CAPTAIN AMERICA movie had a 98 pound weakling turned into a super soldier... but still thinking he's that 98 pound weakling. He has to get used to his new body, and that's part of the character's journey through the story. It's one of the things that made the character endearing. He's kind of a "fish out of water" but the "water" is his physique. WINTER SOLDIER takes the "fish out of water" and changes the "water" to the time period. After being frozen in ice, he's thawed out (what is the microwave setting for that?) and now this 1940s guy is in 2014... and the whole world is different. Two of the main things that are different are *technology* and *morality*. Can he adjust to this new world? Like the change in physique, this is an emotional struggle. WINTER SOLDIER also did the ALIEN/ALIENS thing with genre: instead of being a war movie, it's more of a paranoid 70s thriller. The things we love from the first movie are here, but this film is unique all the way down to the core. I'm writing this before the weekend box office numbers are in, but I'm guessing it did record numbers and the word of mouth will keep it at #1 for a while. You want to find that take that is the same but different!

Even writing a sequel as a sample isn't a good idea, because the characters and situations were created by somebody else. It's not exactly showing your creativity! How can someone judge your ability to create fully dimensional characters if you didn't create them? How can someone judge your ability to come up with great story ideas if it's someone else's story? Scenes? Plotting? (the list goes on!) You need a writing sample that shows YOUR creativity. In fact - why would you WANT to write a sequel? Don't you have enough of your own ideas? If not - get some ideas! Write YOUR stories!

The best way to get a sequel gig is to write a great original screenplay. That is also the best way to get a job adapting that comic book you love, or get the gig doing a remake. It all begins with your original screenplay!


FAQ



LIMITED TIME OFFER!

CLASSIC CLASSES @ HALF PRICE as MP3s!
Full Set Of Six: $25.



Tip FAQ

My New Script Secrets Newsletter!


NOW AVAILABLE!


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!

May Price: $3.99 --- June Price: $5.99


bluebook

Over 240 pages!

*** THE TERMINATOR SERIES *** - 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!

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


bluebook

Over 400 Pages!

*** 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!

Only $3.99 - and no postage!





bluebook

Strange Structures!

*** HITCHCOCK: EXPERIMENTS IN TERROR! *** - For Kindle!

***

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 53 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 $4.99 - and no postage!


bluebook

GOT IDEAS?

*** 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 $3.99 - and no postage!

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


bluebook

BRAND NEW!

*** 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 $3.99 - and no postage!


bluebook

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!

Only $3.99 - and no postage!


bluebook

DO YOU 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 $3.99 - and no postage!


bluebook

BRAND NEW!

*** 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!


MY BLOG!

Underpants T shirt SCRIPT SECRETS STORE
Start The Day The Coffee Way!


Enter your Email to join my newsletter:



bluebook

MAKES A GREAT GIFT!

*** 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!


bluebook

HOW YOU TELL IT

*** 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 $3.99 - and no postage!


bluebook

STUCK IN THE MIDDLE?

*** 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 over 208 pages!

Only $3.99 - and no postage!


bluebook

GREAT SUPPORTING CHARACTERS!

*** 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 $3.99 - and no postage!


bluebook

THAT STAR PART!

*** 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 $3.99 - and no postage!


bluebook

THEY SOUND DIFFERENT!

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

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

Expanded version with more ways to create interesting protagonists! How to remove bad dialogue (and what *is* bad dialogue), First Hand Dialogue, Awful Exposition, Realism, 41 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!

Only $3.99 - 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 2016 by William C. Martell


eXTReMe Tracker
SECRETS OF ACTION SCREENWRITING

bluebook 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

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!

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.
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!

ONLINE CLASSES
Furious Action Class
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!

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

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

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 OUT OF PRINT!