TOM CLANCY'S JACK RYAN season 3 has been pushed to next year due to Covid-19, so I thought we might look at the movies. The Alec Baldwin and Harrison Ford movies were hits, but then something happened. Every time they tried to reboot the series... the films flopped. Let's look at why that happened....

Action scenes should grow organically from the characters and story - not be pasted on just to provide cheap thrills or help the pacing in a slow stretch of the script. This is one of those things that can kill a movie in its tracks - inorganic action. Also something that doesn't get much thought in Holllywood - those development executives need to read my book! JACK RYAN: SHADOW RECRUIT flopped at the box office, but first let's look at the action scenes from the previous attempt at a series reboot... SUM OF ALL FEARS. Action scenes are all about life or death situations, and those are about the most emotionally charged situations I can think of. When you are writing an action scene, remember to make it emotional as well as physical... we're exploring character through actions. We also don't want to just throw in some action scene because nothing has happened for a while and we need to spice things up. We want our action scenes to be part of the story, *organic* to the story. Every scene needs to be part of the story... required to tell the story.

We not only want to create a balance between action and character, we want to use action to EXPLORE character. We want the action scenes to be ABOUT character - to demonstrate character through actions and reactions to events. That is one of the primary purposes of any scene - to explore character. Scenes should also advance the plot, illustrate the theme (if possible) and entertain the audience. Yes, that's a lot of work. But if your action scene isn't telling us anything about the character, isn't emotionally involving, it's just a bunch of pointless truck explosions.

Once you have your hero's emotional problem (character arc), come up with a list of action scenes that will force him or her to deal with that problem. Scenes that force them to solve that emotional problem in order to survive. If two people are running away from an escaped tiger, and one trips and falls... does the other go back to rescue them (and put his own life in peril for a stranger)? By creating a situation where PHYSICAL ACTIONS show decisions we can explore character through actions.

Though PATRIOT GAMES and CLEAR AND PRESENT DANGER managed to integrate character into their action scenes turning them into "quality action films", THE SUM OF ALL FEARS came off as just another dopey action film. Why? Part is probably due to Ben Affleck, but some of the problem is that the protagonist doesn't seem to have any emotional conflict and the action sequences often seem pasted on rather than organic. Because the action scenes have nothing to do with exploring the character of Jack Ryan they come off hollow and bland.

A good example of the pasted on action scene has Jack Ryan (Ben Affleck) racing across town to prevent a disaster from happening. While driving down the street at high speed, a truck turns the corner in front of him, cutting him off... Ryan's car CRASHES into the front of a building! Ryan tries to get the car started as time ticks away. Finally he gives up, gets out of the wrecked car and starts running across town, dodging cars and other obstacles. It's one of Jack Ryan's big action scenes... but it seems silly and gratuitous. Even though there's a big car crash, and lots of running, it's downright boring and perfunctory. Why? The scene has nothing to do with Jack Ryan's character - he has no emotional problem to overcome nor does he have to call on reserves of strength or faith or anything else. He has to do a little running, but that's not emotional at all.

And the truck that cuts him off? Completely arbitrary. Sure - trucks can cut you off on the road and cause an accident. But why this truck and why at the very time Ryan was racing across town to prevent a disaster? It's contrived! A negative coincidence dropped into the story to create an action scene. If that truck had turned thirty seconds earlier or thirty seconds later there would be no action scene. Because we know (consciously or subconsciously) that they dropped that truck into the scene just to artificially create an action scene, we have trouble believing the scene. It seems false. In another tip I talked about how good plotting is like a game of tennis - things don't just happen, they happen as the result of the central conflict. Your antagonist does something that directly creates conflict for the protagonist. The protagonist deals with that conflict. knocking it back into the antagonist's court, and the antagonist knocks it back to the protagonist. The problem here is that the truck going out of control may have been indirectly caused by the explosion (antagonist) but it's timing was pure coincidence. If the explosion didn't cause the truck to cut him off - it was driver error. How could driver error be the result of the antagonist's escalating plan?

It was a *negative coincidence*, which is still a coincidence. You want your story to be cause and effect. You want the protagonist to be dealing with problems created by the anatagonist. Like having that explosion block the road or fry every car's computer or something else that would create an action scene based on our protagonist being forced to react to the antagonist's "volley".

So even with a basic emotional connection we might have with our hero just because he's in a dangerous situation are negated. We don't believe the situation! Plus, it contains no emotional conflict to create involvement with the character. Remember that action scenes are character scenes. Your action scenes should be designed to explore teh character. If this had been the only unemotional pasted on action scene in the film, we might have let it slide... but NONE of the action scenes were used to explore the protagonist's emotional conflict. All of the action scenes seemed flat and uninvolving... and many seemed pasted on as an after thought.

CLEAR AND PRESENT DANGER did a great job of taking CIA Informational Analyst Jack Ryan, who is known as a "Boy Scout" and believes the world is Black & White, Right & Wrong, and sending him out in the field where the world is about as gray as you can get... and place him in action situations where he gets his hands dirty. This is a great dramatic concept, and it's the core of what makes Jack Ryan a great character: he's a desk jockey who ends up out of his element in the field. When you put an action character in an action situation, you lose all drama and suspense, and the action is meaningless. Hey, they can take care of themselves! We don't worry much about them. When you take a non action character and put them in an action situation, they could easily die. The character knows they could easily die. So we have no end of drama and excitement in the action scenes. When Harrison Ford is sent to Colombia to check on a possible connection between two Americans (friends of the President) who where murdered on their yacht and the Cali Cartel, he ends up in the middle of a war zone. He goes from sorting through paperwork to the middle of an ambush where the Cartel is firing *rockets* at their motorcade, and Jack's long time friend Don is killed ten feet away from him. This is a story about *responsibility* and *honesty* and all of the action scenes not only explore Jack Ryan's character, they are required by the story. Nothing pasted on from the outside just because we need an action scene to wake up the audience. The action scenes involve Jack Ryan and are part of the story.

What is interesting in this story is that Jack Ryan has two mirror characters: the drug cartel's Information Analyst Felix Cortez (Joaquim de Almeida) and his rival Ritter at the CIA (Henry Czerny)... both are very much like Jack Ryan and his antagonists. Cortez is even called "The Latin Jack Ryan" at some point. Where Ryan is all about doing the right thing even if it costs him, Ritter is all about doing whatever is necessary to further what is best for himself. That includes having Jack Ryan killed in Colombia once it becomes apparent that he will not lie and be part of the cover up. Putting our protagonist *organically* in the center of the action again. Later, when Ritter and the Washington conspiracy has left the secret US military force behind in Colombia, Ryan feels that he is responsible for them and partners with Clark (Willem Dafoe) to get them out... again putting him in the center of the action as part of the story. No pasted on action scenes, and all of the action is character oriented. Also, it's scary as hell because Jack Ryan is a desk jockey, not an action guy.

JACK RYAN: SHADOW RECRUIT makes the mistake of making Jack Ryan an action guy, which makes all of the action scenes bland and unexciting. Though there's a line in HUNT FOR RED OCTOBER (from Fred Dalton Thompson) about Ryan being a Marine who was shot down in a helicopter where all of the other Marines were killed and he spent a couple of years learning to walk again, SHADOW RECRUIT has him *rescue* all of his other Marines turning him into an action hero in the opening scene! This is the first Jack Ryan film without James Earl Jones as CIA Director Greer... instead we get a CIA Field Agent played by Kevin Costner, and instead of Jack Ryan being an Information Analyst who ends up out of his element in the field (Moscow this time), Costner gives him a gun and tells him he's been activated as a Field Agent where he's expected to do the James Bond thing... making the action scenes *expected* and kind of dull. And even when his fiancé Kathy (Keira Knightly playing the role that Anne Archer and Bridget Moynahan have played in previous films) shows up unexpectedly, and you think we have an innocent in the middle of the action and maybe *this* will bring some "out of element" to the action scenes... Costner briefs her and tells her the whole mission so that she's now part of the action on purpose. She knows everything, so there is no drama or suspense.

Where SUM OF ALL FEARS often seemed like a dopey action movie, SHADOW RECRUIT actually *is* a dopey action movie. Once Jack Ryan is "activated" he's killing huge bad guys and running and jumping and speeding around on motorcycles and we never worry that much about him. Unlike RED OCTOBER where we get the cat and mouse with the Russian submarine that may either be part of a first strike against the United States or defecting, or PATRIOT GAMES where our strike has repercussions we never expected and now the shoe is on the other foot, or CLEAR AND PRESENT DANGER where the story explores responsibility and honesty; SHADOW RECRUIT isn't about anything in particular... it's just a stop the bad guys movie. The story doesn't even explore anything political. Hey some Russian guy is gonna sell off a lot of stock and throw us into a new Depression (um, aren't we still kinda in one?), this is the boring new villain's plan for the new millennium! He is also going to blow up Wall Street, which some percentage of the audience probably thinks is a *good* idea. A few people may die, but mostly banks will blow up. Heck, at least SUM OF ALL FEARS was going to blow up the Super Bowl! But this Wall Street plot has no twists or turns and even though Jack Ryan is clever enough to figure out how they're going to do it and single handedly go to stop them, he's mostly just a generic action dude in a generic action plot. I suspect the film flopped because the *trailer* didn't show the audience anything they hadn't seen before and had no real hook. And not a single memorable line.

Remember to make your action scenes emotional. To use them as a way to show decisions. The conflict in an action scene is the conflict in the screenplay is the emotional conflict that your protagonist is struggling with. They're all connected.

So here is the trailer for season 2 of the TV series...


Want to look like an expert?



Does this gun fire 6 shots or only 5? In all of the excitement of writing your action scene, you might not have done the research... and your hero could be out of ammo! Whether you are writing a novel or screenplay, you can save your hero, and your story, by doing a little research first! This book looks at Why you should research, Whether you should research First or Later, PLUS the importance of World Building in Science Fiction, Fantasy... and the worlds you explore in every other genre. Movies like JOHN WICK and THE GODFATHER take place in their own unique worlds... and writers must create them! YOU are the technical advisor on your Screenplay or Novel.

Using movie examples like TOP GUN, HUNT FOR RED OCTOBER, BLUE CRUSH, ADVENTURE LAND, several of my produced films, JOHN WICK, the novels of Donald E. Westlake and Thomas B. Dewey, SPY KIDS, the LORD OF THE RINGS movies, SOYLENT GREEN (which takes place in the far off future of 2022), and many others we will look at researching stories and creating worlds. The 8 Types Of Research, the 10 Types Of Information To Look For, 12 Important Elements Of World Building. Plus chapters on How To Rob A Bank and Commit Murder And Get Away With It for those of you interested in crime fiction, and Researching The Future for those writing science fiction, and Levels Of Reality if you are writing about a version of the real world.

No matter what you are writing, this book will help you find the facts... or make them up in a convincing way! EARLY MARCH.


Can You Make It bigger?



Writing something EPIC?

Over 500 Pages, ONLY : $4.99!

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

Only $4.99


All About Endings!



The Perfect Ending For Your Story!

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

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






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!



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

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

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

344 pages - SALE:: $7.99!




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 !

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




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.

268 pages - Only $3.99


Over 240 pages!

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

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

ONLY $3.99 - and no postage!

Tips FAQ

My New Script Secrets Newsletter!







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!






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!



*** 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!



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

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

Only $5.99

The new MP3MP3s are available now!


NOIR & MYSTERY80 minute MP3 packed with information on writing Film Noir and Mystery scripts. Using examples from CHINATOWN to OUT OF THE PAST to DOUBLE INDEMNITY you'll learn how to create stories in this dark, twisted genre. How to plant clues, red herrings, suspects, victims, spider women, fallen heroes, the funhouse mirror world of noir supporting characters... and the origins of Film Noir in literature Noir dialogue and how noir endings are different than any other genre. All of the critical elements necessary to write in this critically popular genre.
The Noir & Mystery Class is only $15 (plus $5 S&H). First 20 on Limited Black Disk!


IDEAS AND CREATIVITY - 80 minute MP3 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 MP3 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 MP3s!





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!




*** 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!



*** 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!





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!



*** 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!



*** 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!





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!



*** 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!



*** 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!



*** 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!



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 2020 by William C. Martell

eXTReMe Tracker

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

Furious Action Class

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

Producing my own scripts, investment possibilities, pipe dreams.


Naked Class The NAKED SCREENWRITING CLASS ON 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!


Every screenwriting book in the world!
In Association With
From the latest screenwriting book to guides for finding agents and producers... all with at the discount!


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

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


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

Available Scripts


Take classes on MP3!