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Halloween was a couple of months ago... and I missed ipsoting this!

Horror movies seem to be experiencing a renaissance. We’re all watching PET SEMITARY and the second part of IT and still trying to figure out the ending of US... so let’s take a look at horror movies today. Horror is one of those genres that can not be killed - every time you think it is dead, it pops back up like a zombie. It is also one of the earliest genres, Georges Meilies made a horror film in 1896 that featured vampires and ghosts and witches and the undead. The great thing about horror movies is that the horror is the star - so you don’t need to spend $75 million on Robert Downey, jr - you can cast lesser known actors and still be successful. This makes it a great genre to break in with for a writer. Jordan Peele was known as a comedy guy before GET OUT made a pile of cash on a low budget, which lead to this year’s hit US... which made a lot of money, but many people didn’t think it was scary. Why not? That’s what we will be looking at...

If I had written US, there would have been roles written for Milo Ventimiglia and Mandy Moore and Sterling K. Brown, just to mess with the audience. Heck, when I was hired to write the remake of the 80s classic HOUSE the first thing I did was come up for a role that we could cast Hugh Laurie in. But I would have also figured out another way to end the film, because I think that’s the main problem with the movie - we have to swallow a lot of information in one big chunk right before we leave the cinema. That dilutes the scares and twist. But what makes a movie (or novel or short story) scary?

Complete this common phrase: "Fear of the _____________."

What is the missing word?

"Fear of the _____________."
What is the missing word?

Unknown. We fear what we can not see, what we do not understand. Once you shine a light into the darkness, either literally or metaphorically, it becomes less frightening. That dark shape in the closet? It's just your winter coat. That big biker guy coming at you with the tattoo on his arm? The tattoo says "mom"... he just looks scary, once you get to know him he's a pussy cat. The more you know, the less you fear.

Writing a horror story is a dangerous tight-rope walk between using the unknown to create fear and at the same time creating a plausible story that the audience thinks might actually happen... to them, after they leave the cinema.


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Ehren Kruger's Americanization of THE RING is a creepy film that gets under your skin, many reviews of the film mentioned that the film starts out well, but becomes less frightening as the story progresses. Though the film does go off course for a while, it has a haunting end that will scare the crap out of you... and leave you with nightmares. But what about those scenes in the middle where it veers a little off course? Let's take a look at those scenes...

THE RING starts out great - Naomi Watts' high school niece and three friends rent a cabin for the weekend, get high, screw, no cable TV so they watch a tape someone left in the room. It's the legendary killer video tape that kills all who see it seven days later. As soon as you see the video, the phone rings and a little girl's voice tells you that you only have seven days to live. This creates a feeling of dread - no matter what you do, you will die in seven days. You don't know how you are going to die - only that you will. On that seventh day everything around you becomes potentially lethal. Something in the niece's suburban home will kill her... what? A fall down the stairs? That puddle of water and an electrical appliance? An exploding TV tube? It could be anything, so you don't know where to run or where to hide. The knife you grab to defend yourself may be the knife that kills you. This creates suspense, a feeling of helplessness, and a genuine fear of the unknown.

Seven days after viewing the video tape, every single one of the four high school kids dies at the exact same MINUTE in four different freak accidents. Naomi Watts plays a Seattle newspaper reporter who decides to find out how her 17 year old niece could die in such an unusual way. She hears the rumor of the tape, goes to the cabin, steals the tape, watches the tape...

Which is filled with really disturbing images. Things that make no sense at all. Because the images are disturbing and impossible to understand, they are very frightening. Dead horses washing up on a beach? That's really strange! As soon as the tape ends, the phone rings and the voice of a little girl says "You have seven days to live". Naomi is a single mom trying to raise her young son, and she's going to die in seven days. Her boy will be an orphan in a week. This concept works because no matter what she does, she WILL die in seven days. There is no escape. It's not a monster chasing you - you might be able to escape from that... it's fate. Seven days from today something will kill her. Even if she has locked herself in an empty, padded room... she will die.

Naomi shows the video tape to her ex-boyfriend, a TV tech. He notices something strange - the video tape has no source code... it was never recorded, it just came to be. How is that possible? No logical explanation for the tape makes it even more frightening.

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Another cool thing in the film: once you see the tape your image is distorted in photos and on security cameras. There's a really creepy scene where the ex-boyfriend is in a liquor store and the security cam monitor behind the counter shows all of the other customers in line in perfect focus, but his face looks like it's reflected in a funhouse mirror. How is that possible? More things that frighten us because we don't understand them.

Yet another spooky thing: once she sees the tape it becomes a deadly game of Where's Waldo... the creepy images on the tape keep popping up in real life. There's a tall ladder in the tape and that danged ladder seems to be everywhere! A fly that crawls across the screen in the video... but the fly is part of the image on tape. Except when Naomi hits the still frame button, the image of the fly keeps crawling. How is that possible? More things we fear because we can't understand them... and flies keep crawling across TV screens for the rest of the film.

But here is where the film makes that slight wrong turn. Naomi realizes she must find out who made the tape and what the images mean before her seven days are up. This is great because it gives her a purpose and drives the story. We have a mystery that she can solve... and maybe save herself. Horror movies usually have a mystery in Act Two - a haunted house or ghost story uses the mystery of the dead person or persons to drive the story in the middle of the movie. A film like THE CHANGELING is all about solving the mystery of the little boy's death. In HILL HOUSE we have the mystery of Belasco - who built the Most Haunted House In History, and might have been responsible for all of the ghosts haunting it... our team must discover his secrets. So we solving a mystery is a great way to make Act Two exciting and interesting. But one of the problems with THE RING is that when she finds the reasons behind the images it tends to demystifies the tape - turning all of the creepy stuff into stuff with a logical and often mundane explanation. The unknown becomes the known. The strange becomes something we can understand... which is less frightening.

And the more she discovers about the tape, the LESS creepy it becomes, until we finally don't find any of the tape frightening at all. There's an explanation for every odd image on the tape, and an explanation for why the tape has no source code. Everything is fully explained. By the time we get to the end of Act Two nothing is unknown, nothing to fear. That's the opposite of how it should work! The movie should be getting MORE spooky, not less. The mysteries should uncover more mysteries... things that make even less sense. One of the great things in HILL HOUSE is that the more they uncover in the Mystery Of Belasco, the more frightening he becomes. I think the secrets behind each of the images in THE RING needed to uncover more horror, rather than something that made sense...

Of course, we still have the creepy dead girl in the well, and that gives us some great Act 3 scares. That the little dead girl has become a meme a hundred times tells us that she did a great job of taking over the horror when the mystery was solved.


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*Solving* the mystery of the tape is probably a minor mistake for a horror movie... and even though the film starts out really creepy it becomes a little less creepy as it goes along. The more you know, the less you fear. In ROSEMARY'S BABY where the more Rosemary digs, the more unexplained things she uncovers. Instead of finding answers she just finds more questions. When Rosemary discovers the satanic truth behind what is happening to her, she realizes that everything she knows is wrong. *Everything* in her world is now the unknown! There is no actual solution nor any actual resolution. Most horror movies end with the story not completely resolved for the protagonist: In CARRIE Sue Snell puts flowers on Carrie's grave and a hand erupts from the earth and grabs hold of her! In THE RING the mystery of the tape is solved and that problem is resolved... Naomi Watts and her son are safe... until the sequel. On a remake project like this, making the unknown into the known was probably a bad development note: "We need to explain this so that the audience completely understands"... but we need to keep it creepy and unknown in our specs! Our job is to scare the crap out of the reader... so that our screenplays can get far enough to get development notes like that.

Where US makes a wrong turn: Where THE RING creates mystery early enough for the protagonist to try to solve the mystery, giving her something to do - that has nothing to do with the “rules” of the story, which we understand from the very beginning. Once you watch the video, you will die in 7 days. But what are the rules of US? Where do these duplicate people come from? Why are they here? Are they trying to take over your life? These things are never explained, and instead of having the information slowly come out over the course of Act Two as a result of Adelaide and Gabe Wilson trying to figure out what the heck is going on - but still leaving the mystery not completely solved - the story holds everything until the end, when we get a huge truckload of exposition that still doesn’t make much sense. It’s as if Peele wrote himself into a corner.

In another Script Tip on plot twists, we look at how the best plot twists are things that make complete sense and need no explanation. Here we get a twist that needs a ton of explanation, and even after being explained doesn’t really make sense. So, under Santa Cruz is a vast underground lab where every single human has been cloned and lives - that underground world would need to be almost as big as the surface world! Doesn’t really make sense. And why would we clone all of these people? More and more questions about the *premise*. Now factor in the symbolism that gets dumped on us at the end - the rabbits, the cages, the... well, it’s too much in too little time. When we are told that you will die 7 days after watching the video tape and people die 7 days after watching the video tape, well - there’s proof! No further explanation needed!

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And that would have actually been a better solution than all of that information at the end of US - these doppelgangers just *are*. Though some simple explanation - as in INVASION OF THE BODYSNATCHERS - would have helped... it’s not necessary. What is the explanation in ENEMY or THE MAN WHO HAUNTED HIMSELF or THE DOUBLE or Hitchcock’s THE STRANGE CASE OF MR. PELHAM or the late great Harlan Ellison’s SHATTERDAY? In all of these, the creepy double trying to take over your life... just is. No explanation at all. They just show up, and try to take over.

And that’s what makes these films creepy - people masquerading as *you*! Something that never really makes it into US. Because the duplicates don’t look like their human counterparts, there is never a time when a character confuses one for another. That would have been really creepy if the *kids* were taken over. Though Peele may have been trying to make a point - the point was confusing and undercut the story (when you want your point, your theme, to make the story stronger). But all of that information at the end, and the twist, was just too much to process. By trying to explain everything, it weakened the unknown element... and that weakened the audience’s fear. In horror it is often better to leave mysteries unsolved. Give us the rules up front, then just allow things to be unsettling and unknown. Hey, you will get a development note from some moron, but explain that explaining will kill the fear.

The story you decide to tell needs to be in sync with the emotional experience you are trying to give the audience. What are you trying to make the audience feel? Even though the CONCEPT may creep out the audience, do the story and the plotting work to creep out the audience? If the concept and the plotting are working AGAINST each other, your script isn't going to work on a fundamental level. THE RING has a creepy idea, and starts out creepy... but seems to peter out a little until that shocker the end. There *is* a great end scare, similar to the Sue Snell CARRIE shocker, and that gives the audience a great end-jolt just before they grab their coats and head to the car... and saves the movie. The very end gives us the fear we crave - a horror movie should have a DISTURBING end, not a happy end. But US gives us too much to chew on at the end... without the shock of that creepy girl crawling out of the TV set. Just... rabbits and cages and that they are us... which we already knew.

And one of the most important elements of any horror movies is...
Fear of the unknown.
The less we know, the more we fear.


How Do I do That?



New to screenwriting? You probably have questions! How do I get an Agent? How do I write a phone conversation? Do I need a Mentor? What’s does VO and OC and OS mean? What is proper screenplay format? Should I use a pen name? Do I need to movie to Hollywood? What’s the difference between a Producer and a Production Manager, and which should I sell my script to? How do I write a Text Message? Should I Copyright or WGA register my script? Can I Direct or Star? How do I write an Improvised scene? Overcoming Writer’s Block? How do I write a Sex Scene? And many many more! This book has the answers to the 101 Most Asked Questions from new screenwriters! Plus a Glossary of terms so that you can sound like a pro! Everything you need to know to begin writing your screenplay!

All of the answers you need to know, from a working professional screenwriter with 20 produced films and a new movie made for a major streaming service in 2023! 

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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!

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All About Rewrites!



Rewriting In Waves?

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The Rewrites Begin!

The end is just the beginning! You’ve finished your story, but now the rewriting begins! This 405 page book shows you how to rewrite your screenplay or novel to perfection. Everything from Character Consistency to Shoeboxing to How To Give And Receive Notes to 15 Solutions If Your Script’s Too Long! and 15 Solutions If Your Script’s Too Short! to Finding The Cause Of A Story Problem to Good Notes Vs. Bad Notes to Finding Beta Readers to Avoiding Predictability to Learning To Be Objective About Your Work to Script Killer Notes and Notes From Idiots to Production Rewrites and What The Page Colors Mean? and a Complete Rewrite Checklist! The complete book on Rewriting Your Story!

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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!

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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!

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NEW in 2020!

Making Your Own Movie?


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.

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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.)

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"The Presidential Suite of the Hollywood Hoover Hotel looked like a bloody battlefield: bodies everywhere, furniture broken, red liquid dripping from the walls, dead soldiers littering the elegant Berber rug as clouds of smoke overhead bounced between two air conditioning vents.

Mitch Robertson stepped over the body of an ex-child star turned sex tape star turned pop star and entered the room, spotted a gun on the floor and picked it up... careful not to spill his coffee with three pumps of mocha syrup from Penny’s Coffee Shop. That coffee was gold, the only thing keeping him going in this dazed state of wakefulness. The gun felt light. Holding it, he saw the silhouette of an 80s action star sitting sideways on a tipped over chair. Motionless. Was he dead? Mitch was still hung over from the Awards Party the night before, and wondered whether this was all some sort of crazy nightmare that he would wake up from... but when he tripped over the brown legs of a bottomless Superhero, flaccid junk encased in a condom but still wearing his mask, and hit the edge of the sofa, gun skittering and coffee spilling, he realized that it was all very real. What the hell had happened here?"

Short Novel. Only 99 cents! - and no postage!

Tips FAQ

My New Script Secrets Newsletter!




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


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Your story is like a road trip... but where are you going? What's the best route to get there? What are the best sights to see along the way? Just as you plan a vacation instead of just jump in the car and start driving, it's a good idea to plan your story. An artist does sketches before breaking out the oils, so why shouldn't a writer do the same? This Blue Book looks at various outlining methods used by professional screenwriters like Wesley Strick, Paul Schrader, John August, and others... as well as a guest chapter on novel outlines. Plus a whole section on the Thematic Method of generating scenes and characters and other elements that will be part of your outline. The three stages of writing are: Pre-writing, Writing, and Rewriting... this book looks at that first stage and how to use it to improve your screenplays and novels.

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

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

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Most screenplays are about a 50/50 split between dialogue and description - which means your description is just as important as your dialogue. It just gets less press because the audience never sees it, the same reason why screenwriters get less press than movie stars. But your story will never get to the audience until readers and development executives read your script... so it is a very important factor. Until the movie is made the screenplay is the movie and must be just as exciting as the movie. So how do you make your screenplay exciting to read? Description is important in a novel as well, and the “audience” does read it... how do we write riveting description?

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*** SCENE SECRETS *** - For Kindle!


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

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

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

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

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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!

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NEW: Updates on TREADSTONE TV show!

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

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Over 240 pages!

*** 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.

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Strange Structures!



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"?

This book focuses on 18 of Hitchcock's 52 films with wild cinema and story experiments which paved the way for modern films. Almost one hundred different experiments that you may think are recent cinema or story inventions... but some date back to Hitchcock's *silent* films! We'll examine these experiments and how they work. Great for film makers, screenwriters, film fans, producers and directors.

Only $5.99 - 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  MP3s 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!



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 2024 by William C. Martell

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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 8 MP3s, plus a workbook, plus a bonus MP3 with PDFs.
The 2 Day Class on MP3!


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


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!