visitor on DVD

It's Halloween time... Are you a horror writer?

I always say to write the type of movies you regularly pay to see, the films you can't wait to see, the films you stand in line to see. You know, from tip examples, that for me those are action and thriller movies. I have seen all three BOURNE movies on opening day, and if there's anything that even resembles a Hitchcock film (like the French film TELL NO ONE). I'm going to make sure I see it in the cinema on the opening weekend. Those are the kinds of movies I love, the kinds of movies I could not wait to see as a kid, and the kinds of scripts I write now. I write the kind of movies that I regularly pay to see - and that means I write what I love.

But you also know from the script tip examples that those aren't the only types of films I like - one of my favorite films from a couple of years ago was THE VISITOR and I see comedies and rom-coms and indie films and just about everything else. I love *movies* and have since I was a little kid. They take me into some other world for a couple of hours... they are my drug and I am an addict.

What do you do if you love *all* movies? What should you do if you want to write every genre of film? Should you just write every genre of screenplay? One of each? Ten scripts in ten different genres?

You don't want to get typecast as a writer of a specific genre, you don't want to be pigeon holed, right? I mean, Pigeon Holing sounds painful and dirty... You don't want to get stuck only writing in one genre for the rest of your career? You don't want to be married to one particular genre, do you? Stuck writing one kind of script forever?


0"Extraordinary Measures

But being typecast is actually a *good thing* - it's the same as being a medical specialist. A couple year's ago the film EXTRAORDINARY MEASURES, based on a true story, came out. Two of John Crowley's children are diagnosed with a rare genetic disease, Pompe... Now, he doesn't take his kids to their Pediatrician or call a General Practice doctor - those doctors know a little bit about everything and can diagnose some things... but whenever they are faced with something that are not an expert in (like Pompe) they will refer you to a specialist. And that's what Crowley does - he tracks down an *expert* in genetic diseases, Dr. Robert Stonehill (Harrison Ford) because he knows more than any GP or Pediatrician about Pompe. You want the person who knows the most about the disease when your children's lives are at stake. In the case of Crowley (Brendan Fraser) little was known about Pompe, so he needed an expert in genetic diseases who could *discover* a cure. Though it' not *impossible* that a regular pediatrician could have discovered the cure, it's highly unlikely. The specifics of genetic disease are complicated...

Just as the specifics of any story genre are. When a producer is looking for a writer or script for a fratboy fart comedy with heart, they know that not every screenwriter can pull that off. How many bad films in that subgenre come out every year? (Okay, how many star Will Ferrell?) Not everyone understands that genre. So they focus their search for a script or writer to those who are experts in the genre and know all of those little tricks and techniques that I do not know... even though I have seen a bunch of films from Apatow and the rest in that subgenre. Even if you have written one fratboy comedy, there is some other writer out there who has written a stack of them... and which would you hire to write your fratboy comedy that you hope will spawn a franchise starring Paul Rudd and Michael Cera as identical twins? Producers look for specialists - and whether those specialists know more or less than a GP doesn't matter. Someone who specializes in the genre *seems* like they would know more than someone who has only written a single script in that genre. And that's who will end up with the job.


You may not want to be categorized, but there are so many writer and so many scripts and so many possibilities out there that they have to find some way to narrow it all down. That's why we have genres in the first place - so that the audience has some idea what kind of emotional experience they will receive from seeing the movie. They want to narrow down the possibilities. "You'll like it!" Okay, but will I like it because it made me laugh or like it because it made me cry? I may not be in the mood to cry tonight... I might *need* a good laugh. Genres serve an important function in matching movies to audience. And the same is true when it comes to matching writers to material. You know who wrote EXTRAORDINARY MEASURES? Robert Nelson Jacobs - an expert in adapting dramatic stories to the screen. His previous credits include THE SHIPPING NEWS and CHOCOLATE. He's on that list the producers looked at when they needed someone who could take an existing dramatic story and turn it into a successful film. The specialist, not the GP.

You might look at a movie like BLIND SIDE and think no pigeon holing is involved in a script like that... and you'd be wrong! The great John Lee Hancock is a Texan and makes uplifting sports films like THE ROOKIE... which was written by the amazing Mike Rich who broke in with the Nicholl winner FINDING FORRESTER (basketball) and the wrote THE ROOKIE (baseball) and RADIO (football) and MIRACLE (ice hockey) and SECRETARIAT (horse racing)! All sports films! Even on a serious drama, they are looking for the expert.


Because there are so many screenwriters out there, they need some way to separate you from the others, to remember who you are. A "shorthand" for you and your talents. So, they are going to pigeon hole you in a genre or subgenre. Since they are going to typecast you anyway, why not *select* how you are going to be typecast? What if you aren't a die hard horror movie fan but write one anyway... and it sells and you are now typecast as a horror writer? This will happen to you - the first genre you sell in will end up your genre for a while, because that's the genre you've had success in. That's not a problem if you love horror films, but is a problem if you are just a generic writer who wrote a horror script that sold and want to follow that success up with a rom-com. You won't be generic anymore... you'll be that horror writer.

So, instead of just being a writer, it makes sense to become a specialist - an expert in a specific genre. Just like a heart surgeon is higher paid and usually more in demand than a standard doctor. Being an expert in a genre helps them remember who you are, and is often the reason why the call you in the first place - screenwriting tends to be genre work unless you plan on making the film yourself. "Who do we know that writes big action stuff?" If your name is on that list, you end up meeting with some producer who read a couple of your scripts a while back and is now trying to come up with a buddy movie for Vin Deisel. (A job I was up for a few years back - I didn't get that job, but the guy who can't be typecast wasn't even on their list). As long as they want to pigeon hole you, pick the pigeon hole you want to spend the beginning of your career in. The genre you love. And then really become the expert in that genre - if you love romantic comedies, learn everything you can about them and know how they tick... so that you are *the* romantic comedy writer.



That doesn't mean you can only write in one genre. Because you are your own boss, you can write whatever kind of scripts you want (you just may have trouble selling a romantic comedy if you are known for horror). Being pigeon holed doesn't limit what you can write - It just focuses your career in a specific genre so that when they open that wacky Rolodex to "Fratboy Comedy" your name is on the list. I know that sounds crazy, but somewhere there really is a list of screenwriters broken down by genre - you know there's some notebook in some assistant's desk so that when the boss says they need someone who knows how to write a Nudist Western to adapt Max Brand's recently discovered novel A FISTFUL OF RAW HIDE, that assistant can start making calls and setting up meetings for writers to pitch their take. They don't want to spend a lot of valuable time wondering who the hell they can get to write this - they want a list to choose from.

The best way to change your pigeon hole? Write a couple of specs in another genre and get them out there. "Hey, you know that guy who writes Nudist Westerns? He also writes Robot Romances! I just read a couple of his rob-roms and they're great! Let's call him in to pitch his take on BLADERUNNER 2: THE FORBIDDEN LOVE?" And you've just switched genres. What's more, if there's anything that straddles the genre you *were* known for and the genre you just wrote a couple of new specs in, you'll probably land that job. You majored in Fratboy Comedy and minored in Robot Romances, so you're perfect for A.I. PIE - the futuristic sequel to AMERICAN PIE.

As a thriller and action writer, I've written a family comedy that was made (and spawned 4 sequels) and frequently get meetings from a girl/horse thing I wrote. You can't get more different than military action and family comedy - but I wrote both in the same year. Most of my favorite films are thrillers and action movies, so I am writing what I love - the kind of movies I pay to see every Friday night.

The only thing that sounds kinkier than pigeon holing is...


No. Not with that hot cattle brand - unless you're into that.

repo man

Another reason why you *want* to be pigeon holed: the problem when you are starting out is that no one knows who you are or what you are, so you need to create a "brand" for yourself. A way for them to identify you. That's where being a specialist in a genre is important. You identify yourself with a specific type of work that they are looking for... so when they look for that work they come to you.

It's important to create an identity for yourself as a writer. Without an identity you're just a generic - white label with blue stripe and block letters that say WRITER (see REPO MAN if you're too young for the ref). You want to take WRITER and focus it, individualize it, make it a specific label so that they know what kind of writer. You create a brand name and identity for yourself, so that when they are shopping for a writer they grab your brand and put it in their cart.

For a while I was a thriller writer - and people bought scripts and met with me because I wrote thrillers. Then the market changed, and I became a military action writer (despite having never been in the military) - and I had meetings with a bunch of places because they were looking for military action writers - I had a couple of meetings with Neufeld at Paramount on Tom Clancy stuff (post Ford, pre-Affleck) and the military action thing was one of the reasons Regency was interested in having me do the rewrite on HIGH CRIMES... and was the sole reason the movie THE BASE was made. If I had not been "military action writer" I don't think I would have gotten any of the meetings where they were looking for a military action writer. I was on the Rolodex under that genre.

I think having a genre that you are known for is an important part of self branding - identifying the kind of work you do so that the people who buy work or hire people to do work think of *you* before that generic writer.


extraordinary measures book

Even though I'm a thriller specialist, that doesn't mean I'm just writing the same script over and over again with a different title. There are dozens of different kinds of thrillers - subgenres that I can write. I have written chase thrillers, political thrillers, erotic thrillers, psychological thrillers, contained thrillers, espionage thrillers, women in jeopardy thrillers, cop thrillers, revenge thrillers, and all kinds of other subgenres. Any genre is a big tent with all kinds of possibilities - known and unknown. When I have a meeting with a producer of Lifetime Movies, I'm the guy who knows how to write women in jeopardy thrillers, when I'm meeting with some other producer I may be the guy who knows how to write revenge thrillers. Next year I plan to rewrite a political thriller, write a high concept espionage thriller, do a major page one rewrite on a contained thriller, and write a comedy thriller about a butler who solves mysteries. Each of those is an entirely different experience for the audience, and a different experience for *me* when I write them. Different kinds of things that I enjoy.

Look at your favorite genre and see all of the different subgenres within... and invent some more if you feel creative!

Which brings up the next step in being a specialist - the angle on the angle. With so many different subgenres, you may want to further focus yourself on one subgenre. Pigeon hole yourself even more? Sure, why not? You can write whatever you want to write - you are your own boss - so why not be the expert on contained thrillers, so that when they open that crazy Rolodex, you're the name at the top of the list for that subgenre? The first person they call! If you know all of the ins and outs of Contained Thrillers, you aren't just the first person on the list, you are the *best* person on the list. You can still work within that big tent of Thrillers, but specialize in a certain type of thriller as well.

Being pigeon holed isn't a bad thing - it's a great way for them to remember you, and to be seen as an expert instead of just another generic writer.


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.

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Can You Make It bigger?



Writing something EPIC?

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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!

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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?

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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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"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?"

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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.

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Tips FAQ

My New Script Secrets Newsletter!




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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*** 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.

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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!

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Click here for more information on CLASS CDs!




*** 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!

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!

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*** 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!

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


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!

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*** 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!

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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!

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*** 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!


All About Rewrites!


Rewriting In Waves?

*** REWRITES Blue Book! - For Kindle!

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!

ONLY $4.99 - and no postage!

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!

Only: $4.99

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




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!



*** 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!



Movie Magic Screenwriter is the best selling screenplay formatting software and the choice of Hollywood professionals. Screenwriter automatically formats while you write so you can focus on what you're writing, not where it goes on the page. It also formats for television, stage, novels and comic book scripts so you've got an all in one package for any story you want to write. Academy Award Tech Winner!

* * * Buy It!

copyright 2023 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 CD! The 2001 London Class on 8 CDs! Recorded *live* the morning after the Raindance Film Festival wrapped. The two day class on 8CDs, plus a workbook, plus a bonus CD with PDFs.
The 2 Day Class on CD!


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