Buy wall-e DVD

Presidential elections are three years away, but ...

They always say your lead character - your protagonist - needs to be likeable. The note you may get, or the reason why they reject your script and don't give you any notes, is that the lead just isn't likeable enough. Who are "they" and what do they mean by that? And how do "they" explain movies like SCARFACE? Or NIGHTCRAWLER?

In a good movie we live vicariously as the protagonist for two hours. His problems become our problems and his adventures become our adventures. To do this we don't need them to be nice, or pleasant, or even a good person. We need to understand them - understand their motives - and we need them to have some attributes that we admire... even if we would never want to have those attributes ourselves. Clint Eastwood's character in GRAN TORINO is a crusty old racist Korean War vet - but the negative elements of his character are balanced out with positive and sympathetic elements. He is funny, he has lost his wife, his adult sons want to lock him away in an old folks home, underneath the rough exterior is a good man... and a lonely man. Though he spends much of the film spewing racist remarks, they are *amusing* racist remarks and are balanced by all of the other things in Walt's character that are attributes or sympathetic. The character has balance.

The concept of SWING VOTE has the Presidential Election so close that it really all comes down to one vote in New Mexico which was never counted because some idiot tripped over the electronic voting machine cord - pulling the plug at the exact perfect moment. The stub for that ballot gets traced back to Bud, played by the usually likeable Kevin Costner. He's registered as an independent, and won't tell anyone how he voted - and he has 10 days to cast his vote again. So both Presidential candidates come to his trailer park and pitch to him directly. One man will decide the fate of the free world.

And that man is Joe 6 Pack. His name is even product placement - Bud. The problem is, they make fun of him - the movie ridicules him and turns him into a complete idiot... even though he's our lead. Our identification character. He's a complete idiot, he lives in a trailer park, he works in an egg factory (but the movie doesn't really get into egg processing at all - it's like nobody did any research) and is constantly drunk. This is what they think of the average American voter... Thanks!

Buy wall-e DVD

Now, there are things they could do to make Bud accessable - but they don't do any of them. In fact, they seem to go out of their way to do the opposite - to make him even more of an unlikable, impossible to identify with idiot. They could have made him really really funny - kind of the Adam Sandler method (though Sandler isn't that funny) - but all of the jokes are on Bud - we're laughing at him, not with him... except we aren't laughing at him, either. He's an idiot - you wonder what *Costner* was thinking. They could have had things happen to him that earn our sympathy - but when he loses his job at the egg factory it's because he was stumble-bum drunk on the job and knocked over a whole pallet of eggs - right in front of the security camera. Nothing sympathetic at all.

In my big 2 day class one of the methods I explain that can create sympathy in a difficult character is to give them someone to love - this worked for a *serial killer* in MONSTER. But here they give Bud a tween daughter played by Madeline Carroll... problem is that Bud doesn't care about his daughter at all. He does nothing that a normal dad would do - in fact, *she* takes care of him. In the first few scenes he blows off a couple of important events in her life... and later in the film a Secret Service Agent knows more about the daughter than Bud does! This is a guy who doesn't care about family at all. They keep stacking up things in the Negative Attributes column and leaving the Positive Attributes column empty!

Now, maybe we were meant to identify with the daughter instead of Bud? Problem there is that this daughter (Molly) pushes Bud so hard that she becomes annoying. She's a shrew, a bitch... almost as annoying as Dakota Fanning in WAR OF THE WORLDS... and not sympathetic. The script gives us no doorway into her character, either. She's a smart kid... but we don't understand her - and I'm not sure there's enough character there to be a real person. We are given nothing to make her sympathetic. Just as Bud is all Negative Attributes, so is Molly - she has nothing in her Positive Attributes column to offset being a nagging annoying person.

So, we have two unsympathetic people - and no one to identify with.


Buy wall-e DVD

Just because a character is going to be played by Kevin Costner, or some adorable tween kid, is not enough. Sure, casting someone like Costner or Tom Hanks might help - and Hanks has played a mob hitman and made the character likeable in ROAD TO PERDITION. But Hanks does not remain a mob hitman in that film, he sticks with his family (his son) and turns against the mob. We know he values his son's life over his own life - and we like him even more. In fact, we want him to use his hitman skills to protect his son... we want him to kill the mobsters that are sent after them. That's what we'd do. Because we have been taken inside his life, because we understand his motivations, we want him to kill (bad) people. If someone tried to kill my child, I would kill them. That's not being crazy or evil or bad... that's protecting your family, something we all understand. If the audience doesn't want to become your protagonist for the next two hours, you have failed. You need to create some doorway into the character *on the page* - some positive attributes and usually a goal of some sort that we can understand.

SWING VOTE gives us a lead character who doesn't even seem to care about his own daughter, and that daughter isn't given any likeable traits so that we might identify with her instead. The audience has no one to identify with, and no doorway into the story...

And then they introduce the candidates.

Both sides are venal, evil, and stand for nothing. They constantly flip-flop just to win Bud's vote. The film has been mostly humor free so far, but it gets a couple of laughs with campaign ads aimed at ONLY Bud that illustrate the flip-flops. Problem is, there are only two ads. Would have been better to have done a bunch of *quick* ads that just got crazier and crazier... but we get two. The candidates are played by Kelsey Grammar as the President and Dennis Hopper as the Democrat trying to unseat him. Both are stereotypes and hollow... easy targets. But instead of trying to at least milk some humor from these vile politicos who would do anything for a vote, they take one humorous shot at them, then just show them as evil without making it funny. After ten minutes of their campaigning, you not only want to vote None Of The Above, you feel like you need a shower. These two guys are just slime.


Buy wall-e DVD

The script attempts to give each a moment when they realize they are selling out - but these ring so false they almost make them even less sympathetic. And Hopper has a wife who slaps him because he's lost his soul - only we never knew he had one in the first place (the story never showed it) and nothing is even set up to show us that she'd care whether he had a soul or not. The slap just seems completely out of place in this film. To show that a character has lost their way, you need to show that they had it at one point in time - you need to have a handful of Positive Attributes in there battling it out with the Negative Attributes... and the audience has to see that struggle. Even politicians that I do not agree with have a goal and have beliefs that they are fighting for. I just don't share those beliefs. But when someone really puts themselves on the line and fights for what they believe in, I admire that. And if they can passionately explain why they are fighting for this belief, I can probably understand them. Again, I may not agree with them, but I see them as a human being doing what they think is right. Instead, we get one dimensional caricatures of politicians who stand for nothing... except getting Bud's vote by any means necessary.

The film SWING VOTE seems to try to be is DAVE - a great, funny film that kind of covers the same subject. But where Bud is a complete idiot, Dave is an every-man... a hard working guy who has kind of been left behind by the system who gets to run the country for a while - and run it in a way that helps the average joe instead of just leeches off him. Here, Bud is an uncaring, unfeeling, idiot - and none of the other characters are any better.

Buy wall-e DVD

Flawed characters are more interesting than perfect people, but it's still a matter of *balance* - your character can't be all flaws! They have to have some redeeming value. Bud has nothing. Make two columns - one for flaws, one for assets. Keep the character in balance - don't make them all of one or all of the other. Even a bad person needs some good elements. And even a good character has some bad elements.

Because SWING VOTE needs to find the worst in everyone and everything, we eventually get to meet Molly's mother - Bud's ex-wife - and she's a drug addicted liar living in filth. I guess everyone in the world is crap.

By the end of the film, Bud does an amazing 180 and cares about casting his vote - but this happens *minutes* before he votes. It's that Egri thing again about no honest man becoming a thief over night. Bud just suddenly gets his shit together - and it's so unbelievable that you think the writers must have thought we were idiots.

And at the end he even has this speech about what idiots we American voters are. It's bad enough they think the average American voter is Bud, they also have to spank all of us watching the movie. You know, the one thing you can never do is crap on the viewer - they just paid to see your movie, and they aren't gonna be happy.

After never really discussing a single issue, or the role of government, or even creating a single human character, Bud reads a letter from a voter who has some real problems... and the letter works. It is human and emotional and everything that none of the characters in this film is. And you wonder why they didn't have Bud discover the letters earlier so we could have a gradual change in the character - and maybe even get into some real issues and real problems.

But this film doesn't care about any of that - it just wants to crap on you.


Buy wall-e DVD

Every character, both hero and villain, needs to be balanced. They need to have both Positive Attributes and Negative Attributes. The protagonist needs to have more Positives than Negatives... and the villain will probably have more Negatives than Positives. But you don't want any character to have all of one and none of the other - that's cardboard two dimensional world. Take your lead character, and make a chart - one column for Positive Attributes, one column for Negative Attributes. Are there enough positives for your lead? Do you *show* those positives in the script? (Just having them is no good - the audience needs to know they have them... they need to see the positive attributes in action.) Is your protagonist working to overcome their Negative Attributes? Or is the *point of your story* that the protagonist does not overcome their negative attributes (some stories are tragedies)? If your protagonist is out of balance, or if you fail to *show* the Positive Attributes, you need to do a rewrite.

Another element is how soon we see the protagonist's Positive Attributes - you never get a second chance to make a first impression. Bud is a completely unlikeable idiot for 95% of the film, and then becomes likeable at the end... Too late! Even if you have a seriously flawed character, show us something from the Positive Attributes column as soon as possible, so that we have a doorway into the character. That's the difference between someone who we hope will solve their problems, and someone who is just an idiot we don't care about. If you have your choice between introducing your protagonist with a Positive Attribute or a Negative Attribute, go with the positive. Give us a good first impression, then show us their flaws.

Your character doesn't need to be all good to be likeable, in fact it is better if they are flawed... but we do need to understand them, and they do need to be balanced between Positives and Negatives. The reason why we'll hang with Tony in SCARFACE is because he's a hard working man who is loyal to his friend and loves his sister and really tries to make something for himself... just not the same way we'd do it. He is not all bad... he is half good, and that half is our doorway into his character.

What is strange is that coked out killer Tony in SCARFACE is easier to understand and empathize with than Bud in SWING VOTE is. Weird.

No matter what your genre, we need to *understand* the protagonist. We don't necessarily need to *like* them, but we need to know why they do what they do. I wonder if the problem with "Bud" was that the *writers* didn't understand him... and they created him.


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! 

Only $4.99


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 2024 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!