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Because we are Writing In The Time Of Covid, the #1 movie over the weekend was THE WITCHES from 30 years ago. Why did everyone flock to cinemas to see a 30 year old film? Are witches suddenly hot ? Should you be writing a script about witches? Or should you pull out that script you wrote 30 years ago and try to sell it... even though it was in crayon? What's tthere a trend here?

One of the big new releases over the weekend just over a year ago was DETECTIVE PIKACHU , based on a Pokemon character, and maybe something like that would sell right now. I mean, I *hate* that kind of thing and would never even consider writing a script like this if it wasn't so hot right now. So, I'm doing a script called DOCTOR SQUIRTLE about a crusty doctor who solves medical mysteries and is also a Pokemon turtle... That's the ticket, right?

The #1 film over this weekend nine years ago was IMMORTALS written by the Parlapanides Brothers - which made $32.2 million. From the producers of 300. The last time I thought about writing a movie like that was when BEOWULF opened at #1...

I think it's a mistake to try to follow trends - but critical to write MOVIES (which are mostly genre stories with interesting ideas that are told visually). Often it's close to impossible to tell what the trend is in the first place. Since the 20% of cinemas showing BEOWULF in 3D accounted for 40% of the box office, does that mean epic poems are in or 3D movies are in? And is it epic poems, or is it *animated* films based on epic poems? Or is it *motion capture* animated films only? Though Zemeckis' last motion capture film POLAR EXPRESS had a heck of a time making any money even with a cartoon Tom Hanks. They had to keep re-releasing it and find new cinema gimmicks (like IMAX) before it eventually made its money back. So maybe it's not motion capture... maybe it's the swords and muscle bound dudes that's the trend - after all, 300 was also a hit. And who starred in 300? Gerald Butler - not a movie star at the time... no one went to see PHANTOM, and he starred in that... so maybe it was the swords and muscle bound guys that made 300 and BEOWULF into hits. That's the trend! But if that is the trend, how come PATHFINDER flopped big time? How come the new CONAN movie wasn't a hit? What exactly *is* the trend?

And is there a trend? A trend requires more than a couple of movies. And a trend requires that the movies be wildly popular with the audience. When 3:10 TO YUMA came out, followed by THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD, some people though Westerns were the new trend... except not only were both films completely different than each other, 3:10 did okay and JESSE JAMES completely flopped. Even if both films had been huge hits - it's only two movies. We don't have a trend, yet. A trend is when even the movies which aren't very good make money. When the public's appetite for the trend is stronger than the negative elements in each individual movie. When the audience lines up to see a *bad* western or can't wait to see the next Steve Reeves HERCULES movie because they loved SPARTICUS and the other sword & sandal films so much, you've got yourself a trend.


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After 300 came out, a bunch of people on the screenwriting boards thought the time had come for them to write sword & sorcery epics... until PATHFINDER flopped. I think there were several different elements that came together to turn 300 into a hit - the main one being that it was based on a really hot graphic novel. There were already built in fans for the film - you know, those people who complained about the scenes with the female lead which weren't in the book. Though I don't think the epic poem they forced me to read in High School accounts for BEOWULF, I do think that the general feel of 300 (the animated look) and the sword fighting violence and a cartoon Angelina Jolie nekkid all are factors in the film's success. That's the problem with trying to figure out why one film is a hit and another is a flop - when you get past the quality elements, it's often difficult to decide which of the other elements are the things got the audience to stand in line and which elements are dead ends.

So, I think the key is not to look try to replicate specifics of a hit film, but look at the big picture. I wouldn't watch THE MATRIX and think that the road to success is to write a computer-geek movie where reality isn't real... but I might write a high concept action film (if that's the genre of film I most enjoy). My action movie may have nothing at all to do with computers... or non-reality... or martial arts... or odd religions... or any of the other elements of THE MATRIX. The specifics are here today - gone tomorrow, but the broad strokes will be around for decades. The action film has been around since fiction film began - it's here to stay. I'd look more at the genre than the specifics of the particular hit film. In fact, I'd try to go in a different direction than the specifics - that idea has already been used, so I'd be afraid that the audience's "hunger" for those elements has already been satisfied. But some other high concept action flick? I would try to do something different and unusual within the popular genre... and LEAD rather than follow.

If the movies you can't wait to see are action films - write one. If you can't wait to see the next romantic comedy - write one. If you can't wait to see the next thriller - write one. If you love horror movies - write one. Write the same kind of movies you pay to see every Friday night. If you aren't standing in line and paying to see movies on a regular basis maybe you should rethink your goals - you aren't the movie audience.


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If someone sells a Nudist Western for six figures and everyone thinks that's going to be the next big trend. Well, the guys who love Nudist Westerns and have written them even though they were currently out of fashion suddenly have producers looking for exactly what they have written. Bam! A sale. Bam! Another sale. Next thing you know there are all of these Nudist Westerns coming out. Now, if they all make money, you might have a trend that stays for a while. But if one flops, that might kill the trend.

Look at war movies - we had SAVING PRIVATE RYAN which was a hit... and that spawned a bunch of other World War 2 movies. Like WINDTALKERS (flop) and HART'S WAR (flop). HART'S WAR was bouncing around town for a while - and SAVING PRIVATE RYAN was the excuse to get it made. Obviously WW2 movies weren't a trend to jump on... but if you love WW2 movies and want to write a script like that - go for it. Maybe the next time the trend pops up - Bam! You'll sell your script.

But if you see a bunch of World War 2 scripts selling and you don't like World War 2 scripts - why would you want to write one? There are plenty of other men-bond-in-dangerous-situation type stories you can write - from DELIVERANCE like thrillers to LETHAL WEAPON type cop movies to alien invasion movies like ALTERED to... well, action is a pretty big genre. As long as you are writing in a popular genre, you're okay.


If you love writing in an unpopular genre, you're probably in trouble. I probably have 100 westerns in my DVD collection... and I'm not a big western guy. Others are. They love the genre and write stacks of westerns even though there really isn't much of a market for them... in fact, there's really no big market for them. Westerns were huge in the 1930s, 1940s, 1950s, and 1960s... then they died off. If you grew up in the 1970s, you got the tail end of westerns. The last of the movies and the last of the TV shows. You may love that genre as you love no other... but they have fallen out of style. We can't write for the audience of the past, we can only write for the people who line up to see movies *today*. That means you can do two things: Write westerns anyway, because you love them, and hope that a couple of movie like 3:10 TO YUMA pop up so that you may be able to ride that wave and sell a script or two before the genre fizzles out. Or look at what you love about the genre and see if you can fit that into something that is currently commercial.

Genres do go in cycles - and the genre you love may not be popular now, but may be popular in a few years. If you are the writer with a stack of great scripts in that genre you'll have an advantage when it cycles back around.


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3:10 TO YUMA was based on a story by Elmore Leonard, a great writer of western novels. I've got them all on my book shelf. Leonard wrote HOMBRE, turned into a movie starring Paul Newman, and VALDEZ IS COMING starring Burt Lancaster, and THE TALL T and JOE KIDD and LAW AT RANDADO and LAST STAND AT SABRE RIVER starring Tom Sellack. But when the popularity of western novels began to fade, Leonard took his western stories and dropped them into modern cities. He began writing crime novels... that were really westerns at heart. In CITY PRIMEVAL: HIGH NOON IN DETROIT he has a modern day marshal tracking down a modern day desperado. Both are actually echoes of the cowboy archetypes that came before them. The book ends with a typical high noon shoot out. Elmore Leonard continued to write the same kind of stories he had always written, just in a genre that had eclipsed the western in popularity. Think of it as the "urban western". You can do that, too. I often say - don't focus on the details of the story, focus on the *story*. That's often the best way to tell the story *you want to tell* in a genre that Hollywood wants to buy.

Look at the sci-fi film OUTLAND... it's basically HIGH NOON in outer space.


Buy The Godfather DVDs

One argument against following trends - or even considering which genre is currently popular - is that by the time they make the film that genre may no longer be popular. Let's face it, it often takes *years* from the time a script is purchased until the time it shows up at the multiplex. If you write a motion capture script that features lots of swordplay and female nudity based on an epic poem they made you read in high school, what are the odds that genre will still be popular by the time you finish the script?

Again - the specifics are here today, gone tomorrow... but a popular genre will probably still be popular when you finish the screenplay. Look at horror films. Every time they say that horror films are dead - the market is glutted and no one is going to see them anymore, moves like PARANORMAL ACTIVITIES 3 and INSIDIOUS become hits. The genre isn't quite dead, yet. I think any genre that is currently popular will also be popular in the near future. The reason why: movies in that genre are still in the pipeline, and if one of them hits the genre is back.

And producers don't buy scripts based on what will be hot in five years when the film is finished - they don't own a crystal ball - they buy scripts based on what films were hits over the weekend. That's the only "hit information" they have. And you have the same information as they do! You can know what genres the buyers are looking for. Just look at the top ten films for the past few weekends and the top twenty films of last year. That will give you a good idea of what kind of movies audiences lined up to see... and that's the kind of scripts producer's want to buy. They probably won't be looking for a script exactly like IMMORTALS, but they may be looking for a heroic action script with a larger than life villain. Do you have one of those?

Hey, it was only 21 years between Pokemon movies, so everyone is ready for my medical mystery turt;le movie, right?

Or that script that I wrote 30 years ago about witches, right?

Write the kind of movies you regularly pay to see - that way you are writing what is popular enough to regularly get made... and something that you love enough to stand in line to see.


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!

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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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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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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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*** 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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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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The new CDs are available now!


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IDEAS AND CREATIVITY - 80 minute CD 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)

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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 CDs!




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


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!

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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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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!

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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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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!

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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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*** 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 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 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!