One of those great debates on screenwriting message boards is whether or not to outline. I do not know any professional screenwriters who do not outline (though there may be some), and the more spontaneous the writing seems, the more likely the writer outlines - 70s icon and indie writer Paul Schrader outlines page-by-page and is a slave to his outline. The big argument against outlines seems to be that it removes creativity... or that it makes the script boring to write. Hey, a screenplay is not *just* the story, it's all of those great little details that make a moment come to life!
Once I have my outline and I know how the *story* works, I concentrate on making each scene interesting and surprising and creative when I write the screenplay - I *live* for coming up with some cool twist or detail or line of dialogue in each scene to make the scene itself fun to watch and fun for me to write.
Whenever I get roped into reading contest finalists, one of the common problems with the scripts is that they are sketchy. They often seem like the rough draft (and maybe they are) - the artist's charcoal sketch before he breaks out the brushes and oils and adds all of the color and texture and shading. The story - the thing you may create with an outline - is what happens, but every scene is filled with dozens of details that are the specifics of *how* things happen. None of those things are ever in the outline... and they are not in many of those scripts by writers who do not outline because they are thinking about making the *story* work, not making that moment work. Terry Rossio once said that when writers don't outline, their first draft is an outline... or part of several drafts that become the outline. They are finding the story by writing draft after draft. But that eighth of a page, that line, that sentence needs as much creativity as the story itself. So let's look at one of the detail elements in your screenplay... gags.
A few years ago the Director's Guild showed a bunch of John Ford silent movies, and I was amazed at the number and quality of the "gags" - those little details or actions that flesh out a scene. FOUR SONS must have had hundreds of great little detail moments that made every minute of that film great. Every second great. There was more creativity in any random scene than there is in many big Hollywood blockbusters.
HITCHCOCK GAGS
Hitchcock's man-on-the-run film THE 39 STEPS (1935) holds up well, is still lots of fun... and is 75 years old! This is the film that created the subgenre, and created so many "standards" that you have seen dozens of times in other movies. When Harrison Ford escapes the police by blending in with a St. Patrick's Day Parade, this is the film that originated that cliche. It may also be the first film with bickering male and female leads who are on the run together and eventually fall in love (IT HAPPENED ONE NIGHT was released the year before - but it's a rom-com). The banter still works, the suspense still works, the characters are charming and fun and deal with some real problems, there is one amazing plot twist that still packs a punch, but the one thing that is amazing about this film are the "gags". There is a density to films from the 1930s that we seem to have lost. Little details that are obviously the work of the writer.
The story has Canadian Richard Hannay living in London, where he meets a mysterious woman at a live variety show (musicians, dancers, jugglers, and Mr. Memory who memorizes pages of facts every day and is a human encyclopedia) who asks if she can come home with him... because she likes him. Um, he doesn't know her at all. But he's a man and she's hot... At his apartment, she tells him that she is a freelance spy and people are trying to kill her and she needs a place to crash that can't be traced to her. When Hannay wakes up the next morning, the woman has been murdered and two men are watching his building.
How does he escape?
Your outline might just say: "He gets past the two killers watching his building." Okay, maybe he goes out the back doors or something, it's not a chase scene or a fight scene, he gets past the two killers without altercation. But that scene can be just a scene that performs its function... or something clever and creative. Here's what happens:
The Milkman is making deliveries, and Hannay grabs him and asks if he can borrow his uniform. There's a dead woman spy in his apartment, and the killers are out there on the street waiting for him to leave. The Milkman doesn't believe a word of it. Killers and spies? Sounds like a pulp novel. So Hannay tries it again, this time telling the Milkman that he's a bachelor, was spending the night with a woman, seems she's married and her husband and brother are waiting outside to beat him up. This the Milkman believes, and loans Hannay his uniform so that he can escape. But there are additional details in the scene - from empty milk bottles to what to do with the milk truck once Hannay is done with it to a discussion of marital fidelity and bachelorhood versus marriage. Hannay doesn't just escape the apartment, there are details and reversals and gags along the way - dozens of them.
COLLARED & CUFFED!
The best series of gags in the film revolves around a pair of handcuffs. In one of several great twists, Hannay is arrested by the police and manages to escape with handcuffs attached to one wrist. The dangling cuff creates all kinds of problems - each one a great little gag. When he's in that eventually-a-cliche parade escape, he must keep his cuffed hand hidden in his pocket. He ends up escaping into an auditorium where an evening political rally is being held, and he is mistaken for the speaker of honor! Not only must he hide the handcuff, he must make up a political speech on the spot (no idea what party the crowd is) and refer to the candidate by name... reading it upside down on the banner in front of the podium and getting it completely wrong, calling him "Mr. Crocodile", then having to come up with reason why he would call him that on the fly, and when he starts sweating like crazy from the pressure, almost wipes his brow with the cuffed hand! And because he's supposed to be a politician, everyone wants to shake hands with him! That handcuff keeps almost getting him in trouble!
But those aren't even the good handcuff gags!
A pair of detectives begin searching the auditorium for him... and in the crowd? A woman named Pam who recognizes him from a daring train escape earlier in the film. Hannay was being chased by the police on the train, saw her alone in a compartment, ran in and began kissing her so that his face would be covered and the police would see them as a couple, not a single man on the run. An unusual "meet cute". Well, the minute he stops kissing her, Pam yells for the police, and Hannay has no choice but to leave a speeding train. When she sees the two detectives searching the auditorium she points out Hannay to them. Busted! As the two detectives start to lead him away, he flirts with her (she's the female lead, even though she doesn't know it... and neither do we at this point), and then pleads with her to go to the police with a bit of information he's uncovered that may prove him innocent. Neither detective seems interested in Hannay as innocent... but now they become interested in Pam - she witnessed him escape from the train, she's a witness. So they take her along... slapping the empty handcuff on her.
Now the two are tethered together - and do not like each other. But on the way to the police station, the detectives take a crazy detour, and Hannay realizes they are not detectives after all, but the two killers from outside his apartment... taking both of them to the villain! When the fake police car gets stuck in a Scottish back road traffic jam (a huge herd of sheep), Hannay and Pam escape the car and go on the run. Well, Hannay goes on the run, and Pam is forced to follow since she is handcuffed to him.
And the handcuff gags swing into action in a couple of scene.
Trying to run away from the killers, Hannay jumps over a fence and Pam crawls under - except they are cuffed, so they get stuck. Hannay wipes his brow, and Pam's hand slaps him. Hannay has to drag her along behind him. A few other times they get hung up by the cuffs when running past a tree or fence or running in different directions. All of this time, she is not a willing escape partner. She knows those two guys were not detectives, but she also knows that Hannay is wanted for murdering a woman.
And she's a woman.
RANDY HANDS
They come to a Bed & Breakfast, and Hannay orders Pam to place her cuffed hand in his coat pocket - hiding both ends of the handcuffs but forcing her to hold his hand. They pretend to be a newlywed couple, eloping because her father doesn't like him... But Hannay's *right* hand is cuffed - he can not sign the register, he can not take the room key, he can not shake hands with anyone, he can't open the door or take the hot water bottle the wife of the B&B owner offers him. He must trust Pam, his prisoner, to do all of these things without giving away that she is a hostage!
Later, the B&B owner's wife tells her husband that the two are so much in love that they did not let go of each other the entire time.
And once they get in the room? One bed. They are cuffed together, no way for Hannay to sleep on the sofa or floor. They are brought a plate of sandwiches and some drinks, and eating and drinking proves a problem. When Hannay raises his glass, her hand follows. If she jerks her hand down, he spills his drink. The sandwich in her hand almost slaps Hannay in the face a few times. Every time one of them tries to take a bite, the handcuffs pull the other one closer. Neither can hold their drink in one hand and sandwich in the other without those handcuffs creating some sort of food mishap.
But here's the topper - the gag that everyone remembers. Because they've been chased through the cold, wet, night - their clothing is wet. They try to dry themselves by standing in front of the bedroom fireplace, but that really doesn't work. Hannay encourages Pam to find a way to take off her wet skirt, but she's having none of that... and there is no way to take off their wet coats while handcuffed together. Pam's stockings are soaked, but when she takes them off Hannay's hand rubs over her legs. Because of the cuffs, he gets to feel up her legs. And when she takes off the far stocking? Um, his hand is all over her! He can't help it, he's cuffed to her... but he takes advantage of the situation.
After hanging her stockings up to dry, they climb into bed together - what else can they do, they are cuffed together? Pam doesn't want to be this close to an accused murdered, but has no choice. Neither can roll over without pulling the other one closer, and at one point she rolls onto her side dragging his arm around her. There are well over a dozen handcuff gags!
BULLET IN A BIBLE
Some of the other great gags in THE 39 STEPS include a farmer with a question for Mr. Memory, who keeps asking it again and again... even when some shooting creates a riot in the music hall.
A pair of lingerie salesmen on the train who compare their products in front of a Priest who tries not to look interested... this scene is all about Hannay trying to read one of the salesmen's newspaper with a story about the manhunt for him.
The police chase on the train goes through the dining car, where a waiter with a tray full of food has to move and twist and turn when each person races down the narrow aisle past him, without spilling any of the food.
A jealous old Scottish farmer who rents a bed to Hannay but fears that his young wife may be interested in him... in reality, Hannay has spotted a newspaper with a story about the police search and is trying to hide it from the old farmer. There are many gags in the Farmer & wife scene based on the Farmer thinking that Hannay is trying to sleep with his wife - and everything Hannay does to hide from the police looks to the Farmer as if he's making moves on his wife. When the police get to the farmhouse, the wife gives Hannay her husband's "Sunday best" coat because it is black and will blend with the night better than Hannay's light colored jacket. Later, Hannay is shot in the chest and we think he's dead, but *twist* the bullet hit the old Farmer's hymnal in the coat pocket. First time for that gag! But it doesn't stop there - we get a barrage of puns and jokes about hymns and hymnals in the scene where we find out he's alive. Every scene has some great, amusing detail that creates some fun moments and makes the scenes seem real.
Once you come up with that detail, like the handcuffs, make a list of as many ways that detail impacts the scene and story. In Hitchcock's YOUNG AND INNOCENT an innocent man escapes by stealing some clothes and articles to create a disguise - including a pair of glasses. Problem is, the glasses are so thick everything becomes a blur and he can't see where he's escaping to. Those stolen glasses create a dozen little problems within that escape scene. So brainstorm up a list of "gags" for one element in your scene that will create a bunch of fun details that add texture and shading and great little moments in your scene. This also makes the scene seem real, because it's not just the sketch and the broad strokes, it's all of those real little bits that add density.
So, if the actual writing isn't exciting, you need to look at a script as more than just the story, but the interesting small choices and details within every scene. Bring your creativity and imagination to every moment in your screenplay and have some fun! How could this scene be unlike any other similar scene in any other movie? What are the details that make it seem real, and make it amusing? Fill your script with clever "gags" that turn your sketch of story into fine art that we will be viewing and discussing 75 years from now.
More on THE 39 STEPS later this month in the new book HITCHCOCK: MASTERING SUSPENSE.
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! 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!
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!
"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?"
When You Finish Your Screenplay Or Novel... The Rewrites Begin!
The end is just the beginning! You’ve finished your story, but now the rewriting begins! This 405 page book shows you how to rewrite your screenplay or novel to perfection. Everything from Character Consistency to Shoeboxing to How To Give And Receive Notes to 15 Solutions If Your Script’s Too Long! and 15 Solutions If Your Script’s Too Short! to Finding The Cause Of A Story Problem to Good Notes Vs. Bad Notes to Finding Beta Readers to Avoiding Predictability to Learning To Be Objective About Your Work to Script Killer Notes and Notes From Idiots to Production Rewrites and What The Page Colors Mean? and a Complete Rewrite Checklist! The complete book on Rewriting Your Story!
*** HITCHCOCK: MASTERING SUSPENSE *** - For Kindle!
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!
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"?
HITCHCOCK DID IT FIRST!
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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"SECRETS OF ACTION SCREENWRITING is the
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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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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...
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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
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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.
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!
ARE YOUR SCENES IN THE RIGHT ORDER? AND ARE THEY THE RIGHT SCENES?
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.
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!
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?
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Your story doesn't get a second chance to make a great first impression, and this book shows you a
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Print version was 48 pages, Kindle version is over 100,000 words - 312 pages!
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!
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!
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?
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!
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!
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!
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!
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!
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!
Should really be called the BUSINESS BLUE BOOK because it covers almost everything you will need to
know for your screenwriting career: from thinking like a producer and learning to speak their language,
to query letters and finding a manager or agent, to making connections (at home and in Hollywood) and
networking, to the different kinds of meetings you are will have at Studios, to the difference between
a producer and a studio, to landing an assignment at that meeting and what is required of you when you
are working under contract, to contracts and options and lawyers and... when to run from a deal!
Information you can use *now* to move your career forward! It's all here in the Biggest Blue Book yet!
Print version was 48 pages, Kindle version is over 400 pages!
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IT'S BACK! SECRETS OF ACTION SCREENWRITING
Over 460 pages packed with tips and techniques.
How to
write a plot twist,
the four kinds of suspense (and how to create it), reversals, ten ways to invent new action scenes, secrets and lies,
creating the ultimate
villain, five kinds of love interests, MORE!CLICK HERE!
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B MOVIE WORLD Cult Films, Exploitation, Bikers & Women In Prison, Monster Movies.
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. E BOOKS: BLUE BOOKS & NOVELLETES
BOOKLETS & PRODUCTS
FIRST STRIKE BLUE BOOKS
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!
