FRIDAY'S SCRIPT TIP:

PSYCHIC CHARACTERS


Remember, characters only know their piece of the puzzle. They don't know the end of the movie, they can't read the script. A character shouldn't react as if he knows what happens next, he should react the way his character would react. That reaction doesn't always follow the flow of your plotline, that's too pat.

When a character comes up with a new plan to reach their goal, it can be the WRONG plan... In fact, it's better for the film if the plans don't always work. A character's plan shouldn't lead to the end of the movie, that's too pat. Characters don't know what you know, and they don't know what other characters know. They only know what they know.

I read a script recently where the lead asked another character about their daughter... The strange part about this is that there was no way that the lead could know this guy had a daughter! Characters don't know what you know, the only know what THEY know.

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Terry Rossio & Ted Elliott's SHREK opens with Lord Farquart consulting his magic mirror for possible mates. He plays a fairy tale version of THE DATING GAME and ends up choosing Princess Fiona. The magic mirror mentions that she's been cursed, but Farquart doesn't care about the details - at least she isn't shacked up with seven little men! The magic mirror may know all of the details of the curse but Lord Farquart does not - which is why he continues to pursue Princess Fiona. He hires swamp ogre Shrek and his sidekick Donkey to do the dirty work - rescue her from a castle turret guarded by a fierce fire-breathing dragon - and the begins planning his lavish wedding. Shrek and Donkey know nothing about the curse. They only know what their characters know - they are rescuing a princess and taking her back so that she can marry Lord Farquart. Shrek knows about his swamp, but has no idea what they will encounter on the way to rescue the Princess. He has no real idea of what Princess Fiona looks like - if there was an imposter claiming to be the Princess he wouldn't know he was rescuing the wrong person. Shrek isn't a mind reader.

Princess Fiona knows exactly what her curse is - she may be a beauty in the daylight but from sunset to sunrise she becomes a fat beast. The curse can only be lifted by a kiss from her true love... which will make her beautiful 24 hours a day. Shrek and Donkey rescue her and head back to Farquart's Kingdom. As the day draws to a close, Princess Fiona becomes agitated and insistent that they find shelter. Shrek sees nothing wrong with continuing through the night... and nothing wrong with sleeping under the stars. He doesn't know Fiona's secret - he has no idea that the curse will turn her into a fat beast at sunset. Shrek only knows that she is a beautiful princess who knows how to open doors with just her smile. Though Shrek usually rejects people before they reject him, Fiona didn't instantly reject him. Maybe she likes him? Maybe he has a chance with her?

Shrek doesn't know the reason why she isn't repulsed by him is due to her curse. She doesn't see herself as a beautiful princess... she's a beast!

Shrek acts ONLY on his knowledge of the situation - she's a beautiful princess who seemed to like him.... but is now acting aloof and distant and barricading herself in a cave for the night. She wants nothing to do with Shrek.

Fiona acts ONLY on her knowledge of the situation - she's really this hideous beast! Here's this guy who likes her, who thinks that she's beautiful... she can't let him see her in her fat and ugly form.

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Both are afraid of what the other thinks... but neither actually KNOWS what the other thinks!
Shrek has projected his fears - based on what he knows of the world - onto Fiona...
Fiona has done the exact same thing with Shrek.
This leads to the misunderstanding that fuels the story.

That night, Donkey discovers Fiona's secret... and Shrek over-hears a conversation between the two. Princess Fiona says that no one could ever love such a hideous beast.... talking about HERSELF, but Shrek doesn't know that. As far as Shrek knows, there's only one hideous beast in this story, and that's HIM. He thinks she is rejecting him - as everyone else he has ever known has done. He doesn't know - can't know - that she is worried that HE will reject HER! If they only knew what each other were thinking, they would realize that they love each other... and the film would be over! Instead, the next morning Fiona has no idea why Shrek is so cold and distant... did he see her as the fat beast? Shrek doesn't realize his actions are pushing Fiona away - pushing her into Lord Farquart's arms. He doesn't know what she is thinking. He doesn't know what Donkey knows. He doesn't know what will happen next in the story. Because his actions are in reaction to the actions of other characters, Shrek doesn't really know what HE will do next. He hasn't read the script or seen the movie. He only knows what he knows, he's not a psychic.

Re-read your script and weed out any bizarre psychic experiences your characters may have. They only know what they know... not what other characters know or what you know.


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OUTLINES & THE THEMATIC!

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OUTLINES & THE THEMATIC Blue Book.

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.

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DESCRIPTION & VOICE Blue Book!

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DESCRIPTION & VOICE Blue Book.

IS HALF OF YOUR STORY IN TROUBLE?

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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*** 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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*** HITCHCOCK: EXPERIMENTS IN TERROR! *** - For Kindle!

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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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WHAT IS A SCENE?

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

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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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DO YOU WRITE PICTURES?

*** 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!

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GREAT SUPPORTING CHARACTERS!

*** 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!

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


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

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

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Over 240 pages!

*** THE TERMINATOR MOVIES *** - For Kindle!


He's back! The release of "Terminator: Genisys" (now on BluRay) is set to begin a new trilogy in the Terminator story... 31 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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NEW BUT OLD!

*** VINTAGE #1: HOW TO WRITE PHOTOPLAYS *** - For Kindle!

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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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MAKES A GREAT GIFT!

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*** THE SECRETS OF ACTION SCREENWRITING *** - For Nook!

Why pay $510 for a used version of the 240 page 2000 version that used to retail for $21.95? (check it out!) when you can get the NEW EXPANDED VERSION - over 500 pages - for just $9.99? New chapters, New examples, New techniques!

"SECRETS OF ACTION SCREENWRITING is the best book on the practical nuts-and-bolts mechanics of writing a screenplay I've ever read." - Ted Elliott, co-writer of MASK OF ZORRO, SHREK, PIRATES OF THE CARIBBEAN and the sequels (with Terry Rossio). (ie; 4 of the top 20 Box Office Hits Of ALL TIME.)

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HOW YOU TELL IT

*** 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!

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STUCK IN THE MIDDLE?

*** 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 over 208 pages!

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GREAT SUPPORTING CHARACTERS!

*** 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 $3.99 - and no postage!


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THAT STAR PART!

*** CREATING STRONG PROTAGONISTS *** - For Kindle!

*** CREATING STRONG PROTAGONISTS *** - For Nook!

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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THEY SOUND DIFFERENT!

*** 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 160 pages!

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FINAL DRAFT SOFTWARE

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 2017 by William C. Martell


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SECRETS OF ACTION SCREENWRITING

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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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E BOOKS PAGE

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.
E BOOKS: BLUE BOOKS & NOVELLETES

BOOKLETS & PRODUCTS

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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.
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THE SECRETS OF ACTION SCREENWRITING OUT OF PRINT!