FRIDAY'S SCRIPT TIP:

DEAD SPOTS

Is your story going somewhere, and is it getting there? One of the main reason why scripts lose momentum is because the writer gets off track. The script loses direction. Goes off course. Your protagonist was fighting for her goal, then decided to take a side trip that has nothing to do with that goal. Next thing you know, they're adrift in subplots or - worse - just adrift... no wind in the story's sails.

In real life we may lose focus of what we want in life, but in REEL life our characters should always know what they want and be actively trying to get it. When an obstacle gets in their way, they should jump over it or squeeze past it or fight it head on, or in cases where they get knocked flat on their butts: they should get up, brush themselves off, and get back to work! Screenplays are about people who DO THINGS.

Before there were Pirates In The Caribbean, there was MASTER AND COMMANDER. Based on a popular series of novels by Patrick O'Brien, directed by Peter Weir and starring Russell Crowe hot off GLADIATOR, everyone thought this film would be a huge hit and launch a series of big adventure stories on the high seas. Didn't happen.

Critics liked the film, but it didn't seem to connect with the audience... despite some of the greatest and most realistic battles on the high sea ever shown on film. I'm a big fan of swashbuckler films, read a stack of Sabatini novels when I was a kid, and love all of those Errol Flynn Warner Brothers films like THE SEA HAWK and CAPTAIN BLOOD, but MASTER AND COMMANDER just lost me about halfway through - it hit a dead spot and never fully recovered.

The film opens with a bang, as a newly promoted kid on night watch thinks he may have seen something in the fog. A ship? Or does he just need good night's sleep? Just when he's decided it's the latter, a French battle ship breaks through the fog - ready to attack. The kid sounds the alarm, and sleeping sailors mobilize to fight off the attack. If you don't think cannon ball is a dangerous thing, you haven't seen this movie! The French battleship fires - and rips through the ship! Tearing up everything (and anyone) that gets in its way. Russell Crowe, as Captain "Lucky Jack" Aubrey, comes up with battle tactics that manage to repel the French battleship and allow them to escape with their lives...

Well, some of them. Below decks is awash with blood and gore as the ships Doctor Maturin (Paul Bettany) sews up crew members with needle and thread and amputates limbs with a saw. Just as the battles are realistic and savage, the surgery is just as vivid. Just as Aubrey is a wizard of naval tactics, Maturin is a fantastic improvisational doctor - at one point using a coin to patch a hole in a crew member's skull.

After this rousing start, the film slows for a while - drifting. We learn the ship's mission is to sink any French vessels - and the elusive French battleship is now their target. Maturin and Aubrey play musical instruments together - both are educated men and Maturin acts as Aubrey's conscience.

We are also brought into the world of the 19th century British Navy during the Napoleonic War. Boys are assigned to ships and grow up to become officers - if they survive. Because the boys are small and light, they can perform tasks that grown men can not do. The youngest, Midshipman Blakeny, is Aubrey's ward - and this is a story where even a kid can get maimed in battle - Blakeny loses an arm. The kid spends the rest of the film with a stump where his arm once was. Very realistic.

They chase the French battleship, and the French battleship chases them. After a violent battle, their ship is in pieces - barely able to sail. The crew wants to go to shore and make repairs... but Aubrey has become like Captain Ahab chasing the great white whale in MOBY DICK. He's not going to stop until that French ship has been sunk. He is so single-minded of purpose that his crew is on the verge of mutiny.

TAKE US *INSIDE* STORY

One of the problems is that we don't really understand his motivations for risking everything to sink this French ship. He almost kills his crew trying to make repairs while they continue the chase... and a couple of men die in a fierce storm that he decides to go through. Unfortunately, one of the men who dies is a crew favorite (a newlywed who earlier built a scale model of the French battleship to help Aubrey find ways to destroy it). Because we don't understand the decision to chase the French ship *at the cost of characters we like*, we start to disconnect from the story. Our hero has now become a maniac.

Up until now, Aubrey has been an uncomplicated character. A great naval tactician, a leader of men. The conflict was all external - that French battleship. In a strange way, the battleship is like the shark in JAWS... this killing machine that keeps breaking through the fog to attack. The battleship is always seen from a distance - so it seems more like a monster than a wooden boat with a crew and captain. But in chasing the battleship, Aubrey has developed this crazed single-mindedness that is putting his crew in peril. Now we have an emotional conflict as well as a physical conflict.

That's a good thing, if we had a better grasp on Aubrey's motivation. Instead we get a heart-to-heart talk with Dr. Maturin about how Jack is pushing the crew to the point of mutiny. Aubrey goes ballistic at this - his crew will follow orders!

Though we're losing the audience a bit, at least we're still moving forward. The sails of our story are full of wind: chasing the French ship and Aubrey's conflict with the crew.

THE DOLDRUMS

But then a strange thing happens... and it kills the story. Aubrey decides to give up the chase and let the crew have some R&R on the Galapagos Islands. This is a big character arc scene for Aubrey, but the story suffers for it.

You see, when Aubrey decides to stop the pursuit and go to shore, the physical conflict (French battleship) is set aside for the Galapagos scenes... and the emotional conflict (Aubrey's single-mindedness) is resolved... and the conflict between Aubrey and his crew is resolved. Leaving no conflict at all. Nothing. No wind in the story's sails.

Creating a huge dead spot in the story.

There is no conflict at all. No goals, no obstacles, nothing. Just a picnic on the Galapagos Islands that seems to go on forever. The film loses all momentum. It just dies. They needed to keep either the external conflict alive or the emotional conflict - not lose both at the same time for an entire sequence!

Eventually, Maturin's exploration of the island results in his spotting the French battleship in a cove. (Great irony that it's Maturin who spots it - he has to cut his exploration short for Aubrey's quest). Now we get back to the chase - but the film has lost momentum and seems to plod through the last battle. What could have been a great movie that spawned an entire series - like the Pirates movies - ends up being a one-off. There are a stack of Patrick O'Brien books waiting to hit the screen... and it will probably never happen. When a film loses its wind and just drifts, the smooth sailing is over.

To keep your script on course with a sails full of wind, know what your protagonist's goal is, what their current plan to achieve that goal is, and keep your eye on the ball. Make sure every scene is propelled by conflict - either the *emotional conflict* or the *plot conflict* - that's the wind in the sails of your story! Do you know where your script is going? Is every scene taking it there?

Novels have the time to take little scenic excursions along the way to their destination - a film only has 90-120 minutes to get to the destination... no time for dilly-dallying! We can't stop for a picnic and sketch some bugs.

Look at every scene in your script - is it giving the audience new information? Does it feature either the physical conflict of the story or the emotional conflict? Is the conflict *active* - are characters struggling with it?

Every scene in your script should be there for a reason. No dead spots. Keep it sailing along.

COMING SOON!!!

Want to look like an expert?

RESEARCH & WORLD BUILDING Blue Book!

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.

No matter what you are writing, this book will help you find the facts... or make them up in a convincing way! MID JUNE!

NEW!!!

Can You Make It bigger?

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The First Ten Pages Of Your Screenplay Are Critical,
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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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NEW!

THE MISSION IMPOSSIBLE MOVIES

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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OUTLINES & THE THEMATIC!

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!

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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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!

THE BOOK THAT STARTED IT ALL!

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

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READY TO BREAK IN?

NEW!

*** 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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STORY: WELL TOLD!

*** 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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MOVIES ARE CHARACTERS!

*** 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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ACT TWO SOLUTIONS!

*** 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!

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SUBPLOTS?

*** 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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ADVICE FROM 1920!

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

***

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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I 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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BEST SELLER!

*** 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!

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PRO DIALOGUE TECHNIQUES!

*** 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!

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copyright 2023 by William C. Martell