Run From This Movie

You may think that film is omniscient - it takes a "God's eye view" - but when you look at the films that really work - the films that create an emotional connection with the audience, they have very limited Points Of View. They show the story from the protagonist's POV with a few asides to show the antagonist (but in relation to the protagonist's problem). They tend not to be scattershot... and they usually find the most dramatic character's POV to tell the story from - the person with the problem, not the person who knows the person with the problem.

One of the biggest mistakes you can make is to tell your story from the wrong POV. Choosing the wrong protagonist for your story. The film is being told from the protagonist's point of view, and the audience will "become them" for the next two hours... so you need to choose carefully. You want to find the POV for your story that is the most dramatic, the most interesting, and is easy for the audience to live vicariously through for a couple of hours. Paul Walker is on video shelves in FAST FIVE right now, but a few years ago starred in the disappointing RUNNING SCARED. You may never have heard of this film because it only sold about $9 million in tickets by the end of its run despite a fairly wide release. Opened at #9... and #8 was a British animated dog film called DOOGAL you have also never heard of. DOOGAL sold almost $27 million in tickets by the end of its run. A flop. It did not connect with the audience. The big problem with RUNNING SCARED was one of point of view. Here are four potential ways to tell this story, which one sounds the most dramatic to you?

A) A violent mob henchman (Paul Walker) loses the gun that ties his boss to the murder of a police officer and must find the gun before the police do.

B) An abused ten year old (Cameron Bright) steals a gun from a mob henchman and uses it to shoot his violent drug-addict stepfather.... but only wounds him. Now he is hunted through the city at night by both the mob and the police.

C) The son of a violent mob henchman (Alex Neuberger) is forced by his father to help find his best friend, who has stolen his dad's gun.

D) The wife of a violent mob henchman (Vera Farmiga) must hold her family together during the stolen gun incident.

Paul Walker in Running Scared

One of the problems with A is that it's difficult to identify with Paul Walker's character. He's not just violent at work, his violent at home. His family life is introduced in a scene where he screams at his son for playing with the Russian kid who lives next door (he's a bigot) and tries to screw his wife on the washing machine with his son in the next room. He's foul mouthed, angry, bigoted and violent... and he doesn't get better. Later, there's a scene where he slams his son against a bathroom wall in order to get him to cooperate! Oh, and instead of dumping the gun his boss uses to kill a cop, he decides to double cross them and hold onto it. This guy has even lower morals than the other mobsters he works with. Impossible to care about this guy - because he's searching for the gun to keep his mob boss from realizing that he's been double crossing them all along. His quest is for evil purposes. That makes it impossible to identify with him for two hours - and the Act 3 redemption scene comes about 90 minutes too late. You start the film actively disliking him... and then grow to absolutely hate him!

The most dramatic choice is B - the abused kid who is driven to the edge by his extremely violent stepfather, then steals the wrong gun to defend himself with. After shooting his stepfather (who lives and vows vengeance) he goes on the run in the inner city where he tries to find places to hide from both the mob and the police - who are searching for him. He discovers that anyone who offers to help a ten year old runaway is probably some form of predator. This is one frightening odyssey for an innocent little kid! It's very easy to identify with this kid, who gets deeper into trouble every time he does something to get out of trouble. When he's being hunted by everyone, when he's captured and must escape heavily armed adults, you're rooting for him. He is an innocent, and his quest is survival in a world that seems like it's out to get him... that's something we can identify with. The audience would have no trouble seeing the story through this character's eyes for 2 hours.

Cameron Bright in Running Scared

My guess is that writer-director Wayne Kramer (THE COOLER) started out with a script told from the abused ten year old's point of view (the film's closing titles show a kid on a fairy tale odyssey through the inner city) but I'll bet some moron in development probably told him "There are no 10 year old stars - do a rewrite where the violent henchman dad is the hero". They ended up with a script that they could cast a star like Paul Walker in the protagonist's role... but in the process turned the script into a messy film about a violent gangster searching for a stolen gun. They won the battle but lost the war.

A better idea would have been to have the abused kid as the protagonist, and have the violent mob henchman character that Paul Walker played be the *antagonist*. You still get the marquee value of Paul Walker (whatever that is) and you don't alienate the audience in the process. Would Paul Walker play the antagonist? I think he'd jump at the chance to change is pretty-boy image! That would make him look like he has range - and playing the bad guy can be good for your career. Look at Tom Cruise in Stuart Beattie's COLLATERAL.

The problem with making the violent mob henchman the protagonist is that we end up with a completely inconsistent character - for the first half of the movie he's completely despicable, then he's just mildly evil for a while, then we have this out-of-left-field redemption scene that is supposed to erase all of the bad things the character has done up to this point... but can't. He's still the guy who admits to beating his father almost to death with a baseball bat, the guy who kills a whole bunch of people as a mobster, the guy who gets violent with his own son! You can't take any of that back with a redemption scene. It's a paste-on "He's really a good guy underneath it all" scene that can't change all of the violent acts that he's done before. There's no way to start liking this guy so late in the game.

So choose the most interesting and dramatic protagonist for your script and tell the story from their point of view. Make sure that point of view is also one that the audience would like to share for the next two hours. You want the most interesting, compelling, and emotional story possible (for development to poop on).


Buy The DVD - Rabbit Proof

RABBIT-PROOF FENCE was nominated for some Oscars a couple of years ago, a film from Australia based on a true story. From the 30s to the 70s the government had a policy to "help" children of Aborigines with one white parent ("half castes") by introducing them into white society. The police would take these kids by force, put them in re-education camps where they would learn to be servants to white families. This is a sprawling story - a political story, a social story, a story about the creation of a servant class, a story about religious do-gooders who ended up doing a terrible thing, the story of forced assimilation, the story of a people without any power in their government... but with all of those stories to choose from, the filmmakers decided to tell the true story of three little girls who escaped the re-education camps in 1931 and walked 1,500 miles across dangerous terrain... just to go home and be with their mothers. People see movies, so they told the story of three individuals.

In RABBIT-PROOF FENCE we see the story from the girls' point of view - specifically from Molly's point of view. It is her story. Though we see some scenes with the antagonist (Kenneth Brannagh) and some scenes with the tracker chasing them (the always amazing David Gulpilil) and some scenes with their mothers back in Jingalob (Molly's goal - to get back home to her mother) - all of these directly relate to Molly. When the girls are first taken by the police, that scene isn't told from the policeman's point of view - it isn't about an officer of the law removing ids from a bad situation for their own good, it's about three kids being snatched from their mother's arms and ordered to sit in the back of the police car and not say a word - the girl's point of view. When the police car drives away, the girls see their home and their mothers becoming farher away through the back window of the police car. The story is about the girls, so each scene takes their side so that we can feel the emotions that they feel.

Buy The DVD - Fugitive

In FOREST GUMP we see the story from Forest's POV - we only see the scenes that he is involved in. We have no idea what Forest's mom is up to when Forest isn't around. She could be baking cookies or working in a strip club - we have no idea. What she does with her life when Forest isn't around isn't important to Forest's story unless her life creates an event that involves Forest. The story is about Forest, and almost every scene in the film features his character.

In THE FUGITIVE we see the story from Richard Kimble's perspective, with a handful of scenes that focus on Agent Gerard. There are no scenes involving members of Gerard's TEAM that don't include Gerard. There are no scenes involving Gerard that don't involve Richard Kimble - the closest we get to that is the capture of the OTHER prisoner who escape with Kimble... and that scene is really about Kimble! If they can capture the hard core criminal, how can a guy like Kimble get away? And Gerard is OBSESSED with finding out what the criminal may know about Kimble... The whole film is about Kimble! If Kimble isn't in a scene, the scene shows the antagonist planning to capture Kimble.


Buy The DVD - Fugitive

Point Of View also is important in individual scenes. In Michael Cristof's ORIGINAL SIN (based on Cornell Woolrich's novel WALTZ INTO DARKNESS) Antonio Banderas plays a wealthy businessman wakes up one morning to discover that his new wife Angelina Jolie has split... and cleaned out his bank account. Cut to: Jolie in another city on a date with a wealthy businessman. They return to her hotel room and start kissing. But someone is hidden in the closet spying on them. Jolie bids the businessman good night and begins undressing for bed... the stalker watching every move. When she begins brushing her hair, the stalker springs from the closet and grabs her! She struggles, but can't get away. We worry that the stalker will kill Jolie...

But then it's revealed that the stalker is Banderas.

By taking Jolie's POV, this scene turns our protagonist (Banderas) into the villain. It breaks our identification with him. In an earlier version of the same story, Truffaut's MISSISSIPPI MERMAID, the scene is played from the Banderas' character's point of view - He is searching his runaway wife's hotel room when she returns - so he hides in the closet - suspense is built around the possibility that she and her suitor will discover him. Seeing his wife make out with another man fills him with anger and heartache - we feel his pain. When the suitor leaves and he steps from the closet to confront his wife, we are right there with him. We completely understand his anger. The earlier version understood point of view - the new version does not.

Take care when you chose the point of view character for each of your scenes - make sure you give the point of view to the character you want the audience to identify with. Usually that's the protagonist. In RABBIT-PROOF FENCE we have three little girls on the run from the authorities - but the story is told from Molly (Everlyn Sampi)'s point of view rather than Daisy or Gracie's POV. By the end of the film - based on a true story - we see the real Molly as she appears today. This is her story.

Whose story is your script?
Which character provides the most dramatic point of view?
Who will the audience become for 2 hours?




"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?"

Short Novel. Only 99 cents! - and no postage!


All About Rewrites!



Rewriting In Waves?

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!

Only $4.99

NEW in 2020!

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!

NEW in 2020!




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!

NEW in 2020!

Making Your Own Movie?


Making Your Own Movie?
Writing An Indie Film?
Writing A Low Budget Genre Script To Sell?
Writing A Made For TV Holiday Movie?

You will be writing for BUDGET. On a standard spec screenplay, you don’t have to think about budget, but these types of screenplays writing with budget in mind is critical!

If you are making your own movie, budget, is even more important - and you need to think about budget *before* you write your screenplay... or you will end up with a script that you can’t afford to make (or is a struggle to make). Everyone is making their own films these days, and even if you have done it before there are lots of great techniques in this book to get more money on screen - for less money! You can make a film that looks like it cost millions for pocket change.

344 Pages - ONLY: $9.99!





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

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

Only $9.99 - and no postage!

Tips FAQ

My New Script Secrets Newsletter!




*** 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.

Only $4.99 - and no postage!



*** 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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*** STORY: WELL TOLD *** - For Kindle!

This book takes you step-by-step through the construction of a story... and how to tell a story well, why Story always starts with character... but ISN'T character, Breaking Your Story, Irony, Planting Information, Evolving Story, Leaving No Dramatic Stone Unturned, The Three Greek Unities, The Importance Of Stakes, The Thematic Method, and how to create personal stories with blockbuster potential. Ready to tell a story? Print version was 48 pages, Kindle version is over 85,000 words - 251 pages!

Only $4.99 - and no postage!



*** HOOK 'EM IN TEN *** - For Kindle!

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!

Only $4.99 - and no postage!

NO KINDLE REQUIRED! Get the *free* app (any device, except your Mr. Coffee) on the order page on Amazon!





Expanded version with more ways to create interesting protagonists! A step-by-step guide to creating "take charge" protagonists. Screenplays are about characters in conflict... characters in emotional turmoil... Strong three dimensional protagonists who can find solutions to their problems in 110 pages. But how do you create characters like this? How do you turn words into flesh and blood? Character issues, Knowing Who Is The Boss, Tapping into YOUR fears, The Naked Character, Pulp Friction, Man With A Plan, Character Arcs, Avoiding Cliche People, Deep Characterization, Problem Protagonists, 12 Ways To Create Likable Protagonists (even if they are criminals), Active vs. Reactive, The Third Dimension In Character, Relationships, Ensemble Scripts, and much, much more. Print version is 48 pages, Kindle version is once again around 205 pages!

ONLY $4.99 - and no postage!



*** VISUAL STORYTELLING *** - For Kindle! (exclusive)

Show Don't Tell - but *how* do you do that? Here are techniques to tell stories visually! Using Oscar Winning Films and Oscar Nominated Films as our primary examples: from the first Best Picture Winner "Sunrise" (1927) to the Oscar Nominated "The Artist" (which takes place in 1927) with stops along the way Pixar's "Up" and Best Original Screenplay Winner "Breaking Away" (a small indie style drama - told visually) as well as "Witness" and other Oscar Winners as examples... plus RISE OF THE PLANET OF THE APES. Print version is 48 pages, Kindle version is over 200 pages!

ONLY $4.99 - and no postage!





Most screenplays are about a 50/50 split between dialogue and description - which means your description is just as important as your dialogue. It just gets less press because the audience never sees it, the same reason why screenwriters get less press than movie stars. But your story will never get to the audience until readers and development executives read your script... so it is a very important factor. Until the movie is made the screenplay is the movie and must be just as exciting as the movie. So how do you make your screenplay exciting to read? Description is important in a novel as well, and the “audience” does read it... how do we write riveting description?

Only $4.99 and no postage!



*** 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!

Only $4.99 - and no postage!



*** 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!

Only $4.99 - and no postage!



*** SUPPORTING CHARACTER SECRETS *** - For Kindle! (Exclusive)

Expanded version with more techniques to flesh out your Supporting Characters and make them individuals. Using the hit movie BRIDESMAIDS as well as other comedies like THE HANGOVER and TED and HIGH FIDELITY and 40 YEAR OLD VIRGIN and many other examples we look at ways to make your Supporting Characters come alive on the page. Print version was 48 pages, Kindle version is around 170 pages!

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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!



*** 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!




NEW: Updates On Films 7 & 8 Casting!

All Six Movies analyzed! All of the mission tapes, all of the “that’s impossible!” set pieces and stunts, the cons and capers - and how these scenes work, the twists and double crosses, the tension and suspense (and how to generate it), the concept of each film as a stand alone with a different director calling the shots (broken in the sixth film), the gadgets, the masks, the stories, the co-stars and team members (one team member has been in every film), the stunts Tom Cruise actually did (and the ones he didn’t), and so much more! Over 120,000 words of fun info!

THE MISSION IMPOSSIBLE MOVIES - 347 Pages - Only $3.99 !




NEW: Updates on TREADSTONE TV show!

All five "Bourne" movies (including "Legacy" and it's potential sequels) - what are the techniques used to keep the characters and scenes exciting and involving? Reinventing the thriller genre... or following the "formula"? Five films - each with an interesting experiment! A detailed analysis of each of the films, the way these thrillers work... as well as a complete list of box office and critical statistics for each film. This book is great for writers, directors, and just fans of the series.

Only $3.99 - and no postage!


Over 240 pages!

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

He's back! The release of "Terminator: Dark Fate" is set to begin a new trilogy in the Terminator story... 35 years after the first film was released. What draws us to these films about a cybernetic organism from the future sent back in time? Why is there a new proposed trilogy every few years? This book looks at all five Terminator movies from a story standpoint - what makes them work (or not)? What are the techniques used to keep the characters and scenes exciting and involving? How about those secret story details you may not have noticed? Containing a detailed analysis of each of the five films so far, this book delves into the way these stories work... as well as a complete list of box office and critical statistics for each film. This book is great for writers, directors, and just fans of the series.

ONLY $3.99 - and no postage!



Strange Structures!



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"?

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.

Only $5.99 - and no postage!



Alfred Hitchcock, who directed 52 movies, was known as the *Master Of Suspense*; but what exactly is suspense and how can *we* master it? How does suspense work? How can *we* create “Hitchcockian” suspense scenes in our screenplays, novels, stories and films?

This book uses seventeen of Hitchcock’s films to show the difference between suspense and surprise, how to use “focus objects” to create suspense, the 20 iconic suspense scenes and situations, how plot twists work, using secrets for suspense, how to use Dread (the cousin of suspense) in horror stories, and dozens of other amazing storytelling lessons. From classics like “Strangers On A Train” and “The Birds” and “Vertigo” and “To Catch A Thief” to older films from the British period like “The 39 Steps” and “The Man Who Knew Too Much” to his hits from the silent era like “The Lodger” (about Jack The Ripper), we’ll look at all of the techniques to create suspense!

Only $5.99

The new  MP3s are available now!


NOIR & MYSTERY80 minute MP3 packed with information on writing Film Noir and Mystery scripts. Using examples from CHINATOWN to OUT OF THE PAST to DOUBLE INDEMNITY you'll learn how to create stories in this dark, twisted genre. How to plant clues, red herrings, suspects, victims, spider women, fallen heroes, the funhouse mirror world of noir supporting characters... and the origins of Film Noir in literature Noir dialogue and how noir endings are different than any other genre. All of the critical elements necessary to write in this critically popular genre.
The Noir & Mystery Class is only $15 (plus $5 S&H). First 20 on Limited Black Disk!


IDEAS AND CREATIVITY - 80 minute MP3 packed with information. Tools to find ideas that are both personal *and* commercial. Hollywood wants scripts with High Concept stories... but not stupid scripts. Developing *intelligent* high concept ideas. How to turn your personal story into a blockbuster - or find your personal story in a high concept idea. Brainstorming and being creative. Ideas and Creativity is $10.00 (plus $5 S&H)

WRITING INDIES - Writing an Indie film? This class covers everything you need to know - from Central Locations to Confined Cameos. Using examples from SWINGERS, THE COOLER, STATION AGENT and others, this 80 minute MP3 is packed with information. How Indoe films challenge the audience (while mainstream films reassure the audience). Structures, using BOYS DON'T CRY, RUN LOLA RUN, HILARY & JACKIE, and others as example. Writing for a budget, writing for non-actors, getting the most production value out of your budget. Writing Indies is $10.00 (plus $5 S&H)

WRITING HORROR - The essentials of a horror screenplay - what do ROSEMARY'S BABY, NIGHT OF THE LIVING DEAD, THE EXORCIST, BRIDE OF FRANKENSTEIN, THE OTHERS and OPEN WATER have in common? This class will tell you! All of the critical elements necessary to write a script that scares the pants off the audience. Writing Horror is $10.00 (plus $5 S&H).

Click here for more information on CLASS MP3s!



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 2021 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 MP3! The 2001 London Class on 8 MP3s! Recorded *live* the morning after the Raindance Film Festival wrapped. The two day class on 8 MP3s, plus a workbook, plus a bonus MP3 with PDFs.
The 2 Day Class on MP3!


A Whole Week Of Programming!
(no actual sex is involved)
From Trailer Tuesday to Film Courage Plus to THRILLER Thursday to Fridays With Hitchcock and more! My blog has all kinds of great stuff! Check it out! Lots of cool stuff every day!


Each Blue Book is 48 pages and focuses on a different aspect of screenwriting. Dialogue. Visual Storytelling. Your First Ten Pages. Act 2 Booster. Protagonists. Great Endings.
Seventeen Blue Books now available!

THE SECRETS OF ACTION SCREENWRITING The Best Nuts & Bolts Screenwriting Book On The Market!


My nineteen produced films, interviews with me in magazines, several sample scripts, my available scripts list... And MORE!
...............................BILL'S CORNER

Available Scripts


Take classes on MP3!