MONDAY'S SCRIPT TIP:

WHOSE FILM IS IT ANYWAY?


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).

EMOTIONAL POV

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.

POV IN SCENES

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?


BRAND NEW

OUTLINES & THE THEMATIC!

bluebook

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.

Only $4.99!


ALSO NEW!

DESCRIPTION & VOICE Blue Book!

bluebook

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?

Only $4.99!


Tips FAQ

My New Script Secrets Newsletter!


NEW BOOKS!

bluebook

NEW AND HOT!

*** 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!

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!


LEARN SUSPENSE FROM THE MASTER!

*** 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!

Only $5.99


bourne

BRAND NEW!

*** THE BOURNE MOVIES

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!





The new CDs are available now!

AUDIO CLASS!

NOIR & MYSTERY80 minute CD 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!

RECESSION SALE! $5 OFF!

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

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 CD 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 CDs!



bluebook

THE BOOK THAT STARTED IT ALL!

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

*** 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.)

Only $9.99 - and no postage!


READY TO BREAK IN?

bluebook

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!

$4.99 - and no postage!

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


bluebook

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!

Only $4.99 - and no postage!


bluebook

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!

ONLY $4.99 - and no postage!


bluebook

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!

ONLY $4.99 - and no postage!


bluebook

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!

ONLY $4.99 - and no postage!


bluebook

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.

ONLY $3.99 - and no postage!


bluebook

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.

ONLY $2.99 - and no postage!


bluebook

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!

ONLY $4.99 - and no postage!


bluebook

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!

Only $4.99 - and no postage!


bluebook

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!

Only $4.99 - and no postage!



hcd

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 2018 by William C. Martell


eXTReMe Tracker
SCRIPT SECRETS STORE

Script Secret Store SCRIPT SECRETS STORE From Typing Monkey coffee cups to messenger bags to T shirts - everything a screenwriter needs to look sharp while working on that Oscar nomination! Get your Script Secrets Coffee Cup today!

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

ONLINE CLASSES
Furious Action Class
MY OTHER SITES

B MOVIE WORLD
Cult Films, Exploitation, Bikers & Women In Prison, Monster Movies.

FIRST STRIKE PRODUCTIONS
Producing my own scripts, investment possibilities, pipe dreams.

NAKED SCREENWRITING CDs

Naked Class The NAKED SCREENWRITING CLASS ON CD! The 2001 London Class on 8 CDs! Recorded *live* the morning after the Raindance Film Festival wrapped. The two day class on 8CDs, plus a workbook, plus a bonus CD with PDFs.
The 2 Day Class on CD!

BOOKSTORE

Every screenwriting book in the world!
SCREENWRITER'S BOOKSTORE
In Association With Amazon.com
From the latest screenwriting book to guides for finding agents and producers... all with at the Amazon.com discount!

BOOKLETS & PRODUCTS

bluebook 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!

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

BILL'S CORNER

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


Available Scripts

CLASSES ON CD

Class CDs CLASSES ON CD! Take a class on CD! GUERRILLA MARKETING - NO AGENT? NO PROBLEM! and WRITING THRILLERS (2 CDs). Full length classes on CD. Now Available: IDEAS & CREATIVITY, WRITING HORROR, WRITING INDIE FILMS, more!
Take classes on CD!