Your lead character doesn't have to be likeable, but he has
to be interesting. Hannibal Lecter isn't likeable in HANNIBAL, but he's a fascinating guy
- we want to hang out with him to see what he'll do next. Al Pacino in SCARFACE isn't
a nice guy, but it's fun to see the American Dream gone wrong. Harvey Pekar in
AMERICAN SPLENDOR is one of the most prickly characters ever put on film, but he's
also fascinating and interesting. We don't have to *like* the protagonist in your script,
but they must be so interesting that we'll want to hang around them to see what they do
or say next.
Glenn Ficarra & John Requa's BAD SANTA is about a foul mouthed, alcoholic,
angry department store Santa played to perfection by Billy Bob Thornton. He's not a
nice guy, not looking for redemption, and not someone we'd ever want to hang out with
in real life... but for ninety minutes in a cinema he's a whole lot of (mean spirited)
fun. Here are a few of the reasons we may not like Billy Bob's character, but we can't
tear ourselves away from watching him.
1) He's a rogue and a rebel. After a few days of crowded malls, listening to the
same Christmas music over-and-over again, we may want to say "bah humbug!" to the
whole Christmas experience... but that would be wrong. So we try to be cheerful and
happy. Billy Bob does what we wish we could do - he rebels against everything cheerful
and commercial about the Christmas season. He's fed up with the holiday season, and
not afraid to show it. We may fantasize about knocking people out of the way at the
mall, he *does it*. We secretly like people who break the rules and rebel against society
- and what's a bigger symbol of society than Christmas?
2) We understand his bad behavior. He hates his job as a department store Santa,
and we'd hate it, too. Kids sneeze all over him, wet their pants on his lap, demand toys,
seem to speak in a foreign language (the kids ask for toys that he's never heard of - but
expect him to know exactly what they're talking about), the kids (and parents) feel like
they own him - he can't even eat his lunch in peace! If people kept bugging me on my
lunch hour I'd probably get mad, too. He deals with the most crass and commercial
aspects of Christmas, it's no wonder he's a Bah Humbugger.
3) We understand his character. BAD SANTA opens with Billy Bob sitting in a bar
telling us about his abusive father - this is a guy who has never known love. Even his
parents treated him badly. He's spent his entire life being abused, and now he's a bitter
drunk. That may not be someone we identify with, but we can see how he became this
angry guy. We're taken inside his miserable life. He's a guy with a chip on his shoulder,
but the film explains where that chip came from. When his father died Billy Bob was left
nothing except a basic knowledge of safe-cracking... which explains his current career.
He doesn't want to be a department store Santa, it's just part of the department store
robbery scheme. The key to writing a script with an unlikable character is making sure
that we understand the character.
4) Someone to love. At first the snot-nosed Kid (Brett Kelly) is a nuisance - hanging
around him, overly cheerful, a happy stalker. Then the Kid is an accidental helper -
fighting off the crazed Gay rapist in the parking lot and providing Billy Bob with a place
to hide out. But eventually a bond grows between the two - Billy Bob helps the Kid deal
with the skateboard bullies and deal with his self esteem issues. He sees himself in the
Kid - both have gotten the short end of the stick from society and are filled with self-loathing. By helping the kid, he's really helping himself. He's kind to the Kid, cares
about the Kid, and we're able to see a softer side of his character.
And because the Kid worships him, we really hope he gets his act together... and
we end up caring about him. The same goes for the cocktail waitress (Lauren Graham)
he shacks up with. She may just be interested in him because of that weird Santa
fetish, but she likes him. By giving him relationships with others, we have a chance to
see him through their eyes.
AMERICAN SPLENDOR also uses this technique, giving us a love story between
two prickly characters that we may not like, but we find ourselves caring about their
relationship.
5) Goal & Obstacle. Give any character a goal that requires struggle and we'll
wonder if they can achieve that goal. Here the goal is to do a very bad thing - rob the
department store on Christmas Eve. But a goal is a goal, and the obstacles are many.
First we have the torture of being a department store Santa before the robbery, then we
have his verbally abusive partner (Tony Cox) and his mercenary wife (Lauren Tom),
then we have the *very* straight-laced Personnel Director (the late John Ritter), and the
dangerous Head of Security for the department store (Bernie Mac).
6) Humor. You can have the most unlikeable character in the world, but if they're
funny we'll hang around them for a couple of hours. This guy is sarcastic, but he's also
funny because his behavior is completely inappropriate. He's the opposite of everything
we expect in a Christmas movie. Whether he's screwing plus-sized women in the
changing rooms or drinking on duty, he does those things we never expected a guy in a
Santa suit to ever do on screen. When he comes up the escalator passed out, you can't
help but laugh. His explanation for why he's wearing a fake beard is outrageously
funny, and becomes a running gag throughout the film (the Kid walks in on Santa
having sex with the Cocktail Waitress later in the film and calls her "Mrs. Claus' sister").
He's got a cynical (and funny) response to every situation.
AMERICAN SPLENDOR also gets mileage out of Pekar's caustic wit and
inappropriate behavior. Whether he's waiting in line at the grocery store or dealing with
doctors, he's always got something amusing to say.
Kenneth Lonergan's YOU CAN COUNT
ON ME is about a character who you might not want for a friend, but you can't wait to
see what he'll do next.
Laura Linney plays an ultra-responsible bank loan officer whose completely
irresponsible brother (Mark Ruffalo) comes to crash at her place and hit her up for
money. Ruffalo needs money because... he just got out of prison. You might not think
that would be an appealing character, but you come to "like" this guy for five
reasons:
1) We UNDERSTAND WHY Ruffalo's a dead beat who has problems with the law
- both of their parents were killed in a car accident when they were kids, and he fears
being attached to anything that could be yanked away from him - job, friends, even a
home.
2) He's a dreamer with his head in the clouds, and he gets us to buy into his
dreams - he wants to move back to Alaska where he thinks he can find a job.
3) Underneath it all he's a good person. His introduction scene has him leaving
this woman he's shacked up with (Gabby Hoffman) to go to his sister's house. It's an
awkward situation, but he does his best to be honest with Hoffman and spare her
feelings at the same time. He dumps her gently - and feels bad about doing it.
4) Someone to love - Ruffalo genuinely likes his sister's son (Rory Culkin). Maybe
it's because they're at the same level of (im)maturity, but he gets along great with this
8 year old. Because he loves his nephew, we really hope he cleans up his act... for
the nephew's sake.
5) Ruffalo is also a charming rogue. He's babysitting Culkin one night. The rules
are that Culkin can only watch 2 hours of TV. So after 2 hours, the TV set goes off
and Ruffalo says: "Your mom didn't say anything about playing pool, so we'll do that
for the rest of the night." He takes his nephew to a biker bar pool hall! Then he
challenges some guys to a game of pool - brother & nephew against two big biker
guys. Bets $100 they can win. This pool game illustrates #4 from above in a really
amusing scene where they win the game! It's the most fun Culkin has ever had
(mom's over protective - she holds on too tight to those around her for fear they will
be yanked away). Who would take an 8 year old to a biker bar and team up with him
in a pool match? For money? This guy is that crazy uncle you had as a kid - the one
who gave you a sip of his beer when your dad wasn't looking.
Your character may not be the nicest guy in the world, but he has to be the most
interesting guy you can imagine. For every fault, you must give us a reason why we
would want to hang out with him anyway. Hannibal Lecter EATS PEOPLE, but you
can't wait to see what he's going to do next!
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!
Thinking about writing a big Disaster Movie? An Historical Epic? An Epic Adventure Film? Or maybe you like Gladiator Movies? This book looks at writing Blockbusters and those Big Fat Beach Read novels - anything epic! Usng movies like JAWS, POSEIDON ADVENTURE, LAWRENCE OF ARABIA, THE GUNS OF NAVARONE, and those MARVEL and FAST & FURIOUS flicks as examples. What *is* a Blockbuster? 107 years of Blockbuster history! Blockbuster Characters. Blockbuster Story Types! Why modern Blockbusters are soap operas! Social Issues in Blcokbusters? Big Emotions! Keeping All Of Those Characters Distinctive! How to avoid the Big problems found in Big Movies and books! More! If you are writing a Big Event Movie or a Big Fat Novel, there are tips and techniques to help you!
"The Presidential Suite of the Hollywood Hoover Hotel looked like a bloody battlefield: bodies everywhere, furniture broken, red liquid dripping from the walls, dead soldiers littering the elegant Berber rug as clouds of smoke overhead bounced between two air conditioning vents.
Mitch Robertson stepped over the body of an ex-child star turned sex tape star turned pop star and entered the room, spotted a gun on the floor and picked it up... careful not to spill his coffee with three pumps of mocha syrup from Penny’s Coffee Shop. That coffee was gold, the only thing keeping him going in this dazed state of wakefulness. The gun felt light. Holding it, he saw the silhouette of an 80s action star sitting sideways on a tipped over chair. Motionless. Was he dead? Mitch was still hung over from the Awards Party the night before, and wondered whether this was all some sort of crazy nightmare that he would wake up from... but when he tripped over the brown legs of a bottomless Superhero, flaccid junk encased in a condom but still wearing his mask, and hit the edge of the sofa, gun skittering and coffee spilling, he realized that it was all very real. What the hell had happened here?"
When You Finish Your Screenplay Or Novel... The Rewrites Begin!
The end is just the beginning! You’ve finished your story, but now the rewriting begins! This 405 page book shows you how to rewrite your screenplay or novel to perfection. Everything from Character Consistency to Shoeboxing to How To Give And Receive Notes to 15 Solutions If Your Script’s Too Long! and 15 Solutions If Your Script’s Too Short! to Finding The Cause Of A Story Problem to Good Notes Vs. Bad Notes to Finding Beta Readers to Avoiding Predictability to Learning To Be Objective About Your Work to Script Killer Notes and Notes From Idiots to Production Rewrites and What The Page Colors Mean? and a Complete Rewrite Checklist! The complete book on Rewriting Your Story!
*** HITCHCOCK: MASTERING SUSPENSE *** - For Kindle!
Alfred Hitchcock, who directed 52 movies, was known as the *Master Of Suspense*; but what exactly is suspense and how can *we* master it? How does suspense work? How can *we* create “Hitchcockian” suspense scenes in our screenplays, novels, stories and films?
This book uses seventeen of Hitchcock’s films to show the difference between suspense and surprise, how to use “focus objects” to create suspense, the 20 iconic suspense scenes and situations, how plot twists work, using secrets for suspense, how to use Dread (the cousin of suspense) in horror stories, and dozens of other amazing storytelling lessons. From classics like “Strangers On A Train” and “The Birds” and “Vertigo” and “To Catch A Thief” to older films from the British period like “The 39 Steps” and “The Man Who Knew Too Much” to his hits from the silent era like “The Lodger” (about Jack The Ripper), we’ll look at all of the techniques to create suspense!
Contained Thrillers like "Buried"? Serial Protagonists like "Place Beyond The Pines"? Multiple Connecting Stories like "Pulp Fiction"? Same Story Multiple Times like "Run, Lola, Run"?
HITCHCOCK DID IT FIRST!
This book focuses on 18 of Hitchcock's 52 films with wild cinema and story experiments which paved the way for modern films. Almost one hundred different experiments that you may think are recent cinema or story inventions... but some date back to Hitchcock's *silent* films! We'll examine these experiments and how they work. Great for film makers, screenwriters, film fans, producers and directors.
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.)
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 !
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.
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.
Screenwriting books have been around as long as films have. This series reprints vintage screenwriting books with a new introduction and history, plus new articles which look at how these lessons from almost 100 years ago apply to today’s screenplays. Anita Loos book is filled with information which still applies.
In addition to the full text of the original book, you get the full screenplay to Miss Loos' hit THE LOVE EXPERT, plus several new articles on the time period and women in Hollywood.
Expanded version with more ways to find great ideas! Your screenplay is going to begin with an idea. There are good ideas and bad ideas and commercial ideas and personal ideas. But where do you find ideas in the first place? This handbook explores different methods for finding or generating ideas, and combining those ideas into concepts that sell. The Idea Bank, Fifteen Places To Find Ideas, Good Ideas And Bad Ideas, Ideas From Locations And Elements, Keeping Track Of Your Ideas, Idea Theft - What Can You Do? Weird Ways To Connect Ideas, Combing Ideas To Create Concepts, High Concepts - What Are They? Creating The Killer Concept, Substitution - Lion Tamers & Hitmen, Creating Blockbuster Concepts, Magnification And The Matrix, Conflict Within Concept, Concepts With Visual Conflict, Avoiding Episodic Concepts, much more! Print version is 48 pages, Kindle version is over 175 pages!
ARE YOUR SCENES IN THE RIGHT ORDER? AND ARE THEY THE RIGHT SCENES?
Your story is like a road trip... but where are you going? What's the best route to get there? What are the best sights to see along the way? Just as you plan a vacation instead of just jump in the car and start driving, it's a good idea to plan your story. An artist does sketches before breaking out the oils, so why shouldn't a writer do the same? This Blue Book looks at various outlining methods used by professional screenwriters like Wesley Strick, Paul Schrader, John August, and others... as well as a guest chapter on novel outlines. Plus a whole section on the Thematic Method of generating scenes and characters and other elements that will be part of your outline. The three stages of writing are: Pre-writing, Writing, and Rewriting... this book looks at that first stage and how to use it to improve your screenplays and novels.
William Goldman says the most important single element of any screenplay is structure. It’s the skeleton under the flesh and blood of your story. Without it, you have a spineless, formless, mess... a slug! How do you make sure your structure is strong enough to support your story? How do you prevent your story from becoming a slug? This Blue Book explores different types of popular structures from the basic three act structure to more obscure methods like leap-frogging. We also look at structure as a verb as well as a noun, and techniques for structuring your story for maximum emotional impact. Most of the other books just look at *structure* and ignore the art of *structuring* your story. Techniques to make your story a page turner... instead of a slug!
This book takes you step-by-step through the construction of a story... and how to tell a story well, why Story always starts with character... but ISN'T character, Breaking Your Story, Irony, Planting Information, Evolving Story, Leaving No Dramatic Stone Unturned, The Three Greek Unities, The Importance Of Stakes, The Thematic Method, and how to create personal stories with blockbuster potential. Ready to tell a story?
Print version was 48 pages, Kindle version is over 85,000 words - 251 pages!
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!
Expanded version with more ways to create interesting protagonists! A step-by-step guide to creating "take charge" protagonists. Screenplays are about characters in conflict... characters in emotional turmoil... Strong three dimensional protagonists who can find solutions to their problems in 110 pages. But how do you create characters like this? How do you turn words into flesh and blood? Character issues, Knowing Who Is The Boss, Tapping into YOUR fears, The Naked Character, Pulp Friction, Man With A Plan, Character Arcs, Avoiding Cliche People, Deep Characterization, Problem Protagonists, 12 Ways To Create Likable Protagonists (even if they are criminals), Active vs. Reactive, The Third Dimension In Character, Relationships, Ensemble Scripts, and much, much more. Print version is 48 pages, Kindle version is once again around 205 pages!
Show Don't Tell - but *how* do you do that? Here are techniques to tell stories visually! Using Oscar Winning Films and Oscar Nominated Films as our primary examples: from the first Best Picture Winner "Sunrise" (1927) to the Oscar Nominated "The Artist" (which takes place in 1927) with stops along the way Pixar's "Up" and Best Original Screenplay Winner "Breaking Away" (a small indie style drama - told visually) as well as "Witness" and other Oscar Winners as examples... plus RISE OF THE PLANET OF THE APES. Print version is 48 pages, Kindle version is over 200 pages!
Most screenplays are about a 50/50 split between dialogue and description - which means your description is just as important as your dialogue. It just gets less press because the audience never sees it, the same reason why screenwriters get less press than movie stars. But your story will never get to the audience until readers and development executives read your script... so it is a very important factor. Until the movie is made the screenplay is the movie and must be just as exciting as the movie. So how do you make your screenplay exciting to read? Description is important in a novel as well, and the “audience” does read it... how do we write riveting description?
Expanded version with more ways to create interesting dialogue! How to remove bad dialogue (and what *is* bad dialogue), First Hand Dialogue, Awful Exposition, Realism, 50 Professional Dialogue Techniques you can use *today*, Subtext, Subtitles, Humor, Sizzling Banter, *Anti-Dialogue*, Speeches, and more. Tools you can use to make your dialogue sizzle! Special sections that use dialogue examples from movies as diverse as "Bringing Up Baby", "Psycho", "Double Indemnity", "Notorious", the Oscar nominated "You Can Count On Me", "His Girl Friday", and many more! Print version is 48 pages, Kindle version is over 175 pages!
What is a scene and how many you will need? The difference between scenes and sluglines. Put your scenes on trial for their lives! Using "Jaws" we'll look at beats within a scene. Scene DNA. Creating set pieces and high concept scenes. A famous director talks about creating memorable scenes. 12 ways to create new scenes. Creating unexpected scenes. Use dramatic tension to supercharge your scenes. Plants and payoffs in scenes. Plus transitions and buttons and the all important "flow"... and more! Over 65,000 words! Print version was 48 pages, Kindle version is around 210 pages!
Expanded version with more techniques to flesh out your Supporting Characters and make them individuals. Using the hit movie BRIDESMAIDS as well as other comedies like THE HANGOVER and TED and HIGH FIDELITY and
40 YEAR OLD VIRGIN and many other examples we look at ways to make your Supporting Characters come alive on the page.
Print version was 48 pages, Kindle version is around 170 pages!
Expanded version with more techniques to help you through the desert of Act Two! Subjects Include: What Is Act Two? Inside Moves, The 2 Ps: Purpose & Pacing, The 4Ds: Dilemma, Denial, Drama and Decision, Momentum, the Two Act Twos, Subplot Prisms, Deadlines, Drive, Levels Of Conflict, Escalation, When Act Two Begins and When Act Two Ends, Scene Order, Bite Sized Pieces, Common Act Two Issues, Plot Devices For Act Two, and dozens of others. Over 67,000 words (that’s well over 200 pages) of tools and techniques to get you through the desert of Act Two alive!
Print version was 48 pages, Kindle version is well over 200 pages!
The First Ten Pages Of Your Screenplay Are Critical, But What About The Last 10 Pages?
Creating the perfect ending to your story! This 100,000 word book shows you how to end your story with a bang, rather than a whimper. Everything from Resolution Order to Act Three Tools to Happy or Sad Endings? to How The Beginning Of Your Story Has Clues To The Ending (in case you were having trouble figuring out how the story should end) to Falling Action to How To Avoid Bad Endings to Writing The Perfect Twist Ending to Setting Up Sequels & Series to Emotional Resolutions to How To Write Post Credit Sequences to Avoiding Deus Ex Machinas, to 20 Different Types Of Ends (and how to write them) and much more! Everything about endings for your screenplay or novel!
Loglines, Treatments, Pitching, Look Books, Pitch Decks, One Pagers, Rip-O-Matics?
You have written a brilliant 110 page screenplay, but how do you get anyone to read it? You need to distill it down into some form of verbal moonshine or story rocket fuel that will ignite that bored development executive or manager or agent and get them to request your screenplay. But how do you shrink those 110 pages into a 25 word logline or a 2 minute elevator pitch or a one page synopsis or a short paragraph? This 100,000 word book shows you how! Everything you need to know! From common logline mistakes (and how to solve them) to how your pitch can reveal story problems to the 4 types of pitches!
Should really be called the BUSINESS BLUE BOOK because it covers almost everything you will need to
know for your screenwriting career: from thinking like a producer and learning to speak their language,
to query letters and finding a manager or agent, to making connections (at home and in Hollywood) and
networking, to the different kinds of meetings you are will have at Studios, to the difference between
a producer and a studio, to landing an assignment at that meeting and what is required of you when you
are working under contract, to contracts and options and lawyers and... when to run from a deal!
Information you can use *now* to move your career forward! It's all here in the Biggest Blue Book yet!
Print version was 48 pages, Kindle version is over 400 pages!
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!
IT'S BACK! SECRETS OF ACTION SCREENWRITING
Over 460 pages packed with tips and techniques.
How to
write a plot twist,
the four kinds of suspense (and how to create it), reversals, ten ways to invent new action scenes, secrets and lies,
creating the ultimate
villain, five kinds of love interests, MORE!CLICK HERE!
CLASSES ON MP3
CLASSES ON MP3! Take a class on MP3! GUERRILLA MARKETING - NO AGENT? NO PROBLEM! and WRITING THRILLERS (2 MP3s). Full length classes on MP3. Now Available: IDEAS & CREATIVITY, WRITING HORROR, WRITING INDIE FILMS, more!
Take classes on MP3!
MY OTHER SITES
B MOVIE WORLD Cult Films, Exploitation, Bikers & Women In Prison, Monster Movies.
E BOOKS: New Blue Books and Novelettes!
I am expanding all of the Blue Books from around 44 pages of
text to around 200 pages! Some are over 250 pages! See what is availabale and what is coming soon!Also, I've been writing Novelletes and there
will soon be novels. E BOOKS: BLUE BOOKS & NOVELLETES
BOOKLETS & PRODUCTS
FIRST STRIKE BLUE BOOKS
Each Blue Book is 48
pages and focuses on a different aspect of screenwriting. Dialogue. Visual Storytelling. Your First Ten Pages. Act 2 Booster. Protagonists. Great Endings. Seventeen Blue Books now available!
