'How To Write A Movie Script That People Will Be Desperate To Read'

I’ll show you the exact steps and specific directions to help you write more attractive screenplays – and you don't have to be a genius with words either.…

I was called up by my agent. She'd got me a meeting at one of the big shows here in the UK. I'd never written for this show before, but I thought, yes, that would fill a three month slot in my diary very nicely. I decided I'd like to do the job.

I had the meeting, and found out that they were in a hole. They had messed up their production schedule, and only two of the regular actors or sets were available. I realised they were in a high risk situation. An audience tunes in to see their favourite characters go through familiar stories in a world they know very well. Without 95% of the regular cast or sets, this was going to be a tall order. If it went wrong there'd be blood on the walls. Each episode of these shows costs a lot of money, up in the hundreds of thousands, and the pressure to get them right is immense.

I didn't think twice. I took the job. And they were grateful, because they know I wouldn’t let them down.

Other writers would take the job, battle on through rewrite after rewrite, and, even if they lasted the course and didn't get sacked, often end up with an episode that seemed strange, disconnected, and lost 10% of its audience by the end.

But I was able to take the job happy that I could deliver a cracking episode with a compelling story that their audience would love.

The question is: How could I be so sure?

If you would have asked me if this was even possible a few years ago, I would have said "Sure, but not by me." But now I do it ALL THE TIME.

It's not uncommon for script editors to call me out of the blue to check my availability – or even try to offer me episodes of shows over the phone.

And it doesn't matter what type of story it is, whether it's high octane murder mystery, childrens' science fiction, medical soap, whatever - I can still deliver great episode after great episode.

And before you wonder, I'm not a natural storyteller. If you met me in a crowd you could even think, why does that guy have such trouble getting his point across? When I started out I wrote fiction for over ten years, never managing to finish a novel, only selling three short stories in all that time.

So how did I go from not even finishing what I wrote to being able to pick and choose from the many lucrative screenwriting gigs that are offered to me?

Sadly the vast majority of writers will never have this kind of success.

I know that you want to sell your writing, and see it turned into real, vivid onscreen drama. Every writer does. But what do most writers do about it?

Nothing.

Well. Nothing helpful. They spin their wheels trying to write, and they find it to be mind crushingly hard. They might sell one or two short stories, or even get a few meetings at a production company. But nothing really happens, and they eventually give up.

Some writers you can't help. They're the ones that believe writing can't be learned. That it is a god given skill that you can find within yourself with enough prayer, or nicotine and red wine.

Other writers are closer to the reality. They know there is a secret to writing, if only they can find it.

The problem is they don't know where to look. They buy book after book written by 'experts' who have never sold a screenplay in their life.

They hang around local writer's groups, and get their work torn to pieces by more people who don't know what they are doing.

They get online, find a forum that looks to have some informed members, and get swamped by the mass of confusing, contradictory, ego driven advice shouted at them from all directions - from people who have never sold a script in their life.

(Tip: The harder they blow, the more critical they are, the less likely they are to have actually achieved any success. The people who have really done it are generally happy to help.)

Once in a while, they'll finish something, and their friends will read it, and, if they are polite, say, "That's not bad at all, you should be a writer!"

But if they send it out to a tv company, or a movie production company, it seems to drop into a vacuum.

It might vanish for ever, or it might find its way back home three or four months later with a tyre track across the cover and a note saying 'Not for us.'

They eventually give up too.

It's a great shame.

You weren't born knowing other skills like how to walk, how to talk to people, or how to iron a shirt.

These are basic skills that you LEARNED when you needed them.

Being able to write is just another skill, and almost anyone can learn it if they want to.

I remember one night nearly 20 years ago so very vividly. I had written the most brilliant start to a short story. I knew it was strong, and powerful, and intriguing, and true. But I couldn't finish the story. Whatever I wrote felt like it was slipping off target, like it didn't belong to the same piece.

I eventually cobbled together another 5,000 words and sent it out, unhappy, but just glad to be finally done with it.

Eventually it even sold, to a magazine owned by a friend. But looking at it when the proof copy arrived, I got really sad. I knew the published story was boring, underdone, that the promise of the opening had been utterly squandered.

I stopped writing so hard, and I started spending more time on tearing apart other people's writing. I was determined to understand what makes a good story. I filled my desk with coloured charts, sticky labels, coloured highlighters, tracking characters, tracking themes, tracking all sorts of other things that made no sense at all.

The most frustrating part was the sheer overload of the information.

Every book I bought had a different angle. Every novel, every movie I pulled apart seemed to have different things going on. I couldn't make sense of what was happening. How could any one person hold all that information in their head while they wrote?

I wasn’t going to give up. I decided I felt more at home in tv and the movies than prose fiction. I started investing even more time and money. I started going to weekend courses, at first by anyone I could find, eventually by the biggest script gurus in the business. Slowly a common theme started emerging. But it was costing me a small fortune, and the same problem of simple overload cropped up again, only with the added stress that I knew it was costing me money.

The most frustrating thing of all was that, when I tried applying the systems in most of the books and courses, there were huge gaps in what they were telling me when it came down to the nitty gritty. None of them gave me a step by step guide, none of them held my hand at the kind of level of detail I needed.

The sad truth is that most writers give up and never manage to write anything that other people want to read. They never manage to sort the wheat from the chaff, and work out what they actually need to do to tell a good story. They decide, "Ah, well, I'm not a writer. But at least I gave it a try. Never mind that I have to give up the one dream I had that made the day job bearable."

You don't have to abandon that dream!

This is where I come in.

I've spent the last twenty years soaking up everything I could find about how to write. I've spent the last 12 years focused entirely on writing screenplays and how to make them appealing to producers.

Most years I work an average of perhaps 20 hours a week writing screenplays for the major TV networks. And this isn't doing hack jobs I have to grit my teeth and hold my nose to complete. I've worked for the biggest, most award winning, most successful producers in the UK. All hiring me to write screenplays for shows they want to make.

Well, good for me, eh? No - good for you!

I want to give something back. I want to help other people get there too.

I want to explain how I do it.

This is your chance to learn the precise, intricate, full specified principles of a process I use every day. A process that is central to how I write professional screenplays that consistently open doors, that consistently sell, and that consistently get made.

This is your chance to stop going round in circles, following all that endlessly confusing free advice you find littered all over the internet. This is your chance to get an inside track that took me literally decades of work to map out.

This is your priceless chance to avoid wasting years of your life.

After years of studying what other writers did, I've studied what I do when I write. I've put it all into an book in plain, easy-to-understand language. I've published it online and make it available to you for instant download.

The book is called:

“Screenwriting Goldmine: How To Write A Screenplay That People Are Desperate To Shoot”

I've learned that most writers don’t know where to start writing a story that people want to read. They are spinning their wheels, round and round in depressing circles, their writing never taking flight and capturing their reader's imagination.

In my book, I'll teach you how you hit the take off ramp at top speed.

If you have never finished a screenplay in your life, yet know you want to put in the effort until you do, then this book is for you.

If you've already written screenplays, maybe even sold a few, then this book will show you how to do it better.

You might want to write for your all time favourite TV characters (it finally happened to me last year!) You might be wanting to finish your first feature script that currently only exists in a pile of notes in a bundle of notebooks. You might want to know why you can't sell the script you have spent years labouring to finish. That's all OK. Where ever you are on the ladder, this book can help.

This book is 65 pages long. There is no fluff - it is packed with details on my insider techniques and hard core advice on how to write like a professional - and it is only available as a downloadable book from this site. You can be reading it in five minutes or so.