"Don't You DARE Write Another Word Until You Have Read This Article!"
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...so you thought you'd write a quick screenplay, sell it for big bucks, move to Hollywood, and spend the rest of your life hanging out in a guitar-shaped swimming pool with George Clooney and Megan Fox?
Let me guess. Somehow it hasn't quite worked out like that?
Let me guess again.
- You can't, quite, think of that great idea?
- If you get an idea you can't work out how it should end?
- You run out of steam 30 pages in?
- You think your dialogue might be terrible?
Maybe you've actually finished a script. It's a great idea. It's long enough. The dialogue is David Mamet meets Tarentino on a blind date with Eminem - but, even though you KNOW it's a monster hit, people just never get back to you?
(Those script readers..! They're all so dim, aren't they? They're all interns, they don't know what they're doing, they all miss the point... )
I know what you're thinking: "They're misreading it...". "If I can just get it to someone with real power...". "If I just tweak it around a bit more, it'll leap off the slush pile and get them all going and THEN they'll understand my genius and THEN they'll pay me the big bucks and ship me straight out to Hollywood to get my new poolside gear..."
I KNOW, I KNOW, I'VE BEEN THERE MYSELF
I'm Phil Gladwin.
When I was younger I spent over ten years writing short stories and sending them out to small press magazines. Ten years! Writing in every spare moment, on the train to work, in my lunch breaks, annoying my partner by choosing to sit with a notepad and pen instead of going out with her.
Ten, long, intense, focused, dream filled years, during which time I gave writing my absolute best shot, during which time it was pretty well all I thought about.
Guess how many stories I sold in that time?
Go on, guess. I'm going nowhere.
OK, I'm assuming you're not actually going to mail in and tell me, so I'll tell you.
Ten years of solid effort produced...
And with one of those the magazine folded before I even saw the damn thing published.
Do you know that feeling? Do you know what it's like to spend weeks, months, even years on a story that you pour your heart and soul into, and when you think it's finished, when you know you've got every brilliant plot twist, every warm human character, every dazzling line of dialogue, the intriguing opening, the big life affirming ending, when you send it off to that production company, or that director, or that star you happened to meet at a party...
NO-ONE EVER GETS BACK TO YOU.
SO WHAT THE HECK IS GOING WRONG?
It's pretty clear.
I thought I was pretty bright. I've got a degree in English Literature for heaven's sake. I thought writing would be simple.
It turned out that I simply didn't have a clue how to write a story that anyone actually wanted to read.
In fact, despite what I believed, looking back I see now that I had simply no idea how to actually write a story. All that reading, and studying, had left me with an appreciation of a great book, and a great movie, and some pretty clever things to say about them - but no idea how to actually craft one myself.
Let's jump ahead nearly twenty years.
(Yes, I've been at this writing game for nearly 30 years now, and yes that does make me feel old, thankyou.)
I FOUND OUT WHERE I WAS GOING WRONG AND FIXED IT
I've got an IMDB.com page that lists screenwriting credits going back 15 years.†Real episodes of real TV shows that you can check on IMDB any time.
I've written and edited screenplays for some of the biggest TV shows in the UK
I've been hired by two of the biggest names in TV story telling (Lynda la Plante - of Prime Suspect fame, and Russell T Davies - the man who rebooted Doctor Who so spectacularly well) to write episodes on their shows.
The weekend I'm writing this article is the weekend I've just finished a job script doctoring a five part TV drama for a major broadcaster in Ireland.
At the moment I've got two independent producers hassling me to write movie scripts for them. (One based on a Stephen King short story, the other based on my own original play, which had a national tour last year and ended up with some amazing reviews.)
I've got another producer keen to get me to write up a pitch I made to him along with a friend, an Oscar nominated screenwriter.
I've been nominated for the Dennis Potter Award twice for my writing.
Most importantly, I've made my living as a freelance writer for the last 12 years.
So how did I get from there to here?
WHAT'S THE SECRET?
Is there a secret?
Well, no, actually, there isn't a secret.
When people don't get back to you it's not because they're fools.
- It's not because they've missed the point of your amazing writing.
- It's not because they only hire their friends.
- It's not because all movie and tv execs are lazy, corrupt, or illiterate.
- It's not because there is some insider Black List and your name just doesnít fit.
- It's not because you're a woman and everyone knows it's only men who get hired.
- It's not because you're black, or disabled, or too old, or too young...
The reason they don't get back to you about your script is because:
YOUR. SCRIPT. ISN'T. GOOD. ENOUGH.
There. I said it. And I know it's not easy to hear.
I hated it when people said it to me, so I feel your pain.
But trust me. You can schmooze and network and bully and blackmail all you want, but there is no hiding a weak, empty, half baked story that causes the reader to throw it into the shredder before they've hit page 20 - assuming it hasn't sent them to sleep by page 10.
SO WHAT DO YOU DO ABOUT IT?
You have a choice. You can carry on, on your own, and possibly hit the jackpot, and by hook or by crook work out your own system.
The risk of that is you could spend ten years getting nowhere, just like I did. (How much time have you got?)
Or you can reach out, and learn from someone who has been where you have been, has solved the problem, and has taken the time to write down a step by step system that will take you from an empty mind and a terrifying blank page, all the way to a screenplay that WILL get read, and WILL get attention.
My big break, my own turning point, came when I was lucky enough to land a job as a trainee script editor in the BBC Drama department in 1995. I spent five long years breaking stories, arguing with producers, directors, and writers about scripts, writing summaries of scripts, pitching new shows, fixing broken scripts (and making quite a lot of tea while scraping the mud off more than one actor).
It won't be a surprise to learn I came out of that as a writer who could write scripts that could sell.
If you get that kind of chance, accept it without question. It's the best screenwriting apprenticeship in the world.
But if you DON'T have the chance to do that, well there is an alternative.
You will be very interested to know that I've put all my experience into one downloadable package I call the Screenwriting Goldmine.
WHAT IS THE SCREENWRITING GOLDMINE?
I think it's possibly the closest thing you will find to a bullet proof approach to writing screenplays.
Itís not quite a turn-key solution (because apart from hiring Charlie Kaufman what ever could be?) but I believe my method is the closest thing you will find to a bullet-proof account of how to write a screenplay.
I spent months watching myself write. I analysed every detail of the hidden, innermost processes I go through at every stage of creating a script.
I then boiled every detail down, keeping only the direct, most useful, information - and then I poured the results into this single, easy to read, creative guide for anyone who wants to unleash their writing potential.
WHY SHOULD YOU LISTEN TO ME?
I could go on at great length about what I've done, about the TV shows I've worked for, about the many many hours of TV I've written, storylined, script edited or consulted on - but it all boils down to one thing.
I've made my living as a professional screenwriter and story editor since 1995.
How many other screenwriting 'gurus' can say the same thing?
SO WHATíS INSIDE?
Hereís what you will discover when you read the Screenwriting Goldmine:
- How to make sure that your story is the BEST possible story you could tell about your hero. Every character has one supreme story to be told about them and I tell you how to find that. (Page 11)
- The one REAL definition of drama. Forget all the high minded discussion that doesnít help you when it comes to it. This is a simple sentence you should never let out of your mind. (Page 9)
- The one software tool you should buy, plus the other two that you need and how you can get them for free. (Page 9, and page 61)
- The 4 Tent Poles of your story that you MUST find before you start writing. (Page 13)
- The simplest way to create your Hero (Page 11) and why you donít need pages of backstory for them. (Page 54)
- How to find so much story material you will have trouble deciding what to leave out. (Pages 15-20)
- A simple formula for a logline that helps YOU, not the studio. A big trap is to try to second guess people you have never met. Use this formula to stay true to yourself. (Page 25)
- A specific direction for your Act 1 that means you NEVER have to worry about how to start a story again. Imagine how it would feel to have the fear of the blank page softened by the knowledge that all you have to do is follow the story shape here and you will have a UNIVERSALLY APPEALING start to your story. (Page 26)
- Why writing scenes and dialogue too early is a CRITICAL mistake that could SINK your screenplay. Writing is like an iceberg. Most of it happens with little visible result. I show you whatís going on underwater. (Page 58)
- The crucial beat that will send your audience spinning into the final section of your story hungry to get to the end. Miss this one and your story stops dead in its tracks way before you want it to finish. (Page 39)
- The right way to end your story so that your audience are left happy and satisfied. Miss this stage out and you will leave people uneasy without knowing why. (Page 44)
- The single most important principle of telling a story that you must never forget. (Page 12)
- A simple way to raise the stakes of the story to get your audience involved even more. Itís something very particular you do to your Hero. And it works. (Page 38-39)
- The Right Attitude! There is nothing in this book that hasnít contributed to a real life screenplay that sold and got made. You donít waste your precious time down blind alleys. Studying this book can take YEARS off your learning curve!
- The FOUR Essential Tools for creating the best possible story. (Page 23)
- The three particular types of problem you should give your hero early to take the struggle out of building story. (Page 36, and previous).
- A simple yet effective device that is ESSENTIAL if you are to create a dramatic hero. (If you donít know this one, your hero will never reach the heights of true drama.) (Page 51)
- A SIMPLE TRICK for researching Ďimpossibleí topics, such as historical drama, or science fiction. (Page 18)
- What people who are misguided, inexperienced, or just plain wrong say about story structure. After youíve read this book youíll never make their mistake on how to write a movie script - and youíll have a head start over them forever. (Page 14).
- A simple - and obvious - cover story that will GET YOU PAST MOST OF THE GATEKEEPERS of the places you need to research (Page 17)
- Why you should never EVER think of writing a script without a beat sheet - and how you go about creating one with no wasted effort. (Pages 22-49)
- The BEST SORTS OF IMAGES to find when you are setting up your screenplay. (Itís easy to fill your script with pictures that just donít hold attention. This simple rule of thumb gives you the best chance of filling your pages with images that are BOLD and DRAMATIC) (Page 9)
- The simple, yet FATAL mistake you can make that means the life blood of your story starts to slip away - and your audience with it. (Page 31)
- 7 simple ways to GENERATE IDEAS. (Page 7)
- The best possible ratio for your different acts. Once youíve heard it youíll never forget it, and it will inform your writing forever. (Page 26)
- The most effective way to write a treatment. Donít beat around the bush. This is the shortest route from A-B. (58-59)
- How to locate people who will give you VIVID STORY MATERIAL without wasting your time. (Page 17)
- How you create your Antagonist - and how to make sure they are the best possible villain for your story. (Page 12)
- The 14 beats you MUST have in your story if you want it to GRIP YOUR AUDIENCE. These are general beats, and work across any story, any genre.
- 9 simple Rules of Thumb that you must never forget while you are performing the mysterious art of writing scenes and dialogue (Page 63-64)
- A simple trick to put in early on to propel your story forward and rivet your audience to their seats. (Page 33-34)
- Why an attack on the Hero from this unlikely source is one of the best things you can do to RAISE THE INTENSITY of the drama. Plus whereabouts in the script you should make it happen. (Page 39)
- One specific scene that raises your heroís focus, and attention, and commitment, until he is like AN UNSTOPPABLE MACHINE who is STEAMING TOWARDS THE CLIMAX. (Page 42)
- Why doing your research on the Internet can KILL your script. (Page 15)
- Why you MUST integrate one crucial aspect of your heroís character into the final moments of the script - and how to set your hero up from the start to make that happen. (Pages 44 and 51-53)
- The FOOLPROOF sign itís time to stop researching and START WRITING. This is a key stage of understanding how to write a movie script.(Page 18)
- How Desire is CRUCIAL to your character, and how it should change in the course of the story. This is the thread that holds your story together. I show you how to use it. (Page 13)
- A simple trick to play with minor characters to give your script masses MORE LIFE and APPEAL. (Page 50)
- Why relying on real life for your endings may be one of the biggest mistakes you could make. (Page 43)
- The ONLY 8 facts you must know about your hero before you start to write - and why they have almost nothing to do with writing any kind of biography for them. (Page 51-53)
- A simple trick for creating POWERFUL characters that leap off the page at you and are remembered FOREVER. (Page 54-55)
- The ONE SCENE that the WHOLE OF THE SCRIPT HAS BEEN WAITING FOR - and how to avoid making a critical mistake when you stage it. (Page 42)
- The ONLY reason you should show what you have written to your friends. (Page 59)
- Where best to lay out the conflict between your protagonist and your antagonist so that it PUNCHES the audience hardest. (Page 37)
- How much time you should allow yourself to write the scenes and dialogue per hour of screen time. Donít rush it, or let it drag on for ever. I give you an industry standard time to shoot for. (Page 64)
- Plus 'Action Step' Chapter Summaries after every chapter to summarise what exactly you have to do at that stage.
And much, much, much more...
WHAT DO PEOPLE SAY?
Over 2,000 people have downloaded this package since 2007. Here's just a handful of the comments I've received:
'The book is WONDERFUL. Concise, clear, and uber-informative, to coin a phrase. You should only sell millions of copies...' Joe Whyte, Walt Disney Feature Animation, Los Angeles, USA
'Phil has a comprehensive understanding of dramatic structure and genre, enthusiasm for developing and strengthening stories, extensive knowledge of the development process, an understanding of the inner workings of drama commissioning across all channels - and first hand experience as a writer of the tricks and traps of the trade.' Kath Mattock (Double Bafta winning producer of 'The Cops', 'Buried' and 'The Killing'), London, UK
'As senior media executive in the states with over 20 years experience producing TV and running a major TV/Recording Studio I've recently dedicated myself to writing full time. With numerous awards and credits under my belt I see incredible value and insights in Phil's newsletters and book. You need not look further to find proven steps to help take your project to the next level. I'm incorporating Phil's work into my original feature projects, and already can see and feel an improvement. And this is just the start for me... I'm thrilled I found Phil... You will be too!' Andy Kadison, New York, USA
'Phil Gladwin is a patient, inspiring and practical script editor. He's an original, imaginative and disciplined screen writer. His ability to draw on both disciplines equips him exceptionally well to assist both new and established writers achieve the full potential of their screenplays.' Sophie Balhetchet (Producer, Cougar Films; Former Chairman of the Independent Programme Producersí Association), London, UK
'I've written two screenplays since I read this book, and I've had two producer requests for one of them, one producer request for the other, and a producer request based on a seven-word logline for a scenario that's not yet even a script! Stuff like this has never happened to me before. Plus one of the above screenplays was a finalist in this year's New York-based Bridge International Screenplay Competition. Let me say that again: Stuff like this has never happened to me before. Get it, read it, and do it.' Ian Hamilton, Sydney, Australia
'Screenwriting Goldmine is essential to all unsold screenwriters, whether you are a beginner or have completed several scripts. There are plenty of other sources with tips on basic writing skills and formatting, but they don't tell the writer how to write a screenplay that People Are Desperate to Shoot -- and buy. Gladwin explains his method in a way that any intelligent writer should be able to follow, from character development through story beats that must be included. It won't help the writer of terrible dialogue or fix poor spelling and grammar, but it is indeed a goldmine for the writer who is ready to move to the next level. I've read nearly all the books out there, attended workshops and taken classes, but even though I was able to create interesting characters and stories, my scripts kept getting rejected. It was as though I didn't know some secret rules about writing screenplays. Now that I've read the (printed) book and done the hard work of revising my latest script, I believe that it will find a better reception.' E Cruze, Greybull, WY United States
ĎYour methods are wonderful and have indeed helped me to become a semi-finalist, top 30, at the Nicholl and to win the grand prize at Fade In Magazineís Fade In Awards. Iíve just completed the Professional Program at UCLA and yet I find Iím looking more and more at your methodologies for inspiration.†Jonathan Clark, Dublin, Eire
'Without doubt this is the genuine article. When compared to others that promise the guidance of genuine experts this is at the very very top of the pack. It is pretty safe to say that if this was the only text on writing it would be perfectly complete and you would not really need another text. If you closely READ and actually PERFORM the suggestions and you have the talent needed this text will get you published, performed or up in lights. Absolutely the best of the bunch.'† 'Sprocket', Australia
'As far as practical guides to screenwriting go, this is one of the best. It's a guide to laying out your story, on how best to present your story as a structured piece of screenwriting. But it's also so much more than that. When you really discover the storytelling gears driving the practical instructions in this book, your writing won't look back. A well-valued investment to your screenwriting library.' †Luke, Australia
'This is by far the best DIY book I have ever read. Not only the best 'how to write a script' book, but the best How-To book period. Phil gets straight to the point and lays it out in step by step, simple format. Cannot go wrong.' †W Johnson, St Louis, USA
'I've been using Screenwriting Goldmine for over a year now. It seemed expensive at first but I had already bought well over $200 of books on script writing over the years. Most have some good points but generally all left me wanting. Phil's approach makes the most sense to me of any method I've tried. It's not that Phil has come up with anything groundbreaking and new, rather he's done all of the research to show you what is involved in building a screenplay. Once I read it through it all seemed like common sense, but common sense I would never have come up with on my own (or taken the time to write out).I make my living as a writer and this method even helped me when ghost-writing a book for a client. I also used it to help me write a 2-page script/scene for a screenwriting contest. It worked and I won $1000! It doesn't box you in to make you feel like you're writing with a formula, the Goldmine just helps you know what pieces need to be in your script and how to go about deciding what they should be. He leaves the real creativity up to you. (So, if you're looking for some system that 'writes it for you' then keep looking. This method is only for dedicated creatives passionate about telling stories through scripts). So, in short, definitely, give this method a shot. You'll wish you had it sooner. Scott Hutcheson, Nashville, TN, USA
'Phil Gladwin is someone who has been in the industry and collected enough information to assist us on our way towards a screenwriting career. I found his book helpful and insightful without the usual long passages of explanations and definitions of advice. It's like a condensed bible of screenwriting and though not cheap is of real use. †J Godden
'This book is ace! It's really good and extremely helpful for someone like me, who has never written a story outside of school homework in the past. I've always wanted to write down the endless stories I've had floating around in my head since I was a child, but I never really had clear structure on how to do it. This guy won't let you down on how to write a screen play, and the cool thing about the book is that it's like a workbook, and it takes 1-3 days in most cases to get started on each chapter in the book. That's why the book is only like 90 pages. I know some people are complaining about the price, and I was pretty shocked myself at how much it was, but it's worth it, I don't care what people say, because it has completely helped me.' Ashley Keith, Sacramento, CA, USA
'One of the very few consistently successful screenwriters who are prepared to help others is Phil Gladwin and his book ' The Screenwriting Goldmine' will go a long way towards turning your artistic talent into salable scripts. Learn from it, especially the bits you don't like, because he has proved time and again that his methods work. He is a screenwriter's screenwiter.' J Webb
'I found the book very easy to follow, helpful and encouraging. A must for aspiring screenplay writers and everybody who wants to gain insight on screenplay writing.' †Bonnie B., LA, USA
'Phil's system, while covering many of the core axioms of the screenwriting craft, decodes the 3-Act structure in a very concise and conversational manner. His style is not self indulgent or overbearing, allowing the aspiring screenwriter to focus on one thing and one thing only - writing a story with the power to move an audience. His method is intuitive enough to not intimidate, yet practical enough that if you follow his steps, you soon see the results needed to motivate most writers to push forward and take the next challenge. At the end of each chapter, Phil lists action steps to be taken by the writer. This takes the guess work out of the process and answers the age old question of 'How and where do I start?' Additionally, once a first draft is finished, Phil's '12 Critical Questions to Straighten Out Your Story!' is a concrete guideline for ascertaining what works and what needs work in your screenplay. The Goldmine is precisely that. And it's a worthy addition to any story teller's library. Michael A Coleman Jr, USA
'I bought this book, The Screenwriter's Bible and Screenwriting for Dummies and have read them all. The book I keep coming back to is How to Write a Screenplay That People Are Desperate to Shoot. It has all the information I need to stay focused and positive about my future as a screenwriter.' A. Linardi, Newark, NY
'You can purchase a screenwriting book from a number of gurus who have never written a screenplay in their life. Or, you can purchase the Screenwriting Goldmine, a book written by a working screenwriter who truly knows what it takes to write a killer screenplay. In the Screenwriting Goldmine, Gladwin takes the screenwriter by the hand and leads him step by step through the entire process of writing that winning script. From concept to rewrites, it's all here; proven methods of getting the story from head to page. If I could only buy one screenwriting book, this would be it. It is honest, it is accessible and it is pure gold. Add that Mr. Gladwin also runs a screenwriting forum of the same name, I know that while writing can be a lonely proposition, I'll never be completely alone and answers to my questions are only a post away. The book, Screenwriting Goldmine, is worth every penny paid. You will refer to it, again and again, during the writing process. The extra bonus - this book can help you no matter what type of story you are telling, which makes it perfect for novelists and short story writers too.' Kat Yares, Newark, Clinton, AR, USA
'Late in life (66) I decided to write a screen play just for the fun of it. I read book after book on screenplays and even went to LA to rub elbows with fellow writers. My first writing efforts were fun but I could not keep the scripts moving along without heading off on tangents and dead ends. I did get a few pats on the head but not much more. Then I found Phil Gladwin's Goldmine and suddenly my writing became more disciplined and focused. I even had my latest project filmed and is in post production. (Independent Film 'Jack and Jen' by TwoSherpas.) Perhaps Mr. Gladwin's book is a bit pricey but when I consider the amount of time I wasted pouring over film school text books, the price becomes much more reasonable.' David Morgan, Snohomish, WA, USA
'I'm a published playwright with an award behind me. Your tips and pointers are the best I've found. For me it's like having a touchstone. Your treatment pointers came as if God sent. I was so close to what I was writing that my view was tainted and I was getting lost... I was able to make cuts and trims easily. It felt like I'd turned an overweight flabby piece into a slim pert booty of a piece!' Gill Adams, Hull, UK
'Dear Phil, I thought I'd write to let you know that a play I submitted recently into a competition was short listed. It was performed three times in our regional theatre. Needless to say, I am over the moon about it. But more than anything I see it as confirmation that the principles that you share in your Screening Goldmine book work for theatre too. Basically I put myself into that 'dreamy' state you suggest, (mortified to be found out dreaming up drama in plain daylight!) and, beginning with your idea of a Beat Sheet, I put evocative scenes into about twenty short sentences, this being a one-act play. I then looked for the four 'tentpoles' you advocate in your course and I was really pleased how it all came together on stage. With this encouragement behind me, I have started to work on a longer play. Thank you for making the impossible, first plausible and ultimately, very, very possible. Elvira McIntosh, Temora, NSW, Australia
'I think what you have released stands to change the industry forever... In your opening chapter you've opened my imagination to the reality of how to develop material by looking into my own experiences, memories, and examining the things that have had substantial impacts on my emotions and using them as a source of material. Anything that helps me see the resource that I personally carry around -- in such a way that I can imagine new ways to connect with others -- is huge whether I turn it into a play or not. I believe that skills can be taught but art must be inspired so that our latent creativity is stimulated. It seems that the very process of such is contained within the structure you've presented.' Douglas, USA
'I, a novelist, used your book on screenwriting to help me write a romantic comedy screenplay based on one of my published novels. It turned out so well that a successful movie producer (his comment upon reading it was, 'Wonderful! Delightful!') is now trying to raise the money for an independent production.' †Trina Mascott, Palm Desert, CA, USA
'...the book is indeed a 'Screenwriting Goldmine' for aspiring writers...' DM, Seattle, USA
'Anyhow, by the end of next week, thanks to your tent poles and golden nuggets, I should have my story in place... Because I don't want to bombard your mailbox if I have any questions whatsoever you'll be receiving something that resembles a Chinese take-out menu with possibly a fortune cookie for good luck... I am foreseeing a smooth road ahead.' DA, New Jersey, USA
'Goldmine truly has been a treasure to me. I have so gained so much confidence from the knowledge and application it has provided for me. Because there is such a wealth of OPINION out there in Cyberland it made it very hard for me to be settled and really KNOW which way to go... Immediately I began to read the book things began to click and I knew any question I had would soon be answered as I continued to read. Any time I questioned your step or technique, I would go through my mind to an amazing movie that I had seen and I would see that what made this movie amazing, was the very thing you spoke of... so, wow! I'll most definitely use this book as a constant reference.' Kandi Kernan, USA
'I have a bunch of screenwriting books on my shelf. And I've even read some of them. (Including Philip's, which is the best of the lot)...I now have a feeling for what I have to do to turn this story in my head into something that could come alive for an audience. I'm excited, because even if my story isn't good enough yet, at least I know what I need to do to create something that makes sense to the people to whom I want to sell it. If you haven't bought his book, buy it. And if you aren't on his mailing list, get on it. Charles Richardson, Friday Harbor, USA
'I found it very helpful and easy to read. It is simple with sensible and specific guide lines. It takes the thinking away and reminds you to think of the story and the feeling behind the words!' Best wishes, Darin 'Scorpio' Torres, NY, USA
'Well done on your book -- I especially like the way you incorporate the character's arc of emotional 'opposites' as a major building block toward breaking the plot. I studied screenwriting in New York, read just about every book around on screenwriting, even been to the McKee courses, but I've never seen that particular method put forward before. Fascinating. Love it... There's most definitely a certain poetry inherent in your method -- and that alone will elevate a script from the pile. Great insight. Also love the tip about Google Spreadsheets! 5x4 cards and the Final Draft software just don't do it for me so I've been searching for a new physical methodology toward my outlining process... and lo and behold, this one works like a charm -- and it's free, beautiful! It is a terrific book, wonderfully insightful. Aspiring screenwriters would simply be smart to buy it. So go for it! All my best,' JC, USA
'I'm learning more about the art of screenwriting from you and your book than from all of my writing instructors and college professors. No joke!' Jennifer Hawkins, USA
SO WHAT DO YOU GET?
The Screenwriting Goldmine book, in downloadable PDF format.
It's a short book, just 65 pages long. There is NO excess fat, no padding, no crap just to con you - just a simple, powerful script writing method.
You can read it in an hour, you can apply it in a few weeks, and it will change your writing forever.
YOU ALSO GET THESE BONUSES!
I've also included these terrific extras:
BONUS 1. Essence of Television
One of the things youíll constantly be asked after a meeting is to 'put together a few pages' on what you have just discussed. These treatments can take any form, and, depending on what they want from you, be of any length. But there are common standards youíd be unwise to ignore. Iíve put together notes on the best way to approach this critical task, plus five full examples of my own treatments, each aimed at a different slot and/or genre, to give you an idea of the different approaches available.
BONUS 2. The Eternal Toolbox
You may already know about Joseph Campbellís pioneering work on storytelling and how his book 'The Hero With 1,000 Faces' has influenced Hollywood ever since it was published back in the 1940s. Iíve personally found his ideas intensely useful, but Iíd be the first to admit the book is not the easiest of reads. So I decided to do the hard work for you.
'The Eternal Toolbox... is a bite sized digest of that book.
Iíve written a clear, concise, essential introduction to Campbellís ideas.
And, even more usefully, I give you easy to understand summaries of the 17 story beats that crop up over and over again across the recorded history of human story telling.
These are killer moments that will add power, depth and resonance to almost any story you care to write.
BONUS 3. The Screenwriting Goldmine Cribsheet For People In A Rush
I firmly believe that the method I detail in the Screenwriting Goldmine text book is a class A, supercharged way to producing the best, most commercial, most reader energising version of your story possible. If you want to learn how to write a screenplay, I just donít believe you can find an easier way of learning than following my techniques.
But Iím also a realist. I recognise that my way takes a lot of work, and sometimes you just want a quick fix.
If youíre feeling lazy, Iíve put together a question sheet to get you into the right ballpark with your story. If doing all the steps of my method seems like climbing Everest in flip flops right now, then the very least I can do is push you out for a quick jog round the screenwriting park.
In NO WAY are these questions any kind of substitute for the extended process.
But theyíre far better than nothing, and if you answer them fully then youíll be in a better place to do the whole method when you feel more energetic. Donít start writing till you have written down answers to all twelve! I mean it!
BONUS 4. The Screenwriting Goldmine Audio Edition
And finally, a feature length, unabridged and super desirable Mp3 version of the Screenwriting Goldmine text book. Read by Victoria Gould, who is an experienced film and tv actress, and is currently artistic collaborator with the world famous Complicite theatre company, this is the main Goldmine textbook cut into bite sized chapters, entirely suitable for uploading to your Mp3 player of choice. This means you can learn how to write a movie script on the way to work, at the gym - or while you should be doing your day job.
NO QUESTIONS ASKED 100% REFUND, GUARANTEED!
This is possibly one of the most important investments youíll ever make in your writing life.
I assure you that youíll be able to use the things that youíll learn in my book to write better screenplays.
This book may have the one exact piece of advice you need, but I want you to be absolutely sure about it. Thatís why you must know you have six whole weeks to see for yourself what it can do for you.
When you click on the button below, youíll be taken to a secure order page where you can download the book.
Read the book from cover to cover and youíll find strategies you can use RIGHT AWAY to start getting your writing sorted out.
If, after youíve read the book you decide that itís not for you, or you didnít find any useful information in it for your situation, simply send me a message forwarding the email confirmation youíll receive when you download your copy of the book, write Ďcancelí in your message subject line, and I will issue you a refund directly.
HEREíS HOW YOU ORDER...
When you click on the Paypal Logo below, youíll go to my secure order page for your credit card or Paypal information. After you have used the secure order form, youíll be able to download the books immediately as an Adobe Acrobat PDF file, and the audio book as assorted Mp3 files.
Your transaction is secure - I am using the latest complex encryption technology I can find to ensure complete and total privacy and security.
You may have to wait a second or two for the Paypal servers - they can be slow sometimes - but stay with it and youíll be reading the book in under ten minutes.
Just click on the Visa/Mastercard logo to invest in your screenwriting future. It will take you to Paypalís secure servers, where you can use all major credit/debit cards or your Paypal account. You will then be taken to a secure download page, where you can download the entire package to your computer. You could be reading and absorbing these inside techniques within ten minutes.
IMPORTANT - IF YOUíRE STILL UNDECIDED
If youíre serious about wanting to know how to write better screenplays, but have still not ordered, youíre probably hesitating for one of the following reasons.
Reason #1: Youíre interested, but you've got a shelf load of screenwriting books already. What's so different about this one?
As far as I can see, very few of the people who have published a screenwriting book have ever actually had more than a couple of scripts produced. Some of them are super intelligent advisors and analysts, who have broken down what goes on in a script, right down to the tiniest nuts and bolts, but very few of them have ever actually written more than a handful of screenplays from the ground up, and had them produced and seen by audiences of millions. I've done that, many times.
The thing is, I've done paid work on both sides of the equation, sometimes in some pretty pressured situations, so I've had my nose rubbed in the fact writing is a totally different mind set from analysis. For example, Robert McKee's famous book Story is an immensely clever study of what is going on under many different types of scripts, and is acutely insightful (actually quite brilliant), but I found it pretty near useless when it came to helping me defeat the blank page and actually WRITE a script.
My book doesn't claim to be a universal analysis of scripts, and it's certainly not a template for every single movie out there, it's more a step by step guide that tells you EXACTLY what to do at every stage you go through, so that in the end you will write a very particular type of story I know sells well.
Reason #2: Youíre interested, and youíve even bookmarked this page, but now isnít the right time. Youíll come back another day.
That is a risky strategy. Itís common knowledge among script readers that the standard of the average unsolicited script is far higher than it was a few years ago. Thereís more screenwriting information out there than ever before, and the average writer is far better educated about the mechanics of writing scripts than they ever have been. Writers who take their education seriously are raising their game with every screenplay they create. This means all the time you are not actively learning youíre not standing still, youíre actually falling further and further out of the loop. How much ground can you bear to lose?
Reason #3: Youíve bought a lot of screenwriting manuals before but you never actually get round to doing anything with them - they just sit on shelves making you feel vaguely guilty.
Screenwriting Goldmine is designed to inspire you to take action. Itís broken down into 14 easy, sequential steps with ultra clear directions, and action steps at the end of each chapter, with an indication of the time you should spend on each Action Step.
Each Action Step is a clearly defined task on its own, and I guarantee that after youíve read each of the Chapters you will want to jump up, implement a tactic, and get closer to that goal of your dream screenplay.
My bet is that the book will not only inspire you - it will motivate you to act, to take action, and to do something about writing your screenplay. I guarantee that within an hour youíll be looking at your writing practise from a entirely new perspective. How valuable will that be?
Reason #4: Youíre still new to screenwriting. Youíre afraid that a detailed and comprehensive course with advanced secrets may overwhelm you with too much information.
I wonít lie to you - writing a great screenplay is not a simple process. But thatís why writing is one of the most rewarding occupations in the world, and why itís worth pursuing with your whole heart.
Screenwriting Goldmine is not a quick fix. This is a comprehensive guide that contains many, many yearsí experience. You shouldnít download it, skim it once, and expect to have knocked out an Oscar winner by a week next Tuesday. But it is written with everyone in mind. I explain in precise, simple language the simple ideas that I use every day. I care about getting the basics right.
You get a highly readable method that goes step by step through every stage in the process, holding your hand all the way, and taking the shortest possible line to get you to that elusive saleable first draft.
The process of writing itself is literally one of the most enjoyable things I know, and there is nothing like the sense of accomplishment you get when you finish a good screenplay. If youíve been bitten by the bug you will know what I mean.
But you know what? If youíve been bitten by the writing bug then youíll also know there is NO ESCAPE! You will go on writing for the rest of your life, because, simply, thatís what you do. So why would you make that future writing any harder for yourself by refusing this rare opportunity to short circuit that learning process?
How long are you going to wait before you learn how to write properly?
Reason #5: Youíre busy and you want to know what you need to do RIGHT NOW. Can this course in Screenwriting help you?
The book at the centre of this package is 65 clearly written pages packed with detailed instruction, professional insight, and step by step guides to getting your initial vision on paper in the best possible way. There is no fluff in this book, itís all highly targeted practical information, designed to get you through the process with as little fuss as possible. I wonít pretend that writing doesnít take time, but thereís no way round that. But because my book cuts straight to the chase and gives you only what you need, you get the very best shot at making the most efficient use of your limited hours.
Reason #6: Youíre thinking to yourself: ĎIím American. What can a British guy possibly teach me about storytelling?í
Shakespeare was British. Didnít do him much harm. Aristotle was Greek, and he knew a thing or two about storytelling.
More recently, what about The Third Man? Brief Encounter? Lawrence of Arabia? All Hitchcock? Alfie? If...? Get Carter? A Clockwork Orange? Donít Look Now? Gregoryís Girl? Chariots of Fire? Ghandi? Local Hero? The Killing Fields? Brazil? Withnail and I? A Fish Called Wanda? Truly Madly Deeply? The Remains of the Day? Secrets and Lies? Sense and Sensibility? Lock Stock and Two Smoking Barrels? Trainspotting? Four Weddings and a Funeral? The English Patient? Shakespeare In Love? Gosford Park, The Full Monty? Billy Elliot? Harry Potter? Lord of the Rings? 28 Days Later? Hotel Rwanda? Dead Manís Shoes? Descent? Shaun of the Dead? Snatch? Slumdog Millionaire? 127 Hours? The Dark Knight? The King's Speech?
Not bad for a load of British screenwriters...
Storytelling is universal. A good story is a good story wherever it comes from - and I teach you how to write a very good story.
When it comes to questions about industry specifics, like 'what types of story are in vogue at the moment', or 'what kind of characters should I be writing' the answers are always the same, WHEREVER you are:
Never write for the market. The market is ALWAYS ahead of you. Good stories are always in vogue. People always want to watch fascinating characters. Good scripts break through. Bad scripts die. End of story. Screenwriting Goldmine gets you there. Quickly, and effectively.
Reason 7: You believe writing canít be taught. You think itís an indefinable thing, that depends on personality and other mysterious elements. You think you need natural ability.
You could say exactly the same thing about painting. But there seem to be an awful lot of art schools around.
What is this Ďnatural abilityí anyway?
All my life Iíve thought Iíve was tone deaf. Iíve never been able to sing a note, which has always been a great sadness to me. I just assumed I had no Ďnatural abilityí.
Recently I heard about a book that was supposed to cut through all that. It was recommended by a couple of actors I know who needed to sing better to extend their chances of working. I bought the book, read it cover to cover a few times, and been working with the CD. And been amazed by, for the first time in my life, realising how singing works. I can actually pitch notes now. I can even sing simple tunes. Itís going to be a long time, and take me a lot of work, but Iím confident I will one day be able to hold a real, complicated tune and join in as and when I feel like it.
So Iím heading from Ďno natural abilityí in an area in which I had believed was closed to me forever, to being able to express myself in a way I never dreamed of, all because I found the right teacher.
SO WHAT DO YOU GET AGAIN?
- 'Screenwriting Goldmine'. (My complete screenwriting manual in all its simple powerful glory.)
- The Essence of Television booklet. (Writing TV Treatments with examples).
- The Eternal Toolbox booklet. (Simple introduction to Joseph Campbell's Hero's Journey. A bag of powerful story beats you can use over and over again in any kind of story.)
- The Screenwriting Goldmine Cribsheet. (A set of diagnostic questions that will tune your story until it's a throbbing super charged beast.)
- The Goldmine Audio Edition. The soothing tones of Victoria Gould reading the main Screenwriting Goldmine textbook.
And all for just $77!
What if this knowledge helps you improve your script so that it opens the door of just one production company? Just ONE? What would that be worth to you?
What if thereís even a chance that this book can actually short cut the process of learning to write in a way that tips the balance and finds you the one piece of the jigsaw you are missing, so that from then on you are able to write the way you want to write - and have people clamouring to read what you have written?
How much would that be worth to you? A thousand dollars? Ten thousand?
More? For most writers I know, it would be priceless.
Just the POSSIBILITY of having this kind of writing success would be worth the investment. I personally spent ten years and hundreds of dollars before I ever wrote anything of any interest to anyone!
I wish that I could have bought this knowledge, insight and experience for $77 when I started. And I know youíll be glad you made the investment in yourself once you see what it can do for your writing.
This much is for sure: For the rest of your life youíre going to be writing. And youíre going to be seeing movies or TV shows that you love, and thinking, oh, I could do better than that - and yet never quite proving it. Or youíre going to have finished what you think is your best script ever and you arenít going to be able to get anyone to read it... all because you never learned how to write a screenplay.
Iíve been there, and Iím going to show you the way. Think about it...
To your writing success!
P.S. At some point you need to stop dreaming, and start taking action. Life is short, and you've got scripts to get made.
P.P.S. I use this Screenwriting Goldmine method personally as a professional screenwriter. It has won me some incredible commissions, and I know it will work for you, too.