Screenwriting Goldmine Ebook

Screenwriting Goldmine

'Your Complete, Detailed, Step By Step Manual That Leads You From Blank Page All The Way To Your Completed 1st Draft...'

'I've been a professional film writer and story editor at the really top of the UK television industry for nearly fifteen years. I've poured all my experience into this intensive, extremely readable, intensely focused, super high quality screenwriting system. I've control nothing back in creating a simple step by step know-how to manual YOU all the way from blank page to completed 1st draft...'

What Is It?
The Screenwriting Goldmine is possibly the nearest thing you wish find to a bullet proof approach to writing screenplays.

It's not quite a turn-key resolution (because apart from hiring Charlie Dramatist what ever could be?) but this step by step know-how guides you in detail from the blank mind before the blank page, all the way through to printing your (blissfully readable) 1st draft.

I spent months observation myself write. I analysed every detail of the hidden, innermost processes I go through at every stage of creating a script.

I then poached every detail down, keeping only the direct, most useful, information, and poured the results into a single, easy to read, creative manual for anyone who wants to unleash their writing potential.

So What's Inside?
Here's what you wish learn once you see it:

• How to do sure that your story is the Better possible story you could tell simply about your hero. Every character has one supreme story to be told simply about them - I tell you how to find that. (Page 11)
• The one REAL definition of drama. Forget all the high minded discussion that doesn't help you once it comes to it. This is a simple sentence you should ne'er let out of your mind. (Page 9)
• The one software system tool you should buy, plus the another two that you need and how you can get them for free. (Page 9, 29 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 don't need pages of backstory for them. (Page 54)
• How to find so more story material you wish 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 folk you have ne'er met. Use this formula to stay true to yourself. (Page 25)
• A specific templet for your Act 1 that means you Ne'er have to worry simply about how to start a story again. Imagine how it would-be feel to have the fear of the blank page softened by the cognition that all you have to do is follow the story shape here and you wish 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 what's going on underwater. (Page 58)
• The crucial beat that wish 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 wish leave folk uneasy without knowing why. (Page 44)
• The single most important principle of telling a story that you must ne'er forget. (Page 12)
• A simple way to raise the stakes of the story to get your audience involved even as more. It's thing really particular you do to your Hero. And it works. (Page 38-39)
• The Right Attitude! There is nothing in this book that hasn't contributed to a real life script that oversubscribed and got made. You don't waste your precious time down blind alleys. Perusal this book can take YEARS off your learning curve!
• The FOUR Essential Tools for creating the better 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 don't cognize this one, your hero wish ne'er reach the heights of true drama.) (Page 51)
• A SIMPLE TRICK for researching 'impossible' topics, such as historical drama, or science fiction. (Page 18)
• What folk who are misguided, inexperienced, or simply plain wrong say simply about story structure. After you've see this book you'll ne'er do their mistake - and you'll have a head start over them forever. (Page 14).
• A simple - and obvious - cover story that wish GET YOU PAST MOST OF THE GATEKEEPERS of the places you need to research (Page 17)
• Why you should ne'er EVER think of writing a script without a beat sheet - and how you go simply about creating one with no wasted effort. (Pages 22-49)
• The Better SORTS OF Pictures to find once you are setting up your screenplay. (It's easy to fill your script with images that simply don't hold attention. This simple rule of thumb gives you the better chance of filling your pages with images that are BOLD and DRAMATIC) (Page 9)
• The simple, yet FATAL mistake you can do that means the life blood of your story starts to slip away - and your audience with it. (Page 31)
• 7 simple route to GENERATE IDEAS. (Page 8)
• The better possible magnitude relation for your some acts. Once you've detected it you'll ne'er forget it, and it wish inform your writing forever. (Page 26)
• The most effective way to write a treatment. Don't beat about the bush. This is the shortest way from A-B. (58-59)
• How to locate folk who wish give you VIVID STORY MATERIAL without wasting your time. (Page 17)
• How you create your Antagonist - and how to do sure they are the better 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 activity across any story, any genre.
• 9 simple Rules of Thumb that you must ne'er forget piece you are acting 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 better things you can do to RAISE THE INTENSITY of the drama. Plus whereabouts in the script you should do it happen. (Page 39)
• One specific scene that raises your hero's focus, and attention, and commitment, until he is like AN Unbeatable MACHINE who is STEAMING TOWARDS THE CLIMAX. (Page 42)
• Why doing your research on the Computer network can KILL your script. (Page 15)
• Why you MUST integrate one crucial aspect of your hero's character into the final moments of the script - and how to set your hero up from the start to do that happen. (Pages 44 and 51-53)
• The FOOLPROOF sign it's time to finish researching and START WRITING. (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 Much 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 cognize simply about your hero before you start to write - and why they have about nothing to do with writing any kind of life 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 devising a critical mistake once you stage it. (Page 42)
• The ONLY reason you should show what you have written to your friends. (Page 59)
• Where better to lay out the conflict between your protagonist and your antagonist so that it PUNCHES the audience hardest. (Page 37)
• How more time you should allow yourself to write the scenes and dialogue per hour of screen time. Don't 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, more more...

More...