we have book

December 1, 2012

 

Trav_PBOOK006And the book is —

Shipping. Yay! The eBook for iPad and Nook shipped out today for all pre-orders. It will be a few days before it shows up on the Barnes & Noble and iBook sites — they are loading but there is an approval and waiting process so —

If you want the book right now, no waiting, go to the book’s website and order the book direct. And it will magically appear in your inbox before anyone else out there even has a clue. (You are so smart.)

The Kindle version of the book for Amazon is still in production, I am saying that will be coming out on or before December 15th, just to be safe. But if everything goes the way it is supposed to, that is actually shipping Tuesday. Again, it takes a few days for the book, once loaded on Amazon, to show up for sale on Amazon, but you can jump that fence by (tell me if you have heard this before) going to the book’s website and ordering the book direct. In which case, it will come to you in your email inbox. Yay!

There is no hard copy book. That is a 2013 project.

In the meantime, go get the book. Yay!

 

 

 

We have a delivery date of November 21st for the eBook after which, barring major catastrophe and/or Apple complications the eBook will be available at Amazon, Barnes & Noble, and iBooks.

But wait, you do not have to wait in line and jostle elbows and servers with the unwashed masses for the eBook. You can pre-order the eBook right now. How is this wizardry possible, you ask? Hit the :::book order page::: and as soon as the book becomes available it will be delivered straight to your in box.

Magic! Yay!

 


:::order book:::

 

 

Self Portrait

October 28, 2012

 

 

 

 

ebook frenzy

September 12, 2012

 

So, starting a dialogue —

With eBook conversion peeps to put the new edition of The Screenwriter’s Survival Guide out electronically.

Here’s a question. See I’m thinking go electronic first, wait on hard copy. But how many people are going to be annoyed they cannot get the book hard copy? People have told me they are saving space on a shelf for the new edition. What if there is no hard copy, what if it is electronic or bust?

Let’s test the waters here. When the new edition of The Screenwriter’s Survival Guide comes out, if you are planning on getting it, how were you planning on getting it? Kindle? iBook? Paperback? Hard cover? Which is your preference?

 

 

who knew?

June 6, 2012

 

When I wrote Excess Baggage —

In the original script, the father – who was a very bad father – was a currency trader. He traded globally. And if he wanted a currency to dip, he helped. By making people disappear or dead, if necessary, because that’s a pretty fast way to disrupt a currency. Disrupt chain of command — in whatever form it takes. He was a pretty cold guy in general, not just on the father platform.

I thought I was making that up at the time. It never would have occurred to me someone would actually do that. I was just looking for the broadest harshest way to make money trading and when I hit currency trading, I thought, that’s it, that’s the way to do it.

[That required a fuck load of research to pull off too because I’m not exactly currency trading wired and it is a damn shame none of that made it into the movie.]

Now I’m watching the world and getting, I wasn’t the first person to think that up. I was just the only person naive enough to think of it as fiction.

 

poetry mayhem

April 26, 2012

 

If you look at us, we’re an odd threesome to be hitting a poetry slam. I disdain poetry. Except for Bukowski. Mostly I think poets are emotional masturbators. Drew, well I suspect Drew’s sneaking around to music clubs doing open mic night but not poetry clubs. Michael is the one who might do a poetry slam. But if he has he hasn’t told his filmmaker brethren about it.

[We are all filmmakers. But, as filmmakers, we are supposed to be above "art" on one plane, and all about "art" on another. We live in a weird place, we filmmakers.]

But. Michael was coming to town. Drew had been corralled and was going too. And I need to leave the house more often because if I do not I may grow an umbilical cord to this computer. So I put on pretty shoes and off I went to this “poetry slam.”

I did not think I would like it. I have never been to a “poetry slam” and really all I was thinking was, Haight Ashbury 1960’s, wow this could seriously be a bad fashion and hair nightmare —

Okay, it really was a bad fashion and hair nightmare [also the beards and sideburns ahh!] but also? The poets were really good. Like “open a vein and make you feel and think” good which is what good writing is about.

Yay poets!

I have favorites now too. Which is a little traumatic. But hey, these poets are getting shipped off to other states for competitive poetry mayhem and I am rooting for them.

My one piece of advice? Go on last. The scores appear to go up along with the volume of alcohol the judges have consumed. Take advantage of that.

 



Two January classes, The Art of the Pitch and Visual Writing, start January 10th.

There are a couple seats left if you act fast:

 


VISUAL WRITING

Begins January 10, 2012

Visual Writing | Putting Vision Back Into Viewing | Online 6 Week Master Course | Start Date : 01.10.12 |

MAKE YOUR READERS “SEE” YOUR MOVIE: You will learn how to use the visual elements space, light, and texture to create locations and scenes readers can “see”; how to establish and utilize perspective in scenes and sequences to make a script visually dynamic; how to create and utilize perspective; techniques to make characters visually dynamic and “real” for readers; techniques to juxtapose exterior and interior visuals to create visually dynamic motion and space on the film screen; and more….

Instructor | Max Adams

Reading Material | supplied in class forum & library. Some outside material is linked to.

Viewing Materials | posted or available via Netflix, iTunes, YouTube or your friendly neighborhood video rental.

Weekly Chats | Thursday nights | 8 PM EST.

class seating limit : 12 | a writing sample may be requested prior to acceptance | a course deposit is required for this class
course fee : $375 |

REGISTER TODAY – SEATING IS LIMITED

more info : CLASSES

 


THE ART OF THE PITCH

Begins January 10, 2012

The Art of the Pitch | Pitching Stripped of the Nonsense | Online 6 Week Master Course | Start Date: 01.10.12 |

GET READ AND SELL: You will learn the five essential elements your pitch must contain to sell to producers and studios; the two pitch models; action driven vs. character driven pitching; the six points an elevator pitch must contain to interest a potential buyer — and what an elevator pitch is; how to open; how to close; how to use your story’s turning points to make your story compelling; when film comparisons work — and when they don’t; how to address the specific concerns of different members of the entertainment industry; and how to condense and expand your pitch to take advantage of new pitching opportunities and mediums.

Instructor | Max Adams

Reading Material | supplied in class forum & library. Some outside material is linked to.

Viewing Materials | posted or available via Netflix, iTunes, YouTube or your friendly neighborhood video rental.

Weekly Chats | Thursday nights | 9 PM EST.

class seating limit : 12 | a writing sample may be requested prior to acceptance | a course deposit is required for this class
course fee : $375 |

REGISTER TODAY – SEATING IS LIMITED

more info : CLASSES

 


MARCH CLASSES

Two classes are coming in March 2012, High Concept Writing and Character Writing.

March classes begin March 13th.

•For more info on upcoming classes visit CLASSES.

 

 

january classes

December 7, 2011

 

JANUARY CLASSES

Two January classes The Art of the Pitch and Visual Writing start January 10th. There is a preview of things to come in Art of the Pitch on the Austin Film Festival blog.

 


VISUAL WRITING
Begins January 10, 2012

MAKE YOUR READERS “SEE” YOUR MOVIE: You will learn how to use the visual elements space, light, and texture to create locations and scenes readers can “see”; how to establish and utilize perspective in scenes and sequences to make a script visually dynamic; how to create and utilize perspective; techniques to make characters visually dynamic and “real” for readers; techniques to juxtapose exterior and interior visuals to create visually dynamic motion and space on the film screen; and more….

Instructor | Max Adams

Reading Material | supplied in class forum & library | some outside material is linked to

Viewing Materials | posted or available via Netflix, iTunes, YouTube or your friendly neighborhood video rental

Weekly Chats | Thursday nights | 8 PM EST

Class Seating Limit : 12 |

Course Fee : $375 |

:::register:::

:::more info:::

 


THE ART OF THE PITCH
Begins January 10, 2012

GET READ AND SELL: You will learn the five essential elements your pitch must contain to sell to producers and studios; the two pitch models; action driven vs. character driven pitching; the six points an elevator pitch must contain to interest a potential buyer — and what an elevator pitch is; how to open; how to close; how to use your story’s turning points to make your story compelling; when film comparisons work — and when they don’t; how to address the specific concerns of different members of the entertainment industry; and how to condense and expand your pitch to take advantage of new pitching opportunities and mediums.

Instructor | Max Adams

Reading Material | supplied in class forum & library. Some outside material is linked to.

Viewing Materials | posted or available via Netflix, iTunes, YouTube or your friendly neighborhood video rental.

Weekly Chats | Thursday nights | 9 PM EST.

Class Seating Limit : 12 |

Course Fee : $375 |

:::register:::

:::more info:::

 


FUTURE CLASSES:

Two March classes High Concept Writing and Character Writing start March 13th, 2012. For a full list of upcoming classes visit :::classes:::

:::register:::

:::more info:::

 

 


killing hemmingway

November 8, 2011

 

big black bootsOnce when I was —

Violent and young [and guess which one of those has changed and you had better say violent] a writing professor told me I could never be Faulkner.

This was a blow. I seriously wanted to be Faulkner. But his logic was impeccable: There was already a Faulkner.

I wanted to leap over the table and kill the guy, but you can’t fight logic.

Then he told me if I’d put periods where they belonged instead of trying to be Faulkner, I wrote more like Hemingway anyway.

[I can't say what happened then things posted on websites can be used in a court of law.]

 


 

where the art work comes from :
that is hotel paradiso 2 by britcat100

 

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