“I feel like a week’s worth of progress was made in an hour this morning. That’s a very satisfying feeling.”

Jared Wynn, Ink Tip

“I’ve done a few courses and read dozens of books over the years and never got even close to a decent script. After just two months or so in this program I have a first draft and even interested producers. This course showed me how to do it (which no book could) and the private coaching with Mitchell German helped me to refine the concepts clearly. Without this course I would still just be sitting with a few index cards and a disjointed story.”

Martin Nel, South Africa

“I met Mitchell, Howard and Sean recently at the Inktip Conference in Los Angeles. After hearing a little more about what they do, I challenged Mitchell to assist me with a project that I had been hired to write. In fact, I remember telling him that I had to leave in about 45 minutes and Mitch said, “I need 10”. We sat down…just the two of us with his software Plot Control. He asked me questions, filled in the blanks, and all of the holes in my story become abundantly clear. In fact, it was inspiring. I had been struggling with the 3rd act and putting off delivery, but with the help of Plot Control it was like I plowed through a creative wall. Everything became clear. Since working with Mitch, I was able to re-craft the entire outline and get it to my Producers for approval. In fact they loved the new work.”

Steven Goldmann, DGA, DGC, Broken Bridges (Paramount), Trailer Park of Terror (Summit)

“I approached Mitchell for assistance on a project I have in development. His guidance was insightful and hugely helpful. Mitchell’s unique approach to screenwriting and his innovative custom software brought instant clarity to both the characters and structure of my project. I would highly recommend Plot Control as an invaluable tool for developing a screenplay.

Diane Nabatoff, Producer (Tiara Blu Films): Girl Soldier, Take the Lead, Narc, Fear

“I’ve read heaps of books and attended countless seminars on writing screenplays. ReelWriting makes the most sense to me. It’s a step-by-step guide to cracking your screenplay’s core story that has already saved me months (perhaps years!) of precious time. Even better, working personally with Mitchell German has expedited the writing process. His structuring of key elements is genius.”

Donna Sozio (Bestselling author of Never Trust a Man in Alligator Loafers (Kensington 2007) and The Man Whisperer (Adams Media 2011).

Hi Mitch – just a few comments – I’ve gained an insight into what you are teaching. I now realize the power of having the Core Elements – especially the Primary Situation and the Primary Obstacle. It just anchors you, details can be changed later, but not on the Core story elements. Another insight I had… the characters are about the story – not the other way around. Also nailing down the Midpoint Scene was key. I now understand this. Right now, I am “building”, not “writing”, a screenplay. I have to build it first, build the foundation, frame and walls. This is first – I now get it. The details… the paint, carpet and furniture comes later. I am thinking about that stuff, but I can’t start with it and be successful. So when I was missing the Midpoint, I was stuck. Even if I had one, I could feel that it was the wrong one. Laying it in place was like installing one of the load bearing walls of the structure. Even more, the insight I have realized is that the story plot, the core elements, are the story engine. They actually “generate” the characters. It’s from there that the story and the characters reveal the themes. So now, as I read through Act 1 notes I have created, and start to drop in the descriptions from the Scenes and Sequences worksheets from the Fast & Easy Action Guides, I am aware of the sewing together process. I know what thematic elements are important that will be fully revealed later in Act 2 Tier 2 and Act 3. For instance, one of the major themes is truth and lies. Several angles and “species” of truth and lies are evident. Kind of a rubric and layered in so many ways because I was able to think it through so clearly. Lies you tell to others with intent, those you tell without intent, then those lies you tell yourself, both consciously and subconsciously. Also my subplots are really taking shape. And so is are the relationships in my main plot. Both involve different versions of truth and lies.”

Gary Sheehan, Platinum Private Client

“I know writers who pay $250 -$300 a month for “mentoring” from established experts and from what I’ve seen of the results… you kick their ass.

Tim Elliott, Current Reelwriting Client