Exploring A and B stories, a foundational element of the Your Storytelling Potential method.

Mitchell German - Creative Writer Software

Creative Writer Software • https://yourstorytellingpotential.com

I am the author of Your Storytelling Potential: The Underground Guide To Finally Writing a Great Screenplay or Novel, as well as the creator of the software Plot Control (for writing movies and screenplays), Chapter Control (for writing novels) and Episode Control (for writing and producing TV Shows). I am an international speaker who works with filmmakers, screenwriters, novelists and storytellers from Hollywood to Hong Kong. I have also created my online course Your Storytelling Potential: The Online Seminar and Workshop and the Original Screenwriting Mega Course. My software and training programs have been used by over 15,000 storytellers worldwide.

Whether you are writing novels, screenplays or any type of story, my book and online course will open your mind as to what makes the truly great stories great. My approach to storytelling is rooted in the clear patterns found in nearly all great stories, and starts with the idea that there are always two stories that create a great premise, that two thematic ideas that create the “glue,” and that story structure thought of as a single ascending and descending line is woefully insufficient, if not outright wrong. Your Storytelling Potential: The Book or The Online Course & Workshop is an absolute must for any screenwriter or anyone involved in any storytelling endeavor. The information I share is unlike anything you will learn anywhere else and will truly and finally Unlock Your Own Extraordinary Storytelling Potential.

I know that in the screenwriting space an expert’s experience and background tends to be scrutinized. Between 1994-2003 I sold multiple scripts, including one that was optioned by a producer who was able to get Richard Donner attached, but he directed Assassins instead, launching the careers of the Wachowskis (so that really sucked). Another one was optioned by two different A-List producers back-to-back and had Christian Duguay attached (right after he did Art of War). It was in development at Screen Gems, but not greenlit because they had issues with the story. I even got an unexpected phone call from Clint Culpepper at the time to talk about the script. He asked some questions about the story and then told me exactly what was wrong with the screenplay, but not how to fix it. And it was only years later that I finally understood what he meant, but his insights in that 10 minute phone call are what is wrong with almost ALL screenplays, and it’s fundamentally at the core of what I teach.

Right now you can be open to learning something that will truly unlock your potential as a storyteller, writer, filmmaker and actually help you become unstuck, or just keep doing the same things over and over again with the hope that maybe one day it will work.