Know You Have a Story Inside of You That Would Make a Great Movie, But You Just Can't Seem to Get It Out?

Then Use this Special Screenwriting Visualization to Release the Screenplay That's Screaming to Get Out!

Relax Your Way to Creating Your Screenplay ...
Totally Stress Free!

Picture This ...

Imagine yourself lying down, relaxing, listening to melodic soothing words that guide you into a sparkling-new level of creativity where ideas and images flow like water

Imagine that you do it without stress, without effort, by merely allowing your subconscious to make contact with your higher self and, through the creative power of the universe, bring your screenplay desires to fruition. 

Sound crazy?  Impossible?  Impractical?

No.  It isn't.  You've been in that state before.  It's what's called "being in the flow" or "being in the zone."  It's the ideal creative state.   All writers have experienced it at some point.  It's where we strive to be.  It's what makes writing fun.  It's a natural high.  It's where we creative people soar like eagles. 

But the conscious mind is its enemy.  It doesn't like relinquishing control.  It thinks it should be in charge 24/7.  And that's what leads to -- 

Writers block.

Two words.  Two words that we hope to never hear again. 

If youíre writer, youíre well aware of those two simple words. 

You may even know the subject by heart. 

Like me, youíve seen it, felt it, been a victim of it.  It may feel like acid burning a hole through your stomach.  Or it may feel like having your head in a vise ... tightening slowly ... millimeter by painful millimeter.

Writers block occurs when the conscious, critical part of your mind takes over and wonít let the creative part do its thing.  Consequently, youíre too busy judging what you havenít written yet.  Or judging the little of what you already have. 

 ďThis is crap!  Who do I think I am to think I can write something that other people will want to read?  What do I have to say that hasnít already been said?  Nothing I write is original.  Itís all so boring and mundane ... Iíll just check my email again.Ē

I know all about it.  Been there, done that. 

My name is Ron Peer and I am a screenwriter with three produced films.  My biggest film was called GOODBYE LOVER and starred Patricia Arquette, Ellen DeGeneres, and Don Johnson.

And maybe Iíd have more produced films to my name if it werenít for the dreaded W.B.   

W.B.

Iím almost afraid to use the words for fear that they may take hold again.  Like by somehow using an acronym I will diminish the power of even thinking about the subject. 

Hollywood is a place of intense pressure and competition.   Everything is about the idea -- the right commercial idea.  Huge sums of money are at stake.  Nobody wants to make a flop, thereís too much at stake.  Studio execs canít afford to make a bad decision or theyíre history.  One mistake and they suddenly become ďindie prodsĒ and are out in the cold without a cushy salary. 

 Therefore  theyíre constantly trying to sort the wheat from the chaff, the ďgoodĒ idea from the ďbad.Ē  The unique, from the familiar.  The commercial from the non.  But thatís the problem.  Nobody is quite sure what commercial is.  But they think they know.  They have to.  Or else theyíre out of a job.  (Yet they continue to fall like dominoes, as Daily Variety shows on a regular basis.)

And as a screenwriter youíre at the mercy of what they think they know.   And you want to know what they know so that you can write something you think they will buy.  Because if you donít, youíre back to working in the bookstore, or driving a forklift, or teaching English to immigrants fresh off the boat. 

So itís a game of second guessing.  Constant never-ending second guessing. 

 And thatís not a good thing.

 Because it places undue pressure on the idea.

 Because you start to judge each idea before it is even hatched.  It doesnít have a chance to break through the shell, itís destroyed before its little beak has begun to tap through to sunlight.  And thatís bad.  Because the process of creativity has not been able to be put to work.  Ideas must be nurtured and fed.  They must gain some strength in order to stand on their own two legs.   

Only then can you see what the idea really looks like.  After it has been exposed to daylight.  Even then, you may not like what you see.  But the fledgling deserves a little more consideration, deserves to strut its legs.

 Because, you see, itís too early to judge the creature. 

"How Diane Keaton Almost Killed Me"
    screenplay by Ron Peer

Sounds like the title of a movie, doesn't it?  Okay, I probably shouldnít be telling you this story.  Itís not going to do my career any good.  But I want to be truthful here.  I want to show how debilitating creative angst can be -- or just how incredibly painful it was for me.  

I heard that Diane Keaton was producing a project for HBO.  The project was based on a true story that I had read about independently and thought would make a great movie.  My manager sent some of my writing samples to Keatonís production company and they liked what they read. 

So I got in to meet the famous actress. 

I was a newbie in Hollywood and I was overcome with awe.  I managed to piece together a few words and be somewhat coherent.  I found out that Keaton and her partner discovered the story by seeing a play in Los Angeles.  They optioned the play and the playwright had even written a screenplay.  But they didnít like the screenplay. 

Thatís why they were talking to me.  

Rewrite time.

Then I found out that we were to have a meeting with HBO execs in a few hours.  What?!  Diane and her producing partner asked me what my ďtakeĒ on the story was.   I flopped around like the proverbial fish out of water.  

Take? You ask.

My slant.  My approach. 

I didnít know we were anywhere near the point yet of discussing the story.  I hadnít sat down and written my usual set of 40-page notes.  I hadnít thought about the characters.  I hadnít let them reveal themselves to me.  Yet here we were, due to meet with high-powered execs in the tall towers of Century City. 

I felt my tongue grow thicker than a sponge. 

Diane and her partner looked at me, waiting for them to reveal my brilliant revitalization of the story.  I drew a blank.  They waited some more.  I blurted out something to the effect that I quite have my approach worked out yet.  They looked at one another, then back at me.  Well, youíve still got a few hours, they said.

Back at the hotel, I paced frantically.  My laptop cursor kept blinking at me.  I kept thinking of that upcoming meeting.  My lungs constricted.  Air became a precious commodity.  I was having a panic attack.  I couldnít think of anything.  I couldnít breathe.

The critic was all over me, deriding me, telling me what a pathetic loser I was.  Humiliated, I called my manager and told him what was happening.  He tried to talk me down from the ceiling and tell me everything was going to be fine.   I just needed to show up for the meeting. 

God, how I wanted to.  I really did. 

But I couldnít.  I just couldnít.

The critic was squeezing the life out of me.

My manager spent some time on the phone with me, speaking in a soothing voice, trying to talk me down from the ledge.

He didnít succeed.

The meeting was cancelled.

I was humiliated.  My soul was bruised.  I went home with my tail between my legs.  My inner critic lashed me, scorned me, laughed at me.

That's when I vowed to never let this happen to me again.  I swore I would never feel this small and pathetic ever again! 

I was doing a lot of reading and studying about the power of the subconscious mind at that time.  And that's when I decided to use what I'd learned to harness the power of my mind by developing a special visualization process which would put me in the optimal creative state.  I used techniques I was learning from my good friend and psychologist, Dr. Patrick Porter.  

Now some people might call the process I developed "hypnosis."  Some might call it "positive affirmation."  My friend Patrick Porter calls it "creative visualization and relaxation."  And since Patrick is the one I learned this method from, I will go with his term, Creative Visualization & Relaxation.  CVR for short. 

I designed this visualization for personal use, but my fellow writers told me I should be sharing it with others ... so that's why I'm writing these words now.   

I want to share my process with you.  I want you to avoid dreaded Writer's Block by accessing your higher self and using your creative intuition in a way you've never done before!  

Some of the benefits you'll hear and receive in this visualization:

  • You will release any fear about writing
     
  • You will let go of any negative self talk
     
  • You will release any anxiety now
     
  • You will have full and complete access to infinite creativity
     
  • You will realize you already ARE a successful screenwriter
     
  • You will use your intuition to find an agent -- the right agent for you
     
  • You will realize that an abundance of ideas have been around you all the time
     
  • You will realize that you are a magnificent being filled with unlimited creativity

But I Didn't Stop There

Yes, I created this visualization to overcome writer's block and to banish the inner critic.  But I didn't want to stop there.  I wanted to claim success -- success in a major way!  That's why I've included winning the Academy Award in the visualization.  No, it hasn't happened yet for me personally ... but I've still got a lot of time left in my career.   :)

Is this Process Spiritual?

Okay, I'm not going to lie to you.  Yes, this is a spiritual process.  At least, I believe it is.  I believe that tuning into the Universal Mind and accessing your intuition is a spiritual process.  Inspiration is a divine muse.  It should be welcomed and embraced.

How Often Should I Listen?

Ideally, listen twice a day for best results.  If you can only listen once a day, listen just before you begin your writing session.  This way you will be in a receptive frame of mind for the ideas to flow from your subconscious into your conscious. 

How Long is the Visualization?

The visualization runs just under 15 minutes.  It could be longer but I find that if the process gets too long, people won't listen to it twice a day.  Time is such a precious commodity in today's society.  

Listen to a sample

Okay, I know that sometimes if you don't like a person's voice, it can be hard to get into what they're saying, and consequently the material presented.  That's why I'm giving you an opportunity to listen to the first 60 seconds of the Screenwriting Visualization Process to see if you resonant with my voice.  Go ahead, give it a listen.

 

Click Here to Learn More About Creative Visualization


So What Happened with Diane Keaton Anyway?

Fortunately, Diane Keaton seemed to take my meltdown well, bless her heart.  I was told that she said sheíd suffered similar attacks of critic and that would we convene again in a few weeks.

So I put on my headphones, closed my eyes, and listened to my visualization process.  Over and over again.   

I felt peace sweeping throughout my body.  I felt the pressure lightening.  I felt charged with excitement.  So I jumped to my computer and began typing.  I soon fell into the zone, letting my subconscious creative mind take over.  

Wow.  The juices flowed.  The characters sprung to life.  And I pounded out a 22-page treatment of the story.  Whoosh.  And I felt damned good about it. 

I turned in the treatment and got the job.  Then I met with the HBO execs to discuss the treatment.  At that point, I was glib and charming and humorous.  All the things I was hoping to be.  I knew I had done good work.  I was confident.

Diane and her partner loved the script.  I loved the script.  The financing company loved the script. 

The new president of HBO (of only a few weeks) didnít. 

In Hollywood, whenever there is a change of regime at a studio, producers panic.  Because, usually, the new execs toss out the old projects because theyíre too reminiscent of the people they replaced.

If the project succeeds, the previous execs will get the credit and glory, and thatís not good for the new regime.  So the development slate gets wiped clean to prevent that from happening. 

The new president wanted the story to be bigger, bigger, bigger.  Even though that was the antithesis of what the story was about.  So a ďbigĒ action writer was hired after me.  And probably some other writers after him, I donít know.  I was long gone at that point.

But I still love the script to this day.  Itís my favorite piece of work in many ways.  And, strangely enough, my critic loves it too. 


Click Here Now to Get Your Screenwriting Visualization

Only $18.97

(No Waiting with Instant Downloading)


Free Bonuses to Help You with Your Screenwriting Career

To help you get you started on your screenwriting career, I am throwing in some free bonuses with your purchase of the Screenwriting Visualization.

1.  !Script -- screenplay formatting software -- a plug-in for Microsoft Word.  Sure, there are some great screenwriting programs out there -- my favorite is Movie Magic -- but do you really need a $200 piece of software when you're just starting out?  Good heavens, no!  Save your money until you get your first deal.  This little plug-in will make your script look professional, like you're a member of the industry already.  

2.  A Guide to Feature Film Writing: A Screenwriter's Workbook -- a 108-page manual which provides an overview of the industry as well as the screenplay structuring process.  It also contains breakdowns of many of the top Hollywood gurus' (McKee, Field, seger) screenwriting methods.  PDF format.

3.  Script Writing for Educational Information Programs -- Some of you may wish to write documentaries or industrial films.  This 83-page manual, from the U.S. Army, is a complete course on outlining, structuring, and scripting your non-fiction film.  PDF format.

4.  Sample Option Purchase Agreement 
Once you acquire an interest in your screenplay, use this agreement to structure your contract with your producer.  Don't let yourself be eaten by sharks!  PDF format.

5.  100 Screenplays in e-text and PDF format

8 mm by Andrew Kevin Walker
The 25th Hour by David Benioff
48 Hours by Walter Hill
The Abyss by James Cameron
Adaptation by Charlie Kaufman
Agnes of God by John Pielmeier
Air Force One by Andrew Marlowe
Aliens by James Cameron
Amadeus by Peter Shaffer
American Pie by Adam Herz
The American President by Aaron Sorkin
American Beauty by Alan Ball
Any Given Sunday - revision by Oliver Stone
Apocalypse Now by John Milius and Francis Ford  Coppola
As Good As It Gets by Mark Andrus and James Brooks
Austin Powers: The Spy Who Shagged Me by Mike Myers
Back to the Future by Robert Zemeckis & Bob Gale
Bad Santa by Glen Ficarra & John Requa
Basic Instinct by Joe Eszterhas
Being John Malkovich by Charlie Kaufman
The Big Easy by Daniel Petrie Jr.
Blast From3333 the Past by Bill Kelly and Hugh Wilson
Blood Simple by the Coen Bros.
Boiler Room by Ben Younger
Boogie Nights by Paul Thomas Anderson
Bound by the Wachowski Bros.
The Bourne Supremacy by Tony Gilroy
The Breakfast Club by John Hughes
Bruce Almighty by Steve Koren & Mark O'Keefe
Collateral by Stuart Beattie
Commando by Richard Tuggle
Confessions of a Dangerous Mind by Charlie Kaufman
Confidence by Doug Jung
The Cooler by Frank Hannah and Wayne Kramer
Copycat by Ann Biderman
Courage Under Fire by Patrick Sheane Duncan
Dead Poets Society by Tom Schulman
Death to Smoochy by Adam Resnick
Drop Dead Gorgeous by Lona Williams
Dumb and Dumber by the Farrelly Bros.
Elizabethtown by Cameron Crowe
Entrapment by Ron Bass
Erin Brockovich by Susannah Grant
Eternal Sunshine of the Spotless Mind by Charlie Kaufman
Executive Decision by Jim & John Thomas
Face Off by Mike Werb & Michael Colleary
Family Man by David Diamon & David Weissman
Fargo by the Coen Bros.
Fast Times at Ridgemont High by Cameron Crowe
Ferris Bueller's Day Off by John Hughes
Fight Club by Jim Uhls
Final Destination by James Wong and Glen Morgan
Fletch by Andrew Bergman
Go by John August
Gone in 60 Seconds by Scott Rosenberg
The Graduate by Buck Henry
The Grifters by Donald E. Westlake
Grosse Pointe Blank by Tom Jankiewicz
Groundhog Day by Danny Rubin
Hitchhiker's Guide to the Galaxy by Douglas Adams
Human Nature by Charlie Kaufman
The Italian Job by The Powers
It's a Wonderlife Life by Frances Goodrich, et al
Jerry MaGuire by Cameron Crowe
LA Confidential by Brian Helgeland
Labor of Love by M. Night Shamalyan
The Ladykillers by the Coen Bros.
The Last Boy Scout by Shane Black
Lethal Weapon by Shane Black
Liar Liar by Paul Guay & Stephen Mazur
The Long Kiss Goodnight by Shane Black
The Lost World by David Koepp
Magnolia by Paul Thomas Anderson
Man on Fire by Brian Helgeland
The Man Who Wasn't There by the Coen Bros.
Matchstick Men by Nick & Ted Griffen
The Matrix by the Wachowski Bros.
Memento by Christopher Nolan
Million Dollar Baby by Paul Haggis
Monster's Ball by Milo Addica & Will Rokos
Mr. & Mrs. Smith by Simon Kinberg
The Mummy by Stephen Sommers
Munich by Tony Kushner and Eric Roth
Notting Hill by Richard Curtis
Oceans 11 by Ted Griffin
The Panic Room by David Koepp
Phone Booth by Larry Cohen
Pretty Woman by Jonathan Lawton and Stephen Metcalfe
Pulp Fiction by Quentin Tarantino
Reservoir Dogs by Quentin Tarantino
Seven by Andrew Kevin Walker
Shakespeare in Love by Marc Norman and Tom Stoppard
Silence of the Lambs by Ted Tally
South Park -- Bigger, Longer, and Uncut by Trey Parker & Matt Stone
Spider-Man by David Koepp
Sprockets by Mike Myers (unproduced)
Stay by David Benioff
The Sting by David S. Ward
Stranger Than Fiction by Zach Helm
Syriana by Stephen Gaghan
Taxi Driver by Paul Schrader
Thelma and Louise by Callie Khourie
There Will Be Blood by Paul Thomas Anderson
There's Something About Mary by Ed Decter & John J. Strauss and the Farrelly Bros.
Troy by David Benioff
Wedding Crashers by steve Faber & Bob Fisher
The Wedding Date by Dana Fox
When Harry Met Sally by Nora Ephron
 

So what've you got to lose?  After all, I am including a --

90-Day Money Back Guarantee
Go ahead.  Give the Screenwriting Visualization a try.  If you don't see results within 90 days, just let me know and I will refund your money.  No questions asked. 

 

Order Now and Kick Your Screenwriting Career Into High Gear

Now you can learn to use your subconscious powers to help write 
and sell your screenplay -- without effort -- without strain!

I want to get the Screenwriting Visualization Package now!

To recap, here's what you get for your $18.97:

The Screenwriting Creative Visualization (MP3 download)
!Script - screenplay formatting software for MS Word
A Guide to Feature Film Writing: A Screenwriter's Workbook (pdf)
Script Writing for Educational Information Programs (pdf)
Sample Option Purchase Agreement
(pdf)

100 + Screenplays


All of this for only $18.97! 

Click Here to Start Visualizing
(No Waiting with Instant Downloading)

Now Available on Audio CD by Popular
Demand!
 Click link for details

Create Your Dream Life!

Add your contact info below and I will send you a free report about Creative Visualization and how you can use it to create whatever you want in your life.  Your information will remain confidential and will never be sold to anyone else. 

Think It, Feel It, Write It!

Thanks for visiting this website,

Ron Peer

Here I am at the Austin Film Festival with Shane Black, screenwriter of Lethal Weapon, The Last Boy Scout, and Kiss Kiss Bang Bang

More info?  Contact Ron @ ScreenwritingVisualization.com