Kent Tessman

Fade In pricing

January 16th, 2017 | by | screenwriting

Jan
16

First of all, a little history about the pricing of Fade In Professional Screenwriting Software. When Fade In was first released, the plan was to give it a regular price tag of $99.95 (US), or around one-half to one-third the price of Final Draft (depending on where and when you buy it). For software for which the starting point was supposed to be feature-for-feature FD compatibility, that seemed like a pretty fair price. But since no one had heard of Fade In yet, it made sense to give it a lower introductory price, and that was decided to be $49.95.

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Who uses Fade In?

April 25th, 2016 | by | screenwriting

Apr
25

For the longest time I’d been resistant to the idea of putting up a page listing some of the well-known users of Fade In. People kept saying “You should do this!” And I kept saying “Well…” and not doing it.

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A little writing music

April 3rd, 2016 | by | filmmaking, movies

Apr
03

This is the soundtrack for Bull, an independent feature I wrote and directed once upon a time. I also did the music and, since it was just sitting around on a hard drive and it occurred to me that a soundtrack isn’t much good if it isn’t getting listened to, here it is in case anyone is interested in doing that. It might (might!) actually make for half-decent background writing music. Or something.

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No, really, you don’t have to use Final Draft anymore

May 13th, 2015 | by | filmmaking, screenwriting

May
13

Ever since I made Fade In, and ever since professional screenwriters discovered it and ever since they’ve started using it and liking it and preferring it, there’s always been the caveat that for whatever reason (which we’ll get to), and depending on what level of production you’re working at, you might have to eventually finish in Final Draft. Because the producer wanted it. Or because the studio said you had to. And it wasn’t really that much of a big deal because Fade In exports niftily to a Final Draft document. But still, the reason people were using Fade In in the first place was because they thought it was better, and it sort of sucked to have to thunk things down to the older, less ideal format to finish up.

Yeah. Well. You don’t have to do that anymore.

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The Black List

September 14th, 2014 | by | filmmaking, screenwriting

Sep
14

A quick bit of catch-up for those who don’t know what the Black List is: Almost ten years ago, Hollywood development executive Franklin Leonard started (anonymously, at first) compiling an annual list of the best unproduced screenplays of the year. His industry-insider survey of fellow development people quickly became an eagerly anticipated yearly announcement — even outside the industry, including considerable attention from the mainstream media. Then, a couple of years ago, the Black List umbrella was expanded to include a website where screenwriters could upload their work to be read and evaluated by accredited Hollywood professionals.

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Pagination pagination pagination (and pages)

March 1st, 2014 | by | screenwriting

Mar
01

The topic of screenplay pagination has come up a few different times in a few different places recently. No, really, it has. The explanation of things from Fade In’s point of view has been sitting half-typed on my laptop for a couple of weeks, so I thought I’d get it finished up and posted here.

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