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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Notes on Scriptnotes

February 8th, 2014 | by | screenwriting

Feb
08

On John August and Craig Mazin’s Scriptnotes podcast, a recent subject of discussion was screenwriting software development. They solicited feedback from listeners, which got me, as a listener who has a little experience with the subject, thinking about a few things for which I could possibly provide some additional clarification and particularity.

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The state of the screenwriting software art: 2014 edition

January 3rd, 2014 | by | screenwriting

Jan
03

Happy New Year!

But maybe I should stop doing this. If I really wanted to keep things short (and yet still completely accurate), this year’s State of the Screenwriting Software Art could be something along the lines of: “Not a whole lot has changed from last year.” And if I wanted to get extra wordy: “Or the year before that.” With the exception of Fade In, no other professional screenwriting software has seen a whole lot of new in recent years.

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The state of the screenwriting software art: 2013 edition

February 7th, 2013 | by | screenwriting

Feb
07

I’ve done this a couple of times now — sat down annually to summarize the state of the art in screenwriting software — and it’s not completely off-topic to wonder just what the point is, especially to do it as often as every year. After all, the 12-point Courier screenwriting format has existed pretty much unchanged since the first caveman banged out the first screenplay and went looking for an agent.

A fair point, maybe. But. While the screenplay format may well be the one single constant in human history, everything else changes.

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© 2015 Kent Tessman

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