The Black List — the website run by the folks behind the annual list of the best unproduced screenplays in Hollywood — has recently begun a podcast where selected scripts are performed as table reads.
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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.
Are you a professional writer who uses Fade In? And/or do you know someone who is?
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.
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.
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.
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.
© 2016 Kent Tessman