Writing a Book Series

 

Why Readers (and Writers) Are All In

When I began writing the Kira and Henry series, I didn't fully grasp the scope of what I was getting into. Now, as I finish the third book (Dangerous Treaty) and the second (Lost in the Enchanted Forest) gains momentum with readers, I understand something fundamental about modern storytelling: we're living in the age of the binge.

COVID-19 had a huge impact on how audiences consume stories. The pandemic didn't create binge culture, but it accelerated and normalized it. Viewers discovered they could watch entire seasons in weekends. Readers found comfort in knowing that more books were waiting for them when they finished one. This shift fundamentally changed audience expectations.

Today's readers approach books differently from previous generations. They're not just investing time in a single story; they're auditioning an entire fictional universe. Before committing, many readers want to know: Is there more after the last page?

Why Series Work: The Reader's Perspective

Readers who connect with your characters don't want to say goodbye after 100 or 300 pages. Series allow them to develop deeper relationships with fictional people who feel like friends. With my Kira and Henry, readers watch these characters grow, face new challenges, and evolve across multiple adventures. That investment becomes more valuable with each installment.

I'm a huge Stone Barrington (Stuart Woods) fan, and Lindsay Boxer is my alter ego. I've read every Women's Murder Club book by James Patterson. In an era of overwhelming content choices, series reduce the exhausting task of finding something new to read. If readers loved book one, they know exactly what they're getting with book two. This trust is powerful. The familiar becomes comforting rather than boring. 

There's genuine excitement in waiting for the next installment. Readers discuss theories, predict outcomes, and stay engaged with your fictional world between books. This ongoing relationship keeps your work alive in their minds far longer than standalone novels. Following Stuart Woods' death in 2022, the Stone Barrington series has been continued by other authors, such as Brett Battles.

Series allow for richer, more complex fictional worlds that standalone books simply cannot achieve. With my multiple series, Kira and Henry, Wilma Wallaby, and Carmen and Cypher I try to add layers to the universe, making it feel more real and lived-in. I also try to send a message to teens; "it will get better." If you've read my previous blogs, I didn't have an easy time with a bully of a big brother and I share that in my Wilma character. I thought I could fly and that I was fearless - but like Kira, I was afraid of failure. How about Carmen? Like me, she's learning to live with AI - embracing it and understanding how it can enrich our lives.

Why Series Work: The Writer's Perspective

For me, writing a series creates forward motion for my characters. As I enter my 3rd act of life, I can live it all over again through my characters. With each book, my characters' voices become clearer, world-building details accumulate naturally, and the story develops a life beyond initial planning. I know Kira and Henry so intimately now that their reactions to situations come automatically.

Each new book markets the previous ones. Readers who discover book three often purchase the earlier installments. Series create superfans who eagerly await each release, leave reviews, recommend books to friends, and engage with your author platform. These dedicated readers become your marketing team. Multiple books provide multiple revenue streams and more opportunities for discovery. Retailers often promote series by discounting early books, introducing new readers to your work.

The Modern Challenge: Visual Consistency

Working with my cover designer, Nilesh, I'm facing an interesting challenge that previous generations of series writers never encountered: how to age characters visually across books using AI tools.

Nilesh researched consistent character generation using AI; a crucial consideration for anyone thinking about animation or visual adaptations, including book covers. The technology relies on creating comprehensive data sets featuring characters in various poses, expressions, and environments. This custom-trained model then generates consistent imagery across different contexts.

As Nilesh explained, standard online AI platforms struggle with the frame-by-frame consistency professional animation requires. Training custom models is the solution, allowing us to generate varied content while maintaining character recognition across the series.

Why does this matter? Modern readers expect visual consistency. Book covers should show character growth while maintaining recognizable features. If Kira looks completely different on each cover, it breaks the series identity.  I plan to move into animation, so this is fantastic that he is thinking ahead. I'm all in!

Benefits of Series for Authors

Writing a series allows you to test the market with book one before making a full commitment. If readers respond enthusiastically, you continue. If not, you can pivot without having written an entire series that doesn't resonate. I read every review that I get, take note of any suggestions and learn before I start the next book. I've received a 1-star review before, but it had no comments. I think it is a special type of person that gives a book a 1-star. I didn't think I had enemies because I avoid conflict at all cost (think of the Gorgonites in Small Soldiers),  but this person wasn't even a "verified purchase." Their 1-star was intentional and might have been done by one of the hundreds of "influencers" who want my money to write a review.

Anything other than a 5-star devastates me, but this 4-star review was priceless.

 "I went in expecting polite castles and maybe a sword fight or two. What I got was a princess accused of treason, hiking into a death zone with her best friend, while pretending she doesn’t have claws. Literally. We meet trolls debating recipes for human, a mountain with mood issues, and a bridge that tries to kill you before you can cross it. But the weirdest part? Those things aren’t even the big problem. The big problem is Kira—because if her people see what’s under her skin, they’ll fear her more than anything she’s fighting. This isn’t a fairy tale. It’s a slow-burn panic attack in a crown, and I loved every nerve-wracking page." 

I  wondered why I didn't get 5 stars, but this review made my day!

Yes, series authors develop more engaged reader communities. These readers leave more reviews (fodder for our egos), participate in discussions, and feel personally invested in your success because they want more books. In addition, writing multiple books in the same universe hones your craft. You learn from each installment, improving pacing, dialogue, and plotting with every book. You don't need the entire series plotted before starting. Many successful series evolved organically as authors discovered what worked and what readers wanted more of.

Is a Series Right for You?

So, do readers want assurance of more content after the last page before investing their time? Absolutely! But it's not just about quantity—it's about the promise of a satisfying journey. Readers want to know that their emotional investment will be respected, that character arcs will develop meaningfully, and that the fictional world will continue to surprise and engage them.

A series signals that you, as the author, are committed to these characters and this world. You're not offering a one-night stand; you're proposing a long-term relationship. Writing a series isn't easier than standalone novels—if anything, it's more challenging because consistency matters enormously. But in today's binge-conditioned market, series offer unique advantages for both readers and writers.

Whether it's Kira and Henry navigating their next adventure, Wilma Wallaby solving mysteries, or Carmen and Cypher using AI to understand this world, series storytelling matches how modern audiences want to consume fiction: deeply, repeatedly, and with the comfort of knowing there's always another chapter and story waiting. The journey doesn't end with one book anymore. Today's readers want to know there's a whole spectrum of stories stretching into the future. And honestly? As a writer and reader (I have had an Amazon library since 1998 and own 2087 titles), I always want more! Onward!

AI Isn't Coming for Writers—It's Already Here

As writers, we often find ourselves drowning in the administrative side of our craft. While our hearts yearn to lose ourselves in character development and plot twists, we're frequently pulled into the tedious but necessary tasks that surround storytelling: crafting synopses, designing back cover copy, creating pitch decks and flyers, and generating loglines. This is where AI has become not my replacement, but my most efficient research assistant and administrative partner.

For example, I recently finished writing a book. When I decided to open each of the 38 chapters of Machiavelli Princess with a quote from The Prince, I initially faced what felt like an insurmountable task. Without AI assistance, this would have required re-reading The Prince entirely, taking detailed notes, organizing the quotes by matching thematic content to each chapter, cross-referencing to avoid repetition, and formatting final selections. This process would have consumed weeks, delaying the book's completion.

With Claude AI, I simply described my chapters and received approximately 60 carefully selected Machiavelli quotes, each paired with suggested chapter placements based on thematic resonance—all delivered in under 60 seconds. Those weeks that I didn't spend hunting for quotes? I spent them rewriting my book, developing my protagonist's internal conflict, and refining dialogue that actually moves the story forward.

The Screenplay Coverage Revolution

Perhaps nowhere is AI more valuable than in screenplay development. I've learned to never send out a script without coverage, and while I won't admit how much I've spent on professional coverage over the years, Claude delivers the same three-tier evaluation system the industry uses for the cost of a $20 monthly subscription.

When I submit a script to Claude for coverage, I receive comprehensive feedback that might progress like this:

Pass - Initial feedback highlighting fundamental structural issues: "The protagonist's motivation becomes unclear in Act II, and the antagonist lacks sufficient stakes to drive conflict."

Consider - After revisions: "Character motivations are now clear, but pacing drags in the second act. The climax needs more emotional weight to match the setup."

Recommend - Final assessment: "Strong character arcs with clear motivation drive compelling conflict. Pacing maintains tension throughout. Ready for professional consideration."

What makes this process invaluable isn't just the speed—receiving feedback in minutes instead of weeks or months—it's the consistency. Claude doesn't have "off days" or personal biases about genre preferences. Each revision cycle provides specific, actionable feedback that moves the script forward. I've spent entire days in this revision loop, making targeted improvements until I achieve that coveted "Recommend" status.

Reclaiming Creative Time Through Administrative Efficiency

The most transformative aspect of working with AI lies in handling the business side of writing—tasks that are essential but drain creative energy:

Synopses and Treatments - Claude transforms a 120-page screenplay into a compelling two-page synopsis while maintaining essential story beats and character arcs, completing in minutes what once required 2-3 hours of careful distillation.

Back Cover Copy - Creating that perfect hook that makes browsers become buyers—traditionally a 1-2 hour wrestling match with marketing copy—now happens in seconds, with multiple variations to test.

Loglines by the Dozen - Need 20 different approaches to your story's one-sentence pitch? Claude delivers them instantly: the thriller approach, the character study version, the high-concept hook.

Query Letters and Pitch Materials - For each lead on Inktip and ISA, I craft personalized messages highlighting how my script meets their specific posting needs, generating multiple styles and approaches for that make-or-break first impression.

This approach has industry validation. Bestselling author J.D. Barker (James Patterson's co-writer) openly discusses using Claude for blurbs and back covers in his Heart of Show Business interview with Alexia Melocchi. As a New York Times bestselling author who publicly embraces AI for these tasks, Barker signals a fundamental shift in our industry. He's not using AI because he lacks talent; he's using it because he recognizes the difference between creative storytelling and marketing copy.

The Critical Line: When AI Goes Wrong

Recently, I was asked to review a book where the telltale signs of AI-generated writing became unmistakable within a few paragraphs. I gave it a diplomatic 5-star review, noting only that "It almost seemed AI-generated at times due to the thickness and style of the prose." But then came a brutal 1-star review on Amazon from another reader that exposed the real problems:

"The story itself is not bad... For me with the abrupt shifts in scenes with terse explanations, it felt rather disjointed... starting on page 139, Jack and Breanna make their most significant find. On page 144 they make the exact same find again with the exact same wording. Also, on page 182, a board is found that identifies the ship. By page 201, it's an engraved gold cross that identifies the ship."

The reviewer continued: "I don't think the author understands how fighting/movement happens underwater (he said that a cannonball 'whistled by' when thrown)... There are constant unnecessary line breaks. Page 104 has only 'play it' on one line and continues with 'safe. And when it went bad...' on the next."

This wasn't AI assisting a writer; this was AI replacing a writer. The result? Contradictory plot points, impossible physics, repetitive scenes, and formatting chaos that suggested direct copy-paste from AI output without human editing or understanding. Every time that I use Claude, he reminds me that "Claude can make mistakes..."

Here's how you can spot AI-written creative content:

• Repetitive phrasing and sentence structure - AI falls into predictable patterns with similar sentence lengths and constructions
• Overly dense, "thick" prose - Every sentence packed with descriptive language, creating unnatural weightiness
• Inconsistent details - Contradicting earlier story elements without human oversight
• Unnatural dialogue and action lines - AI struggles with natural conversation flow and physical movement
• Formatting chaos - Bizarre line breaks, and AI—likes to—use "em-dashes" in almost—every paragraph.

The Dividing Line

The contrast between these approaches couldn't be clearer, and it reveals the crucial distinction that will separate surviving writers from those swept away by the technological tide: AI should amplify your humanity, not replace it.

AI excels at: Research, formatting, administrative tasks, marketing copy, multiple draft versions, and time-consuming organizational work.

Humans must handle: Character development, plot creation, dialogue, emotional truth, thematic depth, and the critical editorial eye that ensures consistency and believability.

The accounting is staggering. As a CPA, I appreciate the numbers! Traditional administrative tasks consume 20-30 hours per project. With AI assistance, I complete the same work in 2-3 hours, reclaiming 18-25 hours for actual writing. For a writer completing 3-4 projects per year, that's 54-100 additional hours returned to pure creative work, more than two full work weeks of storytelling time. At my pace of 10 pages per day, that's another TV pilot, feature screenplay or book annually.

This transition mirrors the shift when screenwriting software emerged. Some writers wanted to keep using yellow legal pads and paying typists. Others recognized how much faster they could write and produce properly formatted scripts using Final Draft. The choice then, as now, determined who thrived and who fell behind.

The Human Heart Behind Every Story

AI is not just coming for writers; it's already here, replacing those who don't understand the difference between assistance and substitution. Every day, more AI-generated novels flood Amazon's marketplace, churned out by entrepreneurs who see writing as a get-rich-quick scheme rather than a craft requiring human insight and experience.

But the writers who will thrive in this landscape are those who understand that technology is a tool, not a replacement. We're not competing with AI, we're partnering with it to become more efficient, more productive, and ultimately more creative versions of ourselves.

The choice is ours: We can spend our precious creative energy hunting for Machiavelli quotes and formatting synopses, or we can let AI handle those tasks while we dive deep into the work that only humans can do: telling stories that matter, creating characters that feel real, and crafting narratives that touch the soul.

The tools are powerful, but the storyteller must remain human. Use AI to clear your schedule for writing, not to do the writing itself. Because at the end of the day, readers don't connect with algorithms; they connect with the human heart that beats behind every authentic story.

Your readers will know the difference. And so will your reviewers.

What's next? My manager wants me to create short trailers - reels, and I'm learning how to use those AI tools.  Wish me luck - I'll need it. But thankfully, Claude is researching and comparing the features of each tool and then writing me a tutorial with step-by-step instructions. Yes, AI is here - and I'm ready! Here's my first attempts.

Churchill's Mum  https://youtu.be/SLRkNX9GZGU?si=q8mWLMM3kpvw90x5
Carmen and Cypher https://youtu.be/bCcWGtOPLpE?si=Qiik2jvwiWrZCXSQ

Sometimes the most extraordinary stories begin with the most ordinary moments. In 1973, my husband, Keith and I were honeymooning in the quirky mountain town of Jerome, Arizona, a former copper mining boomtown. While exploring the local historical museum, I snapped a photo of what seemed like just another genealogy chart. Little did I know that dusty display would eventually lead to a decades-long journey culminating in my new book, Churchill's Mum: The Story of Jennie Jerome, an American Heiress.

That museum chart revealed something remarkable: the town of Jerome, Arizona, was named after Eugene Jerome, a wealthy New York financier who invested in the United Verde Copper Company. More intriguingly, Eugene Jerome was a cousin of Jennie Jerome, Winston Churchill's American mother. Through family lore and later genealogical research, I discovered that Keith's Jerome family connected to this same lineage, making Winston Churchill our fifth cousin (with a few "twice-removeds" thrown in for good measure).

What began as a honeymoon curiosity evolved into a passion project spanning decades. As a genealogist, I traced the Jerome family connections back through the Victorian and Edwardian eras that had always fascinated me. The more I learned about Jennie Jerome, the more convinced I became that her story deserved to be told with all the vibrancy she brought to life itself.

In 1873, nineteen-year-old Jennie Jerome from Brooklyn met Lord Randolph Churchill at a sailing regatta on the Isle of Wight. Three days later, they were engaged. Seven months after their wedding, she gave birth to Winston Churchill, a half-American son who would one day save Western civilization.

But this wasn't just another arranged marriage typical of the era when approximately 200 wealthy American heiresses crossed the Atlantic to marry into titled European families. Unlike the "cash for class" arrangements that dominated the headlines, Jennie and Randolph's was a genuine love match that defied both families' initial reluctance.

Jennie Jerome was no ordinary American heiress content to be merely decorative in British society. She refused to be seen and not heard. She organized political campaigns, founded an influential literary magazine, equipped and sailed a hospital ship to South Africa during the Boer War, and became one of the most influential women in England. Her energy, ambition, and American perspectives didn't just elevate her own status, they transformed British high society itself.

I believe that Winston represented the "perfect recipe" for the leader the world needed in 1940. He was half-American because of his mother, giving him unique insights into American politics and culture. This heritage proved crucial in establishing the "Special Relationship" with Franklin D. Roosevelt that would prove vital to Allied victory.

Churchill's powerful oratory rallied the British people, but his diplomatic skills, honed by his understanding of American sensibilities, helped secure crucial American support through Lend-Lease and other programs before Pearl Harbor. As Churchill himself wrote to Roosevelt, "I feel I have a right to talk about these things because English and American blood runs very strongly together in my veins."

Without Jennie Jerome, there might never have been a Winston Churchill. Without Winston Churchill, there's a reasonable possibility that Britain might have sought peace terms with Germany following Dunkirk. The ripple effects are staggering to contemplate.

After working on this story for over a decade, when my manuscript was nearly finished, my manager suggested I co-author with another of her clients, Churchill expert, David R. Stokes. Initially, I'll admit, I was disappointed. Didn't she think I could write this book myself? Did she doubt my qualifications? This wasn't even a book about Winston Churchill; it was about his mother, based on her memoirs that rarely mention Winston since they were written before he was famous for anything.

But then I had an idea that transformed everything. What if we wrote this from Winston's perspective on his mother? I created a second timeline featuring a fictional reporter interviewing an aging Churchill at Chartwell. This dual narrative structure not only provided "eyes to the world" to help readers navigate Jennie's rather complicated memoir, but it also allowed us to explore how her influence shaped the man who would become history's most crucial wartime leader.

It worked beautifully! We ended up with a fantastic book that I think we're both proud of, one that's richer and more compelling than what either of us might have created alone.

Churchill's Mum weaves together these two compelling timelines: Jennie's extraordinary life from American heiress to British political force, and fictional 1964 interviews where an aging Winston Churchill reflects on his mother's profound influence while painting at his beloved Chartwell estate. Through the eyes of fictional journalist Sophia Carter, readers witness Churchill's final months as he reveals how his mother shaped not just his character, but the course of history itself. As I developed the limited series, I decided to put in a little surprise. There is no Sophia - the same actress can play both Jennie and Sophia and maybe she was all in Winston's aging mind. Not sure the producers will like this, but if they do, that talented person will surely get nominated for an Emmy!

Drawing on over 50% source material from Jennie's own 1908 memoirs, now in the public domain, I tried to capture not just what she did, but who she was and why she mattered to the course of human events. Like a restored painting, I kept the original canvas intact while filling in colors that time had faded and highlighting connections that hindsight makes clear.

This project is perfect for fans of The Gilded Age, Downton Abbey, and anyone fascinated by the untold stories of remarkable women who shaped history. Churchill's Mum illuminates how one American woman's influence reached across decades to help forge the alliance that saved Western civilization.The fascination with American heiresses marrying into British nobility continues in contemporary media, but Jennie Jerome's story stands apart. She wasn't just an American who bought her way into British society, she was a woman who refused limitations, embraced challenges, and raised a son who embodied those same qualities when the world needed them most.

Churchill's Mum: The Story of Jennie Jerome, an American Heiress is now available on Amazon. Who knows? Your "by chance" family history discovery might just unlock a story that changed the world. https://a.co/d/6QiygkU - Watch the Trailer https://youtu.be/SLRkNX9GZGU?si=q8mWLMM3kpvw90x5

Learning to Judge: From Livestock to Disney Resorts

 

I learned a great deal during my 10+ years in 4-H. Not only does the pledge still mean a lot to me—"I pledge my head to clearer thinking, my heart to greater loyalty, my hands to larger service, and my health to better living, for my club, my community, my country and my world"—but the skills I developed continue to guide how I approach everything in life, including how I evaluate Disney Vacation Club properties.

Thinking clearly has always been my greatest strength. I try to set emotions aside and look at the logic of situations. I'm fiercely loyal—loyal to my family and those who have earned my trust. There is a flip side to loyalty; those who lose my respect are "done" for me. I avoid them and cut them out of my life, falling back on my logic. Why surround yourself with people who make you sad? I am a truly "hands-on" person. I enjoy growing my own food, sewing my own clothes, and working hard to provide a greater service to our world. With that, I strive to live a cleaner life. I don't drink, smoke, and I try to avoid eating animals. I do this primarily for health reasons, but I also strive to maintain a smaller environmental footprint. I have downsized our housing. 4-H taught me so many valuable skills. 

Leadership developed through my 4-H experience, where I worked my way up through every office, culminating in my role as club president during my junior year of high school. Accounting skills were developed as we had to prepare profit/loss statements for each project—buy a lamb for $20, pay $10 for feed, and sell it for $100, earning a $70 profit. Public speaking improved when we had to give demonstrations, such as teaching an audience how to decorate a cake. I even made my own 5-tier wedding cake!

However, one of the most valuable skills I acquired was the ability to judge. 4-H judging contests provide youth with hands-on learning experiences that enhance their knowledge while developing critical life skills: 

• Critical thinking -  to analyze and evaluate different aspects,
• Decision-making - to make informed choices based on evaluation and standards,
• Communication -  to explain reasoning and improve public speaking skills. 

The contest format was simple: four pigs presented, or four heads of lettuce. Each had a number, and we had to rank them and explain why to the judge. Here's an example: I ranked lamb number 3 as the best because it had a straight back, full hindquarters, and alert eyes. Number 4 was next, but didn't seem as healthy as number 3. Number 1's back was dipped and lacked development in chest and hindquarters. Number 2 was last—it seemed sick, thin, and its wool was matted. Thus, I ranked them 3, 4, 1, 2. 

4-H members start learning analytical evaluation at an early age. While "judgmental" often carries negative connotations—describing someone who forms harsh, critical opinions without being open-minded—what I learned was different. I developed the ability to be analytical, making informed judgments and rankings based on clear criteria and logical evaluation. 

Applying These Skills to Disney Vacation Club

This analytical approach now guides my evaluation of Disney Vacation Club properties. Just like those 4-H judging contests, I evaluate each resort through multiple lenses: location, convenience, room layouts, amenities, transportation options, dining choices, and overall value proposition. I consider both the pros and cons of DVC ownership, helping others make informed decisions about this significant investment. In my DVC playlist https://www.youtube.com/watch?v=WXGM_RRzOZ4&list=PLx_8Ja4anZU4oHlsC6u_9OQk-wMbfxf2d  - I break down each DVC property with the same methodical approach I learned in 4-H. I don't let Disney magic cloud my judgment—instead, I evaluate each resort's strengths and weaknesses objectively. Whether it's the convenience of staying at Bay Lake Tower with easy monorail access to Magic Kingdom or the potential drawbacks of a resort's distance from the parks, I aim to provide you with a clear and logical analysis.

My DVC Resort Judging Journey Continues as  I've been systematically visiting all the DVC resorts to provide firsthand insights. My next stop is Disney's Beach Club Villas in September, and I'm excited to experience this Epcot-area resort firsthand. From the famous Stormalong Bay pool complex to the easy walk to both Epcot and Hollywood Studios, Beach Club has always intrigued me, but I want to see for myself how it measures up against my analytical criteria. The same skills that helped me rank livestock at county fairs now help me rank Disney resorts. It's about looking beyond the surface magic to understand what really matters: practical considerations, value for your vacation dollar, and which resort truly fits your family's needs. 

Ready to Learn More?

 If you're considering Disney Vacation Club or just want to see how these properties really stack up, check out my DVC playlist https://www.youtube.com/watch?v=WXGM_RRzOZ4&list=PLx_8Ja4anZU4oHlsC6u_9OQk-wMbfxf2d 

I apply the same analytical approach to each property that 4-H taught me decades ago—because whether you're judging pigs or Disney resorts, clear thinking and honest evaluation never go out of style. Stay tuned for my Beach Club review coming this fall!

Tools of the Trade

 

My dad died this month, just days before Father's Day. Before you get too sad, he was 96 and had said on his birthday, after watching a video that I had made for him, that he was "ready to go." He had been sleeping most of the day, and I think he was just tired. I inherited great health from both my parents. My mother won an award for never missing a day of school for 12 years! I can't remember her ever being sick. She died in her 70s from cancer, but growing up, she was "strong as an ox." My dad was the same; he could rip a phone book in half, and when we got attacked by a gang of teen girl pickpockets in Paris, Dad spotted one with his wallet and he grabbed her arm with a vise-like grip. The train door kept opening and shutting on her until she finally dropped his wallet.

Dad always believed in working "smarter, not harder" and using the right tool for the job. I developed high mechanical skills by following him around as a kid when he worked, and I loved retrieving whatever tool he needed. When it comes to being a writer, I find that I can work smarter and faster by using the right tools.

I often get asked how someone can get into screenwriting because they have an idea for a movie. I always start out with "write it down!" I have notebooks all over the house, and I often email myself or tell Siri to create a note. The next piece of advice I give is for a prospective screenwriter to read a script. Writing in that format is not for the faint of heart. For a former programmer like me, the structure is catnip - I love it. It doesn't stop my creative process because I bought screenwriting software a few days after I decided to write a movie. You might want to try a free trial version of one of the screenwriting programs to see if you can handle the technical aspects of the software. 

I started screenwriting with Movie Master Screenwriter 2000 and then switched to Final Draft 4 a few years later - yes, version 4, and they are now on version 13.  When it comes to choosing screenwriting software, three names consistently surface in professional circles: Final Draft, FadeIn, and Movie Magic Screenwriter. Each offers unique advantages and caters to different needs within the screenwriting community. After using all three programs extensively, I've discovered that while each has its merits, the practical realities of collaboration and industry standards often dictate your choice more than features alone.

Final Draft has maintained its position as the undisputed leader in screenwriting software for over two decades. Final Draft is the preferred screenwriting software of studios and production companies worldwide, trusted by 95% of the entertainment industry. This dominance isn't accidental—the software delivers professional-grade functionality that meets the exacting standards of Hollywood productions. The software excels in automatic formatting, eliminating the constant worry about industry-standard pagination and structure. Writers can focus entirely on their story while Final Draft handles the technical requirements behind the scenes. Recent updates have addressed long-standing user complaints, particularly with the notable 13.2.0 update, which introduced an autocorrect facility, bringing the software more in line with modern writing expectations. Final Draft's collaboration features are robust, supporting real-time editing and comprehensive revision tracking. The software includes over 100 templates, story planning tools, and production-ready export options. For screenwriters working within the studio system or collaborating with industry professionals, Final Draft's compatibility advantages are undeniable.

However, this market leadership comes with drawbacks. The software carries a premium price that can be prohibitive for emerging writers, and some users find certain features unnecessarily complex for basic screenwriting needs. I have three computers, and it only lets me have two activated. When I switch to my MAC, which handles Grammarly better, I have to deactivate either my Windows laptop or desktop and then re-activate on my MAC. I have another licence for the Final Draft GO - that I can use on my iPad, but it has limited features.

FadeIn has quietly built a reputation as the most advanced software used by professionals writing for motion pictures, television, video games, the stage, radio, and more. What sets FadeIn apart is its commitment to providing professional-level functionality without the premium pricing or bloated feature sets that can overwhelm writers.The software's interface prioritizes simplicity and speed. MacWorld gave the software a score of 4.5 out of 5, mentioning that it has "all the major features—and then some—found in industry standard Final Draft, but at a quarter of the price". FadeIn supports an impressive range of platforms, including Windows, Mac, Linux, iPhone/iPad, and Android, making it accessible to writers regardless of their preferred setup.

FadeIn's revision management and page locking features rival those found in much more expensive software. The program includes a unique Dialogue Tuner that allows writers to view and edit specific character dialogues in isolation—a feature that proves invaluable during character development and revision phases. The software also provides comprehensive import and export capabilities, theoretically making collaboration with users of other platforms seamless. The development philosophy behind FadeIn is particularly appealing: when new features, fixes, enhancements, or whatever else are available, they're made available to all users, for free. This stands in stark contrast to the subscription models and paid upgrade cycles common with other professional software.

Movie Magic Screenwriter represents the old guard of screenwriting software, and while some consider it dated, it continues to serve a dedicated user base. Movie Magic Screenwriter is an award-winning screenwriting software that formats movies, television, novels, stage plays and even comic book scripts, making it the only program for all types of creative writing.
The software's NaviDoc technology provides a unique approach to script organization, displaying your screenplay alongside outlines, scene cards, notes, and bookmarks in a unified interface. This feature proves particularly valuable for writers who prefer to see their story structure and script simultaneously. Movie Magic Screenwriter also offers the broadest template selection, supporting not just screenplays but novels, comic books, radio plays, and theatrical productions.

For writers who work across multiple formats or prefer a more traditional approach to script development, Movie Magic Screenwriter provides tools that other software often overlooks. The program includes extensive production features and remains a preferred file format of WGA, West. However, Movie Magic Screenwriter feels less modern than its competitors, and some users find its interface less intuitive than newer alternatives. The software's strength lies in its comprehensive feature set rather than its ease of use.

Pricing Comparison
Final Draft 13:
Personal License: $249.95
Academic Version: $169.95 (with valid student/teacher ID)
30-day free trial available
FadeIn Pro:
Regular License: $79.95 (one-time purchase)
Student Version: $59.95 (with verification)
Free updates for life
Movie Magic Screenwriter:
Full Version: $169.00
Academic Version: $99.95
Upgrades: $89.95 (from previous versions)

While feature comparisons and pricing considerations matter, the practical reality of professional screenwriting often overrides personal preferences. The industry's overwhelming adoption of Final Draft creates a network effect that's difficult to ignore. When producers, directors, and other collaborators expect Final Draft files, using alternative software can create unnecessary friction in the creative process.

This industry standardization became apparent in my own workflow. Yes, I started my screenwriting journey with Movie Magic Screenwriter, appreciating its comprehensive feature set and multi-format capabilities. The software served me well for initial drafts and personal projects, providing all the tools necessary for my time in UCLA's professional screenwriting program.

However, as my career progressed and collaborations became more frequent, Final Draft's industry dominance became impossible to ignore. The transition wasn't driven by superior features—Movie Magic Screenwriter had everything I needed. Instead, practical considerations forced the switch: producers expected Final Draft files, revision tracking needed to be compatible with industry standards, and seamless collaboration required speaking the same software language as everyone else in the industry.

The collaboration challenges became even more apparent when working with a producer who preferred FadeIn. While FadeIn offers excellent export capabilities and can save files in Final Draft format, the conversion process isn't always perfect. Scripts exported from FadeIn to Final Draft format often require careful line-by-line review to ensure proper formatting translation. Action lines sometimes convert to dialogue, scene headers may shift categories, and character formatting can become inconsistent. These conversion errors, while not insurmountable, add time and potential for mistakes to every collaboration.
This constant need for format verification defeats much of the efficiency gain that good screenwriting software should provide. Instead of focusing on creative development, valuable time gets spent on technical troubleshooting and format verification.

Each of these screenwriting programs offers genuine value, and the "best" choice depends on individual needs and career circumstances. FadeIn provides excellent value and professional features at an attractive price point. Movie Magic Screenwriter offers unmatched versatility for writers working across multiple formats. Final Draft, despite its premium pricing, delivers the industry compatibility that professional screenwriting often demands. For emerging screenwriters or those working on personal projects, FadeIn represents an excellent entry point with professional capabilities. Writers who work across multiple formats or prefer comprehensive organizational tools should consider Movie Magic Screenwriter. However, for screenwriters actively collaborating within the industry or aspiring to do so, Final Draft's market dominance makes it a practical necessity rather than just a preference.
But Final Draft was acquired by Cast & Crew Entertainment Services. The acquisition happened during Final Draft's 25th anniversary year. This is the same company that acquired Coverfly and that Contest tracking platform is being shut down a few months after I researched items for this book. Other popular screenwriting software you might have considered are several notable options that many writers use:

WriterDuet - Used by over 2 million screenwriters, TV shows, and blockbusters, this is particularly popular for collaboration with real-time co-writing features.
Celtx - A cloud-based platform that's popular with indie filmmakers because it combines screenwriting with pre-production tools like storyboarding and scheduling.
StudioBinder - Another comprehensive production platform that includes screenwriting as part of a larger suite of filmmaking tools.
Highland - Created by screenwriter John August (Big Fish, Charlie and the Chocolate Factory), this software works with the Fountain file format and focuses on distraction-free writing.

But the software you choose should serve your story, not complicate it. While features and pricing matter, the most important consideration is which tool enables you to focus on what truly matters: crafting compelling narratives that connect with your audience. Sometimes, that means choosing the industry standard not because it's objectively superior, but because it removes barriers to collaboration and professional integration.
My dad was extremely proud of my writing career. I think a lot of that pride came from his understanding of what I did. When I owned a technology company, he'd ask again and again, "What exactly do you do?" I'd laugh because, as a CPA, I did the books for my company, including payroll. Our software ran our own company in addition to our clients, so I wrote the code to calculate payroll, along with designing constant improvements to our software. I worked closely with investors, customers, and employees, putting in regular 14-hour days. Today, I merely write, and it is so easy for me because I know how to do it faster and better than most people. In future blogs, I'll discuss the other technology I use in my writing career, including a few programs I developed myself.

Mother's Day Romance

This has probably been one of the busiest months of my screenwriting career. The producer working on my Christmas Bonbons script for Hallmark (he changed the title to Emma and the Chocolate Factory) asked me if I'd be willing to change it from a Christmas movie to a Mother's Day movie. GASP!

The first major changed was to bring the dead mother back to life. That was actually fun, because I was able to name her Rita in honor of Mother's Day and my mother, who has been gone now for almost 25 years. Next, I need a new B-Story having to do with a missing recipe box from Rita's mother, and it reminded me of the surprise 25th Anniversary party I had planned for my parents. A few weeks before the big day, my mom's brother and sisters had decided that Grandma Nellesen should move in with my Uncle George. They planned to divide up all the stuff from my Grandma's house between the 5 of them. Everyone was going to meet at Grandma's house at 10AM and take their things. It would be rather easy because my Grandma would take masking tape and put each person's name that she wanted something to go to on the bottom. 

That fateful day, my parents arrived at 10AM, and the house was empty. Her brother and sisters had their trailers and trucks all loaded. Sitting on the porch were 3 items for my mom: an old footlocker, a book, and something that I don't remember. My dad probably knows. My mom called me crying that afternoon when she got home. She was especially upset because she knew there were keepsakes for my brother and me. She vowed that she'd never speak to her brother and sisters again.

I got my dad on the phone and told him about the big party. He told me that I would need to cancel it. Since there were hundreds of people invited, we quickly sent out postcards and called people, telling them that my dad had planned a cruise and we had to cancel. My dad quickly booked that cruise, and I spent the next few years angry at my mom's family and trying to use up all the napkins that said Rita and Larry - 25 years! But they loved their cruise and my dad ended up going on many more after my mother passed away and paid for me to go on a cruise - which I did after I retired.

So in this script, I had the B-Story be a dispute between my mom, Rita and her sister, Catherine. I picked Catherine (the tallest one in the photo to the left) because she was always one of my favorites, and Mom said I looked the most like her. Like all Hallmark-like movies, Mother's Day Romance ends happily, and this script is special because it is about a handsome chocolatier from Ecuador named Luis Silva. My precious granddaughter married the real Luis Silva last year, and I am trying to learn Spanish to travel to Ecuador in a few years to attend their second wedding for the Ecuadorian family. Luis can't travel until his green card comes through, so I have plenty of time to get fluent.

I have some other projects, the play I wrote - Colonoscopy the Musical, that I hope our local theater group, the KR Players, will perform someday. I'm pitching a girls' soccer script tomorrow, and finishing up my book Churchill's Mum - about Keith's 5th cousin, Jennie Jerome, the mother of Winston Churchill. I had to get a new picture done for that!

I had an article written about me this month - https://canvasrebel.com/meet-sandi-jerome/

That was exciting!

Getting back to the keepsakes, I'm happy today that I don't have a lot of stuff from my grandparents. I keep downsizing houses, so not a lot of room! I try to give things to my granddaughters when I can - and I wrote this blog 

https://sandijerome.blogspot.com/2021/03/your-grandkids-dont-want-your-junk.html - about how your grandkids don't want your junk.

So a very busy month - and that was only half of it! More next month! Thanks for reading!

Early Mother's Day

 "A mother's arms are more comforting than anyone else's." - Princess Diana

Mother's Day comes early next month, normally before my blog is done, so I thought I'd write about my mother. Her birthday is in a few weeks, and my own was a few weeks ago. My earliest childhood memory was looking out my bedroom window and seeing the side of a huge feed truck. My parents owned a chicken ranch, and much of my early years were spent working. I had the job of candling eggs, which was a visual inspection of an egg as it passed in front of a bright light before entering the egg washer to find any fertilized eggs. Talk about early sex education! I was also the one to collect the eggs because I had tiny fingers and quick hands. But being only five, I didn't know much about physics,and when the feed truck pulled away, I thought the house was moving and screamed. I remember my mother hugging me and explaining that the house didn't move, the feed truck did.
This simple moment fundamentally shaped how I understand teaching and growth. I learned that true nurturing isn't about removing obstacles but providing the support and space for others to overcome them themselves. Years later, as an adult, I find myself approaching challenges with others—whether mentoring colleagues or helping friends through difficulties—with this same balanced approach: present enough to provide security, distant enough to allow growth. This single memory gave me a template for understanding care that values both protection and independence, a perspective that colors how I view relationships, education, and personal development to this day.

My mother died at a younger age than I am now of cancer. My dad has had to live out his final Act without her. Yes, he remarried, traveled the world, and even got to see the Pope - but I know he misses her. As Mother's Day approaches, I think of her.  She loved animals; growing up, I was allowed to have as many pets as I wanted. After they sold the chicken ranch, my parents bought acreage and developed an avocado ranch in Escondido. Gophers are enemy #1 for avocado trees, and cats are the best defense. At times, I had dozens of cats and gave each one a name. But I had other animals: pigs, rabbits, chickens, and my main 4-H project, market sheep. I'd take them to the Del Mar Fair each year and show them. Starting at about 10, I'd have my first taste of freedom. We stayed at the fair, camping out under the racetrack in the betting area. They'd bring in army cots, and for a week, that was our dorms, and we were on our own. Our cafeteria was on the other side of the fairgrounds, past the horse stalls. 

Yes, the Del Mar Racetrack was completed in 1937 on the grounds of the Del Mar Fair, which had opened just a year earlier in 1936. The track was built by a partnership including famous celebrities of the era - most notably Bing Crosby, along with actors Pat O'Brien, Gary Cooper, Joe E. Brown, Charles S. Howard, and Oliver Hardy. When Del Mar opened on July 3, 1937, Bing Crosby was personally at the gate to greet the first fans. Crosby served as President of the Turf Club (where we'd have our auction luncheon) while his friend Pat O'Brien was Vice President. The track quickly earned nicknames like "Bing's Baby" and "Movieland's Own Track" due to its Hollywood connections. One of the most famous moments in Del Mar's history came on August 12, 1938, when the track hosted a $25,000 winner-take-all match race between Seabiscuit and Ligaroti.

This race was the first nationwide broadcast of a thoroughbred race by NBC Radio. In front of a record crowd, Seabiscuit won by a nose, helping to make Del Mar a success. Throughout the late 1940s and 1950s, Del Mar established itself as "the Saratoga of the West" for summer racing, featuring large purses for many stakes races.

The track has continued to attract Hollywood celebrities throughout its history. Stars like Lucille Ball, Desi Arnaz, Betty Grable, and Mickey Rooney were among those who frequented Del Mar, and Jimmy Durante became such a regular that the track eventually named its turf course in his honor. Today, Del Mar Racetrack continues its tradition of thoroughbred racing with its famous slogan "Where the Turf Meets the Surf," a phrase from a song written by Bing Crosby. The track hosts important races like the Pacific Classic and continues to be a significant venue in American horse racing. But for that one week, in the 1960s and 70s, it was "our turf" during the fair.

When I was sixteen, I fell for a much older guy who was about 20. He was the cousin of a good friend, and some of my buddies snuck me into the boys' dorms. This older guy was a chaperone, but so was my dad. Needless to say, I got caught, making out with a guy in the boys' dorm - by my father! In a few hours, was on my way home with my mother. As she drove the car home with me sobbing all the way, she finally pulled over and hugged me. Agreements were made, and she turned the car around. I don't know how she convinced my dad to let me stay at the fair, but my mom was a "fixer." I miss her every day.