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.

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.

A Hallmark Christmas

This month, my best friend, Laura (right,) visited me for a week. There aren't that many people who knew me as my mother's daughter, so we talked a lot about our mothers. 

My mother loved Christmas – every inch of our home was decorated. She made a magical bonbon – and I'm often asked for the recipe. One problem – I don't have it. My mom never wrote it down before she died unexpectedly, and we lost more that day than her secret ingredients.

As kids, I admired Laura's mother; she was a professional woman and they lived in an immaculate house. When I asked why their sewing machine was in the master bedroom when they had both a family room and a rarely used living room, Laura laughed. Appearances were important in her family and nobody touched their formal living room. In our home, the sewing machine was on the dining room table because we ate in the kitchen. For my family, everything was about functionality. Eating was number one; my mother was an amazing cook - in fact, my maiden name was Cook. Mom's dining room and kitchen looked like a Hallmark movie set during a bonbon contest.

Last month, we welcomed a dashing young man, Luis, from Ecuador into our family when my scientist granddaughter, Vrinda Jerome, became Vrinda Silva. He loves to cook! While up in Jacksonville for the wedding, I watched a marathon batch of Christmas movies. A few months ago I had finished writing my Hallmark-like movie, Christmas Bonbons, which is being shopped by the same Hijacked producer Autumn Bailey (On a Wing and a Prayer with Dennis Quaid.) Hijacked was an adaptation from a true book about the heroes of flight 705. Christmas Bonbons was my first Hallmark structured movie. I loved writing it. The 9-acts and Hallmark "rules" are like catnip to a former programmer like me that loves structures.  For those of you considering a career writing Hallmark Christmas Movies, here's the most common format;

Act 1 -  Setup. The heroine has a happy life, but something is missing.

Act 2 -  Inciting incident. She has to travel somewhere; maybe home for the holidays or a  project for work. Often is is snowing when she gets there.

Act 3. Meet Cute. She arrives - and by chance, she encounters the romantic interest, who can be her long-lost first love or involved in her work project. But it can also be a family friend, or the friendly town vet, or even a guy that sells Christmas trees.

Act 4. Debate - as her situation gets more challenging and that frustrating romantic interest is always just there, resulting in many more encounters where the guy makes himself useful, and sometimes frustrates her and she wants to leave, but she has to finish something first.

Act 5. Almost kiss -  they begin to enjoy spending time together. This is also where they touch accidentally, or look into each other's eyes - and then,  one of them says awkwardly, "I should go..." something isn't right about them being together as they almost kiss.

Act 6. Fun and games. They finally get over that reason why things are awkward, find themselves in a snow ball fight, or trying to decorate a tree, or make cookies, and get interrupted right before their lips meet. Sometimes there is a town contest for the best decoration of some sort and they compete.

Act 7. BUT - something is wrong; he said/she said - misunderstandings, rumours, and she thinks she should go back home because she's afraid - or he doesn't seem to feel the same way about her..

Act 8. Finally – one of them, has the courage to tell the other how they really feel thanks the classic mentor who often is wearing a Santa Hat. Feelings are real, they are falling in love! She maybe decides to move back home, or he's going to move to where she lives. A new life is beginning. Their life together matters.

Act 9. They live happy ever after and the whole family (or town) joins them around the Christmas tree for a group picture or singing a Christmas carole.

There are also some of the Hallmark traits and rules;

1. No words like crazy, hate, NO profanity

2. Christmas in almost every scene

3. NO religion

4. Must decorate a Christmas tree

5. Theme uplifting

6. Make Christmas food like cookies

7. No sex scenes

8. Few displays of affection

9. One snowball fight

10. One kiss at the end

11. Must have a happy ending.

I'm not sure my Christmas Bonbons is a perfect script yet, I probably have some rewrites it its future, but I also and I haven't given up trying to recreate that bonbon recipe of my mom's. The difference between a writer and a professional writer is that a professional never gives up. I'd write more this month, but today I'm getting down my Christmas decorations from the attic. I love Christmas.

Visualization and AI - Artificial Intelligence

 

My dad grew up in the age of automation. Travel by horse was automated by cars; in fact, they measured vehicles by horsepower. My dad is fascinated by machinery. His favorite place is the Antique Gas & Steam Engine Museum in Vista, CA. His last job was working on the machines that automate the baking and packaging systems at Dudley's Bakery in Julian. He invented a small machine that mixed the paint for my brother's color coating business. Machines were a big part of his generation and he knows how they work. Everyone thought that automation would eliminate the need for humans, but someone needs to know how the machines work to maintain and improve them. 

I grew up in the era of computerization. I remember my first experience with computers at college and writing software. I later owned a technology company. As a CPA, my specialty was writing code to calculate net pay. If you ask the next generation how to do that, they'd say, " Go to this website and enter your number of dependents, state, and then your gross pay."  Again, people thought computers would replace humans, but instead - the computer industry has added over 800 types of jobs. For example, I'm a programmer, software designer, and database administrator -- but not a web designer. But that job has changed. Web designers used to write HTML code with an editor and then "publish" or upload it to a website. This job is changed by web design software like Squarespace and Wix. These tools are taking us into the next era - visualization.

What is visualization? It involves AI - Artificial Intelligence to create what you "see" in your mind's eye. For example, imagine a flying army of cats that put out fires. Hmm... that visualization is hard to create. It would require animators to ask, "How do they fly - wings?" The next chore would be to determine color and breed - and start drawing. Computerization has improved drawing tools, but you'll need a story before you move forward. Who organized this army of firefighting cats? Who is the lead cat, and why does she do this? Who doesn't like flying cats, and what are they doing to stop them? Story software can create this by answering questions like this, but like the person who designs and maintains the machines and computers - we'll need someone to come up with the idea of flying firefighting felines and then visualize the story.  I know you're thinking of the pitch - it is like Cats - meets Fireman Sam. I expect there to be software where you'll put in two unrelated movies and have it spit out a new movie.  But someone will still need to think of it. That is called visualization.

The age of visualization is upon us. Today, we have hundreds of thousands more filmmakers.  As in Field of Dreams, "if you build it, they will come."  YouTube, Dailymotion, Vimeo, Twitch, DTube, Vevo, Flickr, and Veoh built the platforms.  Amateurs have dipped their toes in the filmmaking arena by using Facebook, TikTok, and Instagram to get their work out there.  The tools are amazing - you can make a film on an iPhone and edit it on the flight home. I bought the latest iPhone before my big European vacation after I sold my software company, so I wouldn't need to pack a camera, video camera, or GoPro.  If you're a worker in the film and TV industry, these "amateurs" who haven't been to film school or don't have their MFA in Screenwriting might scare you - but it is like computerization and automation. We still need someone to develop the idea (screenwriter) and think of the story. A director needs to visualize the story and know how to film it. Thousands of talented and craft people must take that vision and make the show. Producers must combine all the pieces and get the show funded, filmed, sold and distributed.  But the tools to make this process easier means thousands of new jobs are coming. 

I addressed this issue in my script, Technically Soccer - where a software mogul decides to coach a soccer team with a droid. The players are initially upset that a robot has replaced a human - taken the coach’s job, but the development and maintenance of that cute little droid created dozens of jobs. Plus, the old coach was pond scum - so a win-win!  I've created a new website that is more "visual" for my new screenwriting career - visit it at SandraJerome.com