Catch Me If You Can

I recently received a 1-star review for one of my books. All the rest are 4s or 5s. I know exactly who did this. Yes, I have high-tech skills, and yes, I'm a computer hacker, but I'm confused about why this person did this. For me, doing this is stealing. It is the low of lows. Their revenge isn't a victory; it’s a revelation.

I once worked for a man who was suspicious of everyone, and he suspected employees were stealing from him. I was provided a free new car to drive as part of my job, but I had to pay for the gas. One day, I was underneath a huge printer, changing the ribbon, and Mr. Boss came into the parts department and asked the manager, "Is Sandi paying for her gas?" I came out from under the printer and took Mr. Boss aside. "Look," I told him quietly, "if I want to steal from you, I will steal the whole gas truck, not just a few gallons a week. With my computer skills, you'd never find it."

Yes, I am a hacker. I started using computers in the 70s, before most hackers' PARENTS were born! Computer science was my minor in college, and accounting was my major. As a CPA, we know where the money is buried. The IRS provides a 10% reward for turning in cheaters, but if I had ever done that, I'd be writing this from my yacht instead of my Florida home. But CPAs are not like lawyers; if the IRS asks us for information, there is no client/CPA confidence. We have to spill the beans. In fact, we have the responsibility to report fraud. Tax professionals, including Certified Public Accountants (CPAs) and tax attorneys, are obligated to report potential instances of tax evasion or fraud by their clients. He once argued with me that 3 years had passed on a questionable deduction - but in cases of fraud, the statute of limitations for assessment of tax never expires. The IRS can go back as many years as it wants to investigate and assess taxes, penalties, and interest. I let my boss know that, and now he had two things to worry about, but theft was his main focus.

Mr. Boss began weekly sessions in which I would tell him various ways I could steal from him. The gas truck theft would be easy, I explained to him. I'm the one who orders and approves the fuel tanks to be filled. I'd issue the purchase order, but then have the gas delivered to one of the parents on a soccer team I coached, who owns a gas station. I'd split it with the guy. A pretty easy way to steal $28,000-$40,000 every few weeks. But I explained to my extremely wealthy boss that there are three types of people. The first type is totally dishonest. They will steal at any opportunity. It is their true nature. But fortunately, most of these people are working the streets, running cons, or sitting in prison. The second group is totally honest. Born honest and raised honest. When they find a twenty-dollar bill, they pick it up and ask around, "Did anyone drop this?" I like to think I am in this group. It is the way my parents raised me. Plus, why would I ever risk everything I have: my CPA license, my home, my family, my freedom –  just to steal? Money has never been a motivator for me. It is only a measure of how much I'm appreciated.

The third group? That's where it gets interesting. They are honest until they're not. Something happens that makes them feel entitled. They feel underpaid or unappreciated. They rationalize. "That person owes me." That's when the trouble starts. I gave a workshop at the annual AICPA conference on employee theft, titled "Catch Me If You Can." I think it is the only CPA workshop where you can't buy a DVD of my presentation. The board was worried employees would use it to steal from their employers! I had so many ideas!

I came up with the title after reading the 1980 book Catch Me If You Can by Frank Abagnale Jr. and journalist Stan Redding. That book inspired the 2002 Spielberg film starring Leonardo DiCaprio and Tom Hanks. The book describes how Abagnale donned a pilot's uniform and copiloted a Pan Am jet, masqueraded as the supervising resident of a hospital, practiced law without a license, passed himself off as a college sociology professor, and cashed over $2.5 million in forged checks – and all before he was twenty-one. It's written in the first person and reads almost like a thriller. Fast-paced and entertaining, Abagnale recounts his various cons and escapes across multiple countries.

Here's where it gets interesting: the book is acknowledged to have been partly fictionalized, and the factual basis for the events has been challenged. Abagnale himself acknowledged issues with accuracy. He stated, "I was interviewed by the co-writer only about four times. I believe he did a great job telling the story, but he also overdramatized and exaggerated parts of it. That was his style and what the editor wanted." More damning, in 2020, journalist Alan C. Logan conducted an in-depth investigation and found documents that contradicted many of Abagnale's claims. Logan's investigation revealed that Abagnale was in Great Meadow Prison in New York between the ages of 17 and 20 (1965-1968). That was the exact time frame during which Abagnale claimed to have committed his most significant scams. So ironically, the greatest con Frank Abagnale may have pulled was convincing the world his cons were real in the first place. Today, he'd probably be a computer hacker.

I'd like to finish with a thought. Is hacking stealing?

I honed my hacking skills when I owned a technology company and received a ransomware demand. I circumvented the hacker and didn't pay the ransom. I have only used my powers for good. Remember, I was raised to be good. But finding out about this 1-star review? I'm not sure I'm at peace with this person. It feels intentional. A type of revenge against me. My best friend wants me to write a "best revenge book" because I have told her so many ways to get a pound of flesh, but maybe I should let it go.

Hey, does anyone want to release an updated "Catch Me If You Can"? The best ideas in Frank's book didn't even make it to the screen, and I have hundreds more. But today, I'm not writing screenplays - I'm creating my own animated series, so I'm going to move on, let it go –  and not let this dark person get inside my head. If you want to see one of my videos that helped me decide to "let it go," please watch my YouTube video - https://youtu.be/LPUMiMM4JE0.

Happy New Year, and more about my web series next month when you catch up with me when you can!

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

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.

I Can Fly

I grew up thinking I could fly. I was a skinny and energetic kid, running instead of walking and constantly fidgeting. I grew up on an avocado and citrus ranch. Every year, the commercial pickers would come and harvest the fruit, but after they left, my mom would have me climb up to the top of the trees to get the ones they missed. I'd toss them into the thick pile of leaves and then jump (or fly, as I thought) down to a soft landing.  After I grew up and became a computer programmer and consultant, I got to work in Australia and went diving on the Great Barrier Reef. That was the closest I've been to flying again - a wonderful feeling.

I liked to make up stories to tell kids and one of my favorites was of Kira - a fearless princess who had trained her whole life to rule, but then her father remarried, and a male heir was born. I wrote it while working with a large dealership group, Lithia - in Medford, Oregon. Their head of IT was Kyra, and loved that name. Today, Lithia has 290 dealerships, including 40 in the UK. My favorite movie then was Princess Bride, so I wrote Princess Quest as my first project after graduating from UCLA's Advanced Screenwriting Program.

I shelved it until last year when I wanted to enter as many scripts as possible into The Austin Film Festival. I completed the Native American Media Alliance Fellowship and learned more about screenwriting. I rewrote the original Princess Quest script and renamed it Kira and Henry to make it more the story of both characters and appeal to teen boys and girls. I wanted Kira to have a secret - so I added that she could fly, but had to hide that because raptors are banished because of their mutation. I had learned how to write TV pilots in my fellowship, so I wrote it as TV series. I made over a thousand changes and then wrote the young adult novel Kira and Henry using what I learned by taking classes through Good Story. This time, is was published by SmilingEagle Press - specializing in books written by Native Americans and older folks. I hit both marks of their target market!

Kira and Henry did well at The Austin Film Festival, enabling me to get a coveted 2nd Rounder Badge and here are the reader's notes, "This is a solid script that showcases the writer’s creativity and knack for world-building. It sets the stage for an abundance of storylines while, at its heart, drawing the reader into Kira’s character development and her relationship with Henry." I also got these notes from my entry into Final Draft's Big Break, "The reader enjoyed KIRA AND HENRY, which held their attention cover to cover through successive reads. It is a classic GAME OF THRONES style of tale, albeit in the animation format that will likely appeal to a younger demographic rather than adults." 

Next up is entering it into SeriesFest, and if I get accepted to pitch in Denver in May, I will be soaring and truly believing that I can fly!

You can order Kira and Henry on Amazon -https://www.amazon.com/Kira-Henry-Young-Fantasy-Forbidden-ebook/dp/B0CPYY7Q5C

Here's my pitch deck of the TV pilot.

https://www.canva.com/design/DAFvpYX2w74/IfD4mFgVynLq6uBNhpV7nA/edit?utm_content=DAFvpYX2w74&utm_campaign=designshare&utm_medium=link2&utm_source=sharebutton

 

Writing is Life

My first blog was almost four years ago when I decided to retire and become a full-time writer.  It was about my high school sport, field hockey.  My husband Keith taught me how to play soccer after we got married since he was All-CIF soccer in high school and his favorite sport of ice hockey was nothing like what I had played – but soccer was. It was so much easier to kick the big soccer ball instead of hitting a tiny hockey ball with a stick. Soccer has a similar field, rules, and goal as field hockey. But Keith insisted I learn to kick with my foot instead of my toe. Not only does this prevent you from breaking your toe, but it gives your kick more speed and control. 

Over the years, soccer has been a big part of our lives. We’ve been to Olympic soccer games, along with NWSL games. We’ve seen greats like Marta, Abby Wambach, and Megan Rapinoe, but the best was watching our four granddaughters play.  Each girl was an amazing player – inside and out. Soccer is also a fun game.

We loved managing and coaching soccer teams and even the most athletically-challenged child can play.  It isn’t like baseball where they go to bat – all alone - and strike out.  Instead, young soccer players get so many chances to get their foot on the ball, especially in youth soccer where the team can swarm together around the field like a beehive. Keith would smile when he’d spot a young girl more interested in a little tiny flower growing on the field instead of paying attention to the game. She was having fun!

When I played on adult teams - mostly over-30 women’s indoor soccer, I’d constantly remind my teammates that nobody was getting paid and we all had to get to work the next day, so let’s be careful out there. It needs to be fun.  At that time, there were no professional women’s teams but today that has all changed.  The world of women’s professional soccer, especially the NWSL is exciting and lucrative for some of the players and owners.  It is still called soccer in this country instead of football like the rest of the world, but it is fun.  One of my favorite scenes in Ted Lasso is when the new player, Dani Rojas screams “Football is Life!” But for me, writing is life.

My latest script, AimMe Coach, is almost done.  It was originally a one-hour dramedy like Ted Lasso called Aim Me, but I worked with an amazing mentor – Kris Crenwelge as part of the Native American Media Alliance fellowship that I won.  She is a staff writer on True Lies and is currently in the Native American showrunner fellowship. Kris suggested that I cut out half of the characters and make it a network half-hour comedy.  That meant removing half of what writers like to call “their darlings.”  Gosh, that was hard since I killed off my main character.  But surprisingly, that left the hero to be my Native American character, Suby Mankiller, and back full circle to my granddaughters.  My youngest and strongest is named Suby and is in the bottom left of this picture. She packs a lot of dynamite into her petite body.

This picture sort of brings everything full circle for me.  I quit writing twenty years ago after graduating from UCLA’s screenwriting program when tragedy struck and Keith and I had four little granddaughters to help raise.  I put my dreams on hold and had a new objective to earn enough money in the technology industry to support our daughter-in-law getting certified as a teacher and those amazing little girls.

I had also taken a bad hit in my right eye with a soccer ball and had a partially detached retina and poor vision to contend with.  But with big monitors and dozens of surgeries, I do pretty well – just don’t ask me to drive at night!  My lack of depth perception makes playing sports difficult, so I walk a lot instead, at least a 5K a day and lots of yoga. 

For me, writing is life – I feel like Dani Rojas, each morning – excited to get up and write, write, write.  If you want to see my YouTube about Aim Me (the hour-long version)  here’s the link and I hope to have the ½ version done soon. https://www.youtube.com/playlist?list=PLx_8Ja4anZU7427aV5A98VQUPYtmdfWJc 

https://nama.media/sandi-jerome/

Make it Work, Make it Better, and then Make it the Best

One of my most exciting consulting engagements was a programming job for IBM. I went to the Thomas J. Watson Research Center in Albany, NY, and wore my favorite power suit for the calling up to the "mothership" of computer technology. I was early, and I watched employees arrive in attire that looked more like sleepwear than business attire.  When my contact person met me, he explained that programmers work there, and they were encouraged to be comfortable and focused on the task. He told me that our goal for the two days was to “make it work, make it better, and then make it the best.” 

With my first novel, Sleep Warrior, I am on the 9^th rewrite. I wrote the first draft a year ago to get it ready for the annual conference of the Society of Children’s Book Writers and Illustrators. I got two critiques, and both thought that the story worked but told me many ways to make it better. Next, I started a process of peer review, asking various middle-school teachers, parents, and students to read it. It started getting better over the past year during each rewrite.

Last month, I entered the Screencraft Competition for Cinematic Books and paid extra for feedback. I won’t know until next month if I’m close to the “best” goal and a finalist, but the feedback was positive and moved me up to 3^rd place in the Red List on Coverfly. 

I also entered my 2^nd novel, Murder at the Magic Kingdom, and it didn’t fare so well with the same reader. It didn’t “work,” and I’ve spent the past month making it better. I had to change my "kick-ass" girl detective from entering middle school to high school and the age category to young adult due to the violence from bullying, and of course, the whole “murder” thing might not be appropriate. It is odd because, during one of the breakout sessions at the SCBWI conference, one of the presenters said she’d like to see a murder mystery in middle-grade fiction, but I’m not sure everyone is ready for that, and the goal is to reach the widest audience and avoid getting blocked by the gatekeepers. But doing this rewrite up to YA let me add a romance for my main character, which was delightful to write. Ahh...first love. I hope that Murder at the Magic Kingdom is better, and I’m looking for some peer review if you’re interested in helping me make it the best.

https://sandijerome.com/free/MurderattheMagicKingdomPDF.pdf

Here is the coverage (feedback) I received for Sleep Warrior   

“This novel features a strong premise, compelling characters, and a satisfying narrative arc. The concept here works extremely well. You’re blending elements of an Adventure and Mystery here. Both genres hold an evergreen appeal for young audiences, and the market potential for an adaptation comes across clearly. The supernatural plot elements add a deeper texture to the premise. Centering this story in the experience of a half-Cherokee middle schooler allows you to explore a relevance and representation that’ll bolster the story’s appeal.

 In addition, Aya’s interest in technology provides an added STEM focus that the publishing and film industries greatly favor at this time. You might contemplate whether a feature film or series adaptation would better serve your vision for the story, as either option could certainly work. Because Aya’s middle school age, you might also consider live-action over animation, as that format may appeal more strongly to the intended “tween” demographic for a story such as this.

 The characters are compelling, relatable and charming. They’re complex and interesting: Aya’s conflicting feelings about her Cherokee roots, for example, Andrea depicted as a fiery, multitasking super mom, Adam as the vegan “peacemaker” of the family, or “salty, crusty, and fearless” (page 39) Grandma Enola. These are appealing characters, but you cleverly keep them grounded in relationship. An audience or reader feels their connection deeply, which raises the stakes of the story. Aya cleaning her feet on her pajamas and kicking them into a pile (page 3), for example, her desire to fit in, or her disgust at witnessing affection between her parents (page 5) are character details that will make her deeply relatable to her audience.

 The dialogue works well, featuring a naturalistic tone that serves to bring the character voices to life on the page. The relationships and family rituals are communicated particularly effectively: in lines like, “By Grabthar’s Hammer, you shall be avenged!” (page 8), Adam’s affectionate “Dynamite” nickname for Aya and “Firecracker” for Andrea, and Alec and Adam’s “Grrrrr” ritual on seeing the Bear Zoo (page 32). Dialogue like this emphasizes the relationships and traditions of Aya’s family, giving a visceral sense of their history and deep connection. This provides a strong background for the narrative and will serve to deepen an audience’s investment in the characters.

 The voice of the novel and Aya’s voice are one-in-the same, and her personality comes through well in the narration. The action is clearly communicated, but if you’re interested in a cinematic adaptation, I would recommend enhancing the visual descriptions of the narrative to ensure the cinematic potential for the story comes through on the page. You might, for example, give a more detailed visual description of the setting, using natural imagery to evoke a stronger atmospheric tone and communicate more about the stylistic approach to an on-screen adaptation.

 The story and structure are effective here. You initially introduce an intriguing mystery with Aya’s waking up wet, then set that aside to introduce the world and central characters with Megan’s taunting of Alec and Aya’s revenge plot. The narrative flows seamlessly between the central plot and a deeper glimpse at Aya’s internal concerns and conflicts. The story’s arc is complete, and each plot beat flows organically, one to the next. The choice to shift perspective, on occasion, to Nightwind, is particularly cinematic. It builds tension and effectively communicates the dramatic potential.

 Overall, this narrative would translate well to the screen, and I believe there’s a place in the current marketplace for your story.”

Here is the link in case you want to read and comment. I'm looking for a publisher and/or agent.

https://sandijerome.com/free/SleepWarrior%20Sandra_JeromeRWPDF.pdf 

How about my IBM job? We spent the first day making it work. It was hard not to stop and do things better, but he was right because I slept fine that night because we had a working routine. The next day was actually fun - making it better. The program was for Saab, and years later that was our first dealership where we installed our DMS DealerStar. It all came full circle for me and that dealership is still using the software we wrote, even after Saab is gone. After we sold DealerStar, I retired, but I still use that goal in my writing of “make it work, make it better, and then make it the best.”  

Years later, I was called to another mothership, Microsoft, but that story is for another blog, I did dress much more comfortably.