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!

Six Degrees of Kevin Bacon

Photo by Gage Skidmore - Wikimedia

 

"You're right," my husband said last night. That was music to my ears. We've been married for over 50 years and have never had a fight, but we've had lots of disagreements. Last week, it was about the crash of the MD-11 and the death of three UPS pilots. When we saw the newscast, I said it was odd—the MD-11 only has two pilots, why did three die? My husband argued, "No, the MD-11 is the DC-10, and there are three pilots; one is the navigator." I wished my favorite producer, Melissa, was around to back me up, but I had seen on Instagram that she's busy producing a TV series. She would have agreed with me because we both knew, while working on the script Hijacked based on the book by Dave Hirschman called Hijacked: The Heroes of Flight 705 about the FedEx crash of a DC-10, that the DC-10 was modified to enable airlines to save money and remove the third pilot/navigator seat and put those instruments on the front control panels for two pilots. But Keith was right too—three pilots did die. Why three?

You might wonder about our many disagreements over the years. Was it about money like most couples? No, we both made good money in our careers. He worked as a technical writer in the nuclear industry and eventually in training for the airlines before going into computer programming. I once was offered buckets of money if I'd move to Hawaii and be the CFO for a group of dealerships, before designing accounting software and starting a tech company. The move to Hawaii was important to this pilot discussion because Keith and I both knew that the airlines consider Hawaii a foreign country and pay international bonus rates to the crew on flights there.

No, our fights were about Kevin Bacon. We'd play a form of this game on our numerous car trips that we took to ferry our four grandchildren from wherever they were living to our house to spend time with them. Eventually, we moved to Florida and bought two houses next to each other to avoid those trips, but in the meantime, we'd play our version of the game. Each of us would say an actor's name at the same time. For example, he'd say, "Sandra Bullock," and I'd say "Pierce Bronsan." Then we'd think about it—they were never in a movie together. Finally, one of us would say I can do this in three steps. Sort of like "Name that Tune." If the other one couldn't do it in less, we'd do our analysis like this: Pierce starred alongside Meryl Streep in the musical film Mamma Mia! (2008) and its sequel. Sandra Bullock starred alongside Brad Pitt in The Lost City (2022). Meryl Streep starred alongside Brad Pitt in the movie Babel (2006). This creates a chain: Brosnan (Mamma Mia!) to Meryl Streep (Babel) to Brad Pitt (The Lost City) to Bullock. Three steps.

Of course, there was always a disagreement; was that Brad in Babel? But it never escalated into a fight because we're both erudite. We're fact finders. While a technical writer in the nuclear industry, his instructions had to pass NRC guidelines, plant policy, and the manufacturer's manuals. He couldn't say things like, "go fix it my way because that is how we've always done it that way." He had to provide references. I was the same way in the tech world and accounting world—it had to be right and I had to prove it. You can't take $50 out of someone's paycheck because "we've always done that." You have to know the law and follow it. I was a CPA, so I couldn't say that. I knew better.

Getting back to the "You're right," my husband did more research, and because the UPS flight was from Kentucky to Honolulu, they needed an international crew relief pilot for that flight to keep the other two pilots from being "illegal" and flying too long. Although the MD-11 only required two pilots, it needed to be "crewed" with three. To their family and those on the ground, I am sorry for your loss.

If Melissa, who has the option for the book and is producing this movie, reads this, I'm sure she will figure this out after the first two paragraphs. Not sure she knew the Honolulu/international part, and she might have thought the third pilot was probably riding the jump seat, like in our script. Over the past year, while producing this movie, I've seen her on Instagram looking at DC-10 cockpits, but most have been modified into MD-11s to reduce the need for 3 pilots and cut expenses. She would have asked like me, "Why three pilots?" The two of us became experts on the D10/MD11 planes. We had done our research.

Since writing this script, I've done a lot of research (with my hubby's help) on how movies get made. Like our software company, movies need investors. It reduces the risk for profit-focused studios and networks. Investors enable independent producers to make movies. But software investors are normally sold on two things: the product and the market. It was easier for us to get over a dozen investors who helped us grow our company before it was sold.

But a movie? They need a third thing—a star. As my screenwriting guru, Cynthia Whitcomb, taught me, "Stars earn their money." A project needs a star to get an investor to jump. Who has all the stars? Agents. But SAG-AFTRA estimates there are over 170,000 working actors. There are over 19,000 talent agents. That's where the problem lies; and where my background in software development is coming in handy.

Just like I saw inefficiencies in accounting software years ago and built a solution, I saw the chaos in the entertainment world a few years ago before I got a manager. Writers that I'd meet at conferences were sending hundreds of individual query emails to producers, agents, and managers who try to answer phone calls and arrange meetings. Agents and managers I met were struggling to track which scripts their clients have submitted, where and who is reading what. Producers today are drowning in thousands of unsolicited emails, unable to find that one promising script they saw months ago AND find an agent with an actor to read it and "attach." The disconnect is costing everyone time, money, and opportunities.

So I created SmilingPitch over 2 years ago, a platform that connects screenwriters, agents, managers, and producers in one streamlined system. It's like having a CRM for the entertainment industry. Writers can manage all their scripts, build professional queries with our Query Builder tool, track submissions, and send targeted pitches. Agents and managers can finally see all their clients' scripts in one place and search by genre when a producer asks for something specific. And producers? They can create wish lists, indicate they're open for queries, and review submissions without the email avalanche—just click Pass, Pass, Pass, Request.

The product solves a real problem, the market is there with over 170,000+ talent, 19,000+ agents, 150,000+ screenwriters and an undetermined number of people who call themselves managers and producers. The platform creates value for everyone involved. That's the trifecta investors look for. But I'm not looking to start another tech company, I'm looking for a star. I have over 20 projects I need to get made. I wonder who Kevin Bacon's agent is? He'd be perfect for six of my scripts, especially First Man, a comedy about our first male 'first lady." See more about that at https://www.sandrajerome.com/ - tell Kevin that I'll rewrite from a former major league ballplayer to a rock star - or a movie star - if he wants. I'm flexible!

Next month, I'll discuss the success I've had so far with SmilingPitch, and yes, it is working; agents are getting their clients to read my scripts. They make me sign lots of forms first, but it is working. I realize this isn't the way things have always been done, but like AI, it is working, and it might be the future.

Stay tuned!

Note: Kevin Bacon at Comic Con photo by Gage Skidmore, CC BY-SA 2.0 <https://creativecommons.org/licenses/by-sa/2.0>, via Wikimedia Commons

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.

Writer for Hire - A Platypus Movie

 

"The way to get started is to quit talking and begin doing."  -- Walt Disney 

A typical storyline in a Western is that a new sheriff or sharpshooter comes to town hired to do one job, and instead, he's asked to do something different. In Quigley Down Under, Marston informs Quigley his sharpshooting skills will be used to eradicate Aboriginal Australians. In Blazing Saddles, Bart is hired as the sheriff to anger the townspeople. I love these two movies!

I have found that a Writer for Hire engagement can start with an understanding that you'll use your creative skills to adapt a book or write a screenplay from a treatment, or rewrite an existing script. The typical Writer for Hire agreement contains standard industry provisions giving full creative control to the producer while requiring the writer to comply with all directions. Under these terms, the producer owns all rights to the material in perpetuity, can make unlimited changes without writer's approval, and has no obligation to actually produce the screenplay.

This type of agreement has led to several notable disputes in the entertainment industry. Art Buchwald's case against Paramount in 1990 became a landmark example when he submitted a treatment that became the basis for Coming to America. Despite contractual similarities to his concept, the studio claimed independent development. The court ultimately ruled in Buchwald's favor, exposing problematic "Hollywood accounting" practices.

Another significant case involved David Elliot and Paul Lovett's dispute with Disney over Pirates of the Caribbean. The writers claimed the script derived from their submission but faced significant hurdles in proving ownership after signing a work-for-hire agreement. Similarly, Wes Craven's estate engaged in a prolonged battle with New Line Cinema over rights to A Nightmare on Elm Street, highlighting the challenges of termination rights under copyright law.

I have performed under five different writers' agreements, and I found one common thread: creativity is not encouraged. Even after submitting a detailed treatment and sitting through Zoom calls, taking notes and asking questions, like "Can I add new material?" and being encouraged to just that -- I ended up having to delete characters and scenes that were in my treatment.

Tip: Always write the first act and get the producer's approval before continuing! 

Fortunately, I'm from the software industry and we get requests like, "Could you move the Enter button to the left side of the screen?" Everyone agrees and we make the change. But then the users scream (or the script gets bad coverage) because nothing is where the audience or users are expecting it to be. In the technology world,  we end up having to rollback the update and put the Enter button back where it was. It does no good to remind them that THEY wanted the change. If you watch the film, The Majestic, the executives "brainstorm" and rewrite the script, "What if we gave the kid a disease? Then later, "People love dogs...always gross high, so instead of a disease, we give the kid a dog?"

But as screenwriters, we have certain rules that we've been taught; never open a movie with someone waking up - and never end it with someone saying, "It was all a dream." However, just as in the software industry, we make the changes without reminding the producer that they had encouraged us to alter the storyline and create new characters during our original meeting. But like Walt Disney said, "The way to get started is to quit talking and begin doing," which highlights his belief in taking action over mere words. Thank goodness I'm no longer a 30-year-old warrior trying to win arguments! It is so much faster to merely keep the old version and rewrite, rewrite, rewrite.

This is one of the reasons why I prefer emails or texts over group Zoom meetings, or phone conferences -- where everyone wants to create a movie "by committee." The platypus's odd combination of features evokes the idea of something "created by committee."  

I've seen so many movies that are a collection of great ideas - but they don't follow the required beats, sequences, act breaks that a movie needs and the structure that we're trained to follow. This was one of the problems with Electric State, a recent Netflix offering. Some of the comments were that the film was "incoherent," with critics finding the plot muddled, the action scenes repetitive, and the characters underdeveloped - a platypus.

It might be helpful for you to obtain coverage for the treatment or previous script before starting your Writer for Hire job, or simply ask the producer exactly what changes they want made. Otherwise you might be writing a platypus screenplay that is incoherent.

In my former tech career we had a saying; "you can have it cheap, good, or fast - pick 2 out of those 3," My "brand" in screenwriting is to provide producers with all three! I have high tech skills and know Final Draft and AI software, can type as fast as I talk. I'm well-educated in screenwriting and open to changes. Change the cat to a dog -- I can handle it!

Waste of Time

 

“You wasted $150,000 on an education you coulda got for $1.50 in late fees at the public library” Matt Damon in Good Will Hunting.

I wasn't born with raw talent - for anything! But I acquired talent over the years. I was shy and stuttered, but I eventually became a public speaker and once spoke at the same conference as First Lady Barbara Bush. We were both in the speaker's lounge, and I wanted to talk to her, but when those big guys with guns started toward me, I hurried back to my own couch area. I'm shy and afraid of everything. I'm like the Gorginites in Small Soldiers; my greatest ability is to run and hide.  In addition, my mother said that I was so uncoordinated as a kid that I could trip over a bobby pin in a shag carpet, but I became a certified yoga teacher. I believe in attacking things with everything that I've got to succeed. I went to college to get a degree in International Agriculture with a goal to teach the world how to grow food. Lots of things diverted my path, but I ended up changing to agribusiness, then business, and finally accounting and computer science. How I got from designing accounting software to screenwriting is for another blog; this one is about education and screenwriting. Do you need a formal education to be a successful screenwriter?

If you have talent, raw talent, and a great idea, run out and buy a book on screenwriting and learn screenwriting software. My first book was by Cynthia Whitcomb, who I'll talk about in another blog, and I have probably read a dozen or more over the years. Of course, my favorite is written by my manager, Alexia Melocchi, An Insider's Secret: Mastering the Hollywood Path and after reading that, I decided I needed representation, but I'll cover that in another blog. This blog is about whether or not an education is important if you want to be a screenwriter. So, even though I was a highly educated CPA and computer programmer when I took off this path, I wanted to learn screenwriting from the best - and I did.

I found out that UCLA had an online screenwriting program.  Jack Sowards (above left,) who wrote Star Trek – Wrath of Kahn and Jim Schmerer (center,) who wrote for some of the most popular series of the 1970s and ’80s, including MacGyver, CHiPs, Vega$, Fantasy Island and Starsky & Hutch, were my instructors.  I met a friend online, Dana Biscotti Myskowski (right,) and when we graduated from the Advanced Program and attended our graduation ceremony at UCLA, Jim and Jack took Dana and me out to dinner.  These two wonderful gentlemen told Dana and me that we were the best writers in the class which gave us both a lot of encouragement to continue. I had acquired talent with education.

I think UCLA is the best, and I have the t-shirt to confirm that. UCLA's School of Theater, Film and Television combines theory and practice, with students learning both writing and production. I'm with a lofty group;  Francis Ford Coppola, Alexander Payne (Sideways, The Descendants), and David Koepp (Jurassic Park, Spider-Man) all studied here.

Of course, the USC School of Cinematic Arts is considered the premier institution for screenwriting - by some. Their Writing for Screen & Television program has produced writers like John Singleton (Boyz n the Hood), George Lucas, and Shonda Rhimes (Grey's Anatomy, Scandal). The program emphasizes both craft and industry connections, with many students getting represented by major agencies before graduation.

When I won the Native American Media Alliance Fellowship, my instructor, Matt Black (Umma with Sandra Oh), was also a lecturer at AFI Conservatory, which offers an intensive two-year screenwriting program. While smaller than some other programs, it's produced by writers like David Lynch, Darren Aronofsky, and Sam Esmail (Mr. Robot). The program is known for its mentor-based approach and small class sizes. Matt was a huge fan of David Lynch and even has an ear tattoo on his arm in honor of Lynch's Blue Velvet. It is a movie I hate.

NYU Tisch School of the Arts has a renowned dramatic writing program that covers both screenwriting and playwriting. Notable alumni include Kenneth Lonergan (Manchester by the Sea), Tony Kushner (Lincoln, Angels in America), and Donald Glover. The New York location gives students unique access to both film and theater industries.

Columbia University's Film MFA program has a strong emphasis on dramatic writing fundamentals. Kathryn Bigelow (The Hurt Locker), James Mangold (Walk the Line, Logan), and Simon Kinberg (X-Men franchise) are among its graduates.

Interestingly enough, one of my two favorite screenwriters, Aaron Sorkin (The West Wing, The Social Network, Newsroom, American President), was actually a theater acting major at Syracuse University before turning to writing - but I think he drips with raw talent. But my best is Chuck Lorre, who dropped out of Suny to pursue a career in songwriting and got his break when he co-wrote the soundtrack to the 1987 television series Teenage Mutant Ninja Turtles with Dennis Challen Brown. Chuck jumped right into TV and is the best TV writer of all time, and I'm sure his investment banker agrees. Lorre eventually received an honorary degree from the State University of New York at Potsdam and gave a keynote address at a graduation ceremony. I hope he paid his library fines first!

So, how would I answer the question about education? Obviously, for some - it isn't necessary, but if you have the time and money and, like me, a quart low on raw talent, go for it. If you're young, spending some time at college can help you grow and make lifelong connections that I didn't have. If you're not in LA, then an online class or fellowship will save you hundreds of thousands of dollars. The answer to that question is in your head – did you wake up this morning with an idea so amazing that you must get it on paper? Buy a couple books, read a couple scripts and buy Final Draft or get the free version of FadeIn and start writing! 

If you want to build a career, get Alexia's book, learn about Hollywood and move out there. If you like going to school, pick UCLA (just kidding) or check out your local college and see if they have a screenwriting program. What I don't recommend is getting an MFA and learning creative writing. Screenwriting is creative, but it is mostly writing about life and is about people speaking and reacting through action. I'm not sure learning about Shakespeare and 14th century poets is the way to get good at screenwriting. But when it comes to writing, that quote in Good Will Hunting is right - and that script won both the Golden Globe and Oscar for best screenplay for Matt Damon and Ben Affleck.  Like Matt Damon's line, "education might be a terrible waste of money."