If you are one of this talented few, script formatting applications like Celtx, Movie Magic and Final Draft are great productivity tools. These take the hassle out of capitalising, indenting and laying out a script in the format demanded by the Hollywood movie moguls.

They also remember the names of your characters and scene locations. They’ll check your spelling, allow you to classify and rearrange scenes, and produce shooting scripts and script reports for your production team.

Final Draft has fought its way to the top in the screenplay formatting wars. If you believe the hype, it is “used by 95% of film and television productions.”

But for most of us, writing a screenplay begins long before we sit down at the keyboard with that real or virtual clean sheet in front of us. If you follow The Story Department’s advice, and have visited Logline It, you know the drill. You will have refined your logline, described the inciting incident, and developed a 3-act structure. You will have laid out the main beats and arcs and possibly covered your wall with scrawled library cards before you type EXT.

There are a few computer applications that can help you with this early stage. Pre-scripting is by definition a messy job with lots of redundancy.

Final Draft 10 aims to pull the whole process together into a single software package. (Declaration of interest: I’ve been a voluntary beta tester on Final Draft 10 for the past 18 months, but I have no financial interest in the software.)

In this review I’ll assume that the script formatting aspect of Final Draft needs no explanation or comment. I’ll confine myself to the meta-script aspects and the new and improved pre-scripting tools.

NAVIGATOR

This tabbed panel is not new — it’s been part of Final Draft for the past 3-4 versions at least, but its utility has been improved.

If you’re already using Final Draft you’ll be familiar with how use it to jump to, drag, rearrange and colour-code scenes. You know how to keep track of characters and define their arcs; and add script notes.

Now the Navigator is linked to The Story Map, which multiplies its usefulness.

STORY MAP

While the Navigator provides a running overview of your screenplay as you are writing it, the Story Map is an omnipresent, interactive view of your story.

It is a horizontal bar at the top of the window, providing an overview of your script at a glance.

Before you begin, you set a target length in pages, define Structure Points (eg. acts, mid-point) and add Beats. These become page targets in the Story Map. You can, of course, drag these targets around, add new points or erase them at will.

As you write new scenes, they appear in the Story Map along with any colours you added in the Navigator. Double clicking on a scene in the Map takes you to that scene in the script. You can zoom in to examine your scene sequence, or zoom out for a birds-eye view of your screenplay.

BEAT BOARD

The Beat Board is the most obvious new feature in Final Draft 10. It’s your pin board, where you scribble on virtual library cards and drag them around until they make sense.

The Board is totally free format, equally useful for brainstorming, structuring and making notes. Double click anywhere on the board to create a card, then change its size and colour and location and drag it into position.

What you put on these virtual cards is up to you: ideas, notes, character sketches, scene descriptions, “beats,” reminders, phone numbers, shopping lists…

I’ve never been an enthusiastic user of library cards and preferred Scrivener to structure my story. However, I’ve become a fan of the Beat Board for this visual process of brainstorming, rearranging, refining and editing.

It is instinctive and almost infinitely flexible. I’d appreciate more colours and a “snap to grid” option, though. Maybe that is my OCD speaking. And I’d like to be able to add hyperlinks and images, but maybe these will come in later versions.

(NB. The Beat Board is not related to the Index Cards view, which has been an option under the VIEW menu since Version 1.)

SPLIT

In Final Draft 9, you had the ability to split the screen vertically or horizontally, but now you can drag your Beats directly into your screenplay from the Split view.

ALT DIALOGUE

Now here’s a handy feature: say you can’t decide whether a character is a Yank or an Aussie; whether he says “Wassup dude?” or “G’day mate?”

This handy refinement enables you to include any number of alternatives.

Just click on the small “+” beside the line and type in the Yank/Aussie lines.

Both alternatives remain in the screenplay until you decide which market you are selling to.

COLLABORATION

I’ve been collaborating on a script with a writer in the USA. We used to email copies back and forth and mark our contributions and changes using Script Notes and colours.

With FD10 and Skype it’s as though we are sitting side-by-side. It’s as simple as clicking “Collaborate”, obtaining a Session ID Number and Skyping (or emailing) the number to him. He clicks Collaborate and enters the ID Number and my script appears on his computer.

We pass Control back and forward and any changes one of us makes, the other sees in real time. You can communicate interactively using text or speech, though we prefer to run a Skype session beside it. It’s as painless as your bandwidth allows.

Unfortunately, the Beat Board, Splits and several other new features are greyed out in Collaboration mode. I hope they are going to be included in versions 10+.

OTHER IMPROVEMENTS

There are a lot of smaller improvements in Version 10, too. You’ll find more scene numbering options, header and footer improvements, revision versions. A long-overdue improvement is in the Dictionaries: Australian English works at last and I’ve tried it with French and German. And here’s a neat trick: when I’m collaborating with my American colleague, his spell-checker reads US English and mine is Australian English.

WORTH THE PRICE?

If you’re a serious scriptwriter, Final Draft 8 or 9 were always worth the investment. MacOS and Windows Final Draft documents are interchangeable and it delivers a script that won’t be rejected on formatting grounds by those picky Hollywood producers’ assistants. There are now Final Draft apps for iPhone and iPad, for both reading (free) and writing (US$10). So you can take it anywhere.

Let’s face it, Final Draft 10 is an investment, whether you are buying it or upgrading. If you’re not being paid for scriptwriting, perhaps stick with Celtx (free) and library cards for a while. When you’re ready to step into the bear pit, download the Free Trial from finaldraft.com, and explore the introduction screens and videos.

If you think it’s for you, check this site for the best price!

FINAL DRAFT 10: FINAL THOUGHTS

Final Draft 10 is a new ball game, with useful, powerful and stable pre-scripting tools and the best collaboration feature on the market.

There are a few options that I hope appear in 10.1: more colours and a snap-to-grid in the Beat Board. Equally useful would be hyperlinks, and the ability to past graphics. Extending the collaboration capability to the Beat Board will double its usefulness.

-Ian Hart

Ian Hart

Ian Hart is a freelance writer and director.

peacemountain.com.au

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_______________________________

With thanks to Cameron Pattison.

Jamie Campbell

Jamie Campbell is an author, screenwriter, and television addict.

Jamie is proud to be an Editor for The Story Department.

Her latest series Project Integrate is out now.

jamiecampbell.com.au

by Dave Trendall

Does sexy equal practical?

The number of word processors out there is countless. With most doing similar things, why should we even consider getting something different; or even crazier… pay for it?

One piece of software that has mountains of users who often describe it as ‘sexy’, is Scrivener. I was interested to see why, and if, it was good for writing. Sexy is one thing but does it actually stand up to a long term relationship… and is it really worth paying for?

Pros of the Processor

Getting inside a writer’s mind can be a treacherous minefield, a forest of ideas where trees are mangled and roads lead nowhere. When starting out on a project there are avenues to explore, ideas to grapple with. Where to start?

Scrivener really understands the writers mind as it is logically laid out but doesn’t tie you down to any format like most other software does – what it does do is encourage flexibility.

Scrivener really understands the writers mind

Research and organisation are key in writing your magnus opus and to have access to the mind maps and scribblings in a click can make this process easier. Most processors or text editors will have you open 3… 4… 5… different windows as you begin minimising, maximising, moving and closing windows, trying to access those hard-to-find character bios and scene ideas.

All the ideas you put on your scratch pad and other documents can be a daunting and complicated excercise in organisational dilligence but on Scrivener you have everything you need on show with easy access.

Organisation

On the right of the interface you have the inspector, on the left you have the binder which has all your files and character notes displayed just one click away. On the right, the inspector which shows the synopsis, step outline, ideas or comments. In the centre is a clear writing part.

You can also build collections for each project which is a great help. Despite the neatness of it all and the ability to minimize these collections, there’s a lot of info on display and it can look a little busy, so what if you just want to write?

The full screen function allows you to have the page, a photo of that lovely deserted island in the background and nothing else, which helps you focus on the task in hand and not on toolbars, configurations and statistics. It’s a nice touch and the simplicity is refreshing.

What if you just want to write?

The program comes with a plethora of options so you can adapt it to your liking. F or example you may want the blank page to fade down, change the paper width or change the paper position. It’s all about adapting to your needs.

The final stage!

Something that Scrivener has, is the ability to export your script/novel onto an ebook for kindle, epub, Word or even Final Draft among others. This motivational and inspirational tool brings you one step closer to self-publishing or selling and getting it out there. It is mostly geared toward novel or non-fiction/research writers however the impetus and injection of ‘reality’ and coming face to face with a realistic ‘published’ finish piece is quite the motivation!

It is also possible to sync the scribblings from write room, index card and simpletext for iphone/itouch or Ipad. This is for the Mac only, however the windows beta version is soon to catch up in this respect.

This motivational and inspirational tool brings you
one step closer to self-publishing or selling

Index card features

An excellent interface that really is second to none in terms of pure chic: the corkboard interface has clear index card features for you to design your plots and characters in a great, organised and colourful fashion.

It’s not just the je-ne-sais-quoi, but the ease of use and detail you can put into it is a great attribute. It allows you to brainstorm in order for you to really nut out the structure and outline before going to work on the screenplay.

An excellent interface that really is second to none

You can also use the cards as scene ideas, change the font and change the colour to indicate theme or concept. It is gorgeous and makes the writing thoroughly enjoyable – it’s nice to have a different view with the corkboard that really makes you feel you’re in the planning room.

I am a lover of index cards – this is so close to the real thing that you can almost smell the paper and feel the cork. The other processors look and feel like a computer – this doesn’t.

This is so close to the real thing
that you can almost smell the paper
and feel the cork.

Feedback/forums/support

It’s options are a burden and a blessing. Really, it’s like a brain… complicated yet fascinating, or a complicated enigmatic character: hard to decipher. There are numerous options and drop down menus to explore and you sometimes feel like you just don’t get it, but then, suddenly, it all makes perfect sense and you feel quite enamoured with yourself for doing so darn well.

What is important in such software is the technical support, and it is excellent. I’ve never really had the support in terms of software like this before. On the website there are video tutorials, that are simple and easy to understand, as well as a fully detailed manual that could provide a few nights of scintillating bedtime reading… If that’s your thing. The forum is also full of hints, tips and tricks.

I’ve never really had the support
in terms of software like this before.

So many options, but are they all useful? There are numerous configurations to behold and wonder at and it’s well worth trying to get to know them all to make it exactly to your liking.

Cons

What I found problematic however, was in transferring documents onto scrivener, particularly screenplays. When I tried to import scripts from two different screenwriting programmes the alignment, fonts and formatting were all over the place and it took time to get it back to normal.

Although you may find ways around this problem – a ‘how to’ video tutorial and extensive information on exporting and importing will help – it was a time-consuming process and an extensive lesson in jargon. Other users have noted it is difficult to use with blogs and can be a lavishly laborious process to export certain documents onto, or out of, Scrivener.

it is difficult to use with blogs and can be
a lavishly laborious process
to export certain documents

The corkboard is lovely, sexy even, though it’s not the most important thing for writing. There are feasts of different views and colours to change this to that and put that in a drop down menu while you tweak this and paste this into that folder… I confused myself when operating it and getting to know it.

It’s nice to have a software that is as complex as it is interesting. And that’s interesting in a good way but is it too much for what is essentially a virtual binder, paper with pen?

Added to this, index cards themselves are available on other programme, such as Celtx, for a smidgeon of the price.

A fast car is good driving

You will get what you paid for with Scrivener and understanding just what it can do will take an enjoyable or frustrating amount of time, depending on whether you like getting to know the options or just want to get writing.

No doubt this is a great piece of software. It’s a neat looking, intuitive programme which has everything you need right in front of you, for you to use at your disposal. It’s perfect for writing and particularly organising thoughts ideas and structuring them into a coherent order.

Then, after having sussed out this little gem, you can start the marriage with a day of getting to know each other, to start afresh and forget what had gone before. Word? Who was that flash in the pan?

Some may argue If you need to go from A to B do you really need a Dodge viper with extra torque, whatever you decide, it certainly looks nice in your garage and feels great when you’re in the driving seat.

-Dave Trendall

My name is David Trendall and I am from the land of Braveheart. I studied Film and Television in Wales and it was there I found a love and passion for writing scripts. Since then I have written four screenplays and many short films. I hope to reach 10 within the next 5 years and am continuing to write and hone my skills in screenwriting and story structure. And yes I do like Braveheart.

Noun: A compound used to fill cracks in plaster and produce a smooth surface.

What is ‘mental spackle’?
Merrel Davis explains how to ensure you fill all the gaps in your script.

Mental Spackle is a term I’ve coined to describe what the mind of a writer does when revising. As you go through each change, shift scenes, consolidate characters, details inevitably fall through the cracks.

With each minor adjustment, with each new scene, even the most dedicated and observant writers will miss minutiae that could ultimately cause their excellent, thoughtful script to be a pass.

While a story may exist fully in the writer’s mind, it almost never exists entirely on the page – certainly not in the first couple of revisions. It is very easy for a writer to gloss over holes or problems in story as they revise because as the old saying goes “you can’t see the forest for the trees.” Writers can unwittingly become blind nature walkers and every additional revision seems to solidify a layer of spackle somewhere.

Am I Spackling?

It is so easy to get lost “too inside your own head” during the writing process and forget there is a difference between subtext and nothing there at all. You won’t know you are spackling until after you have put away the putty knife.

As you write, you’ll gain a sense of depth and breadth of your character. After all, you are living with them every revision. But is it on the page? If you write like I do, then you have likely created detailed backgrounds for all your characters. 98% of this detail will never make it into the script outright.

If when you receive notes and you find yourself explaining how your protagonist needed that chocolate ice cream as a child in order to set up his current job loss as a engineering contractor at the end of Act Two, but the ice cream scene isn’t in there, nor mentioned, it is likely you are Spackling.

An example from one of my scripts: My protagonist must make a pointed decision at the age of eight, one which will forever change the direction of his life. In the first two revisions this decision took place off screen. I knew the decisions, based on the backstory I had developed so, in retrospect, I believed that the different lives he would lead as a result of those decisions would contrast enough. It didn’t.

In the next revision, the decision took place on screen, but it still didn’t pronounce in a truly effective manner. Even though I knew what was going on, there was a disconnect between what I knew in my head about the character and what was actually on the page. Mental Spackle struck at the most important incident of the first act! It happens to the best of us, but if you follow a few simple steps, this won’t happen to you.

How do I combat Mental Spackle?

As you are the closest person to your own work, it will always be hard to ferret out things that may seem obvious to others. That’s why it’s always important to have a group of readers whom you trust.

I have a friend that is excellent with grammar and typos. I have another who can critically deconstruct even the most challenging plot arcs with ease. I have actor friends who help me make dialogue more authentic.

Don’t fly solo.

Discuss your work with your trusted peers. The simplest of spackle jobs can be addressed with a read through by someone other than you. Send it out for a round of informal notes. This will catch the top level stuff; grammar, wording, formatting and spelling problems.

Have professional coverage written on your script.

Getting coverage on your script can really help you make your story a concise, precise and marketable piece of work. A good analyst will deconstruct your story, find your mistakes and missteps and tell you what may be holding your script back. It is through this analysis that you’ll know what works, if your highs are where they belong, and if your characters’ arcs read correctly.

Organize a table read with real actors.

There is nothing more helpful than hearing the words you’ve written coming form the mouths of actors. A table read is not for performance sake, it is to hear your dialogue and action text spoken aloud. Does it seem natural? Does it make sense? Does the pacing work?

I personally like to have the actors read the script cold. If my characters and their voices are strong, the actors will be able to find their groove easily and spot embarrassing mistakes.

Revise, Revise, Revise!

Each pass through of your script you’ll find something new to adjust, sweeten and tweak. I know writing is an eager process and instant gratification is the solution for excited writers. And while it may feel like it’s done at the end of revision two or three, it probably isn’t.

Space out your revisions. Editing back to back will increase the likelihood that you will accidentally spackle right over major problems because you’re too close to your project to notice.

Workshop your script.

Workshops provide an immediate, collaborative environment to vet your work. If you are able to get into a workshop with a strong workshop leader and committed participants you’ll find it a worthwhile endeavor. Plus, you never know what comment will spark that “Eureka!” moment that will help you fix your script.

Most importantly, Step away for a bit.

If you have the luxury, let the work breathe. You can’t eat a pie straight from the oven, and you can’t finish a script and shoot it out to the world before really making sure that every detail, every character, every scene is perfect.

For every writer there is a want, a need to finish a revision and share it with the world. That urgency is healthy. But being hasty can be your downfall.

Avoiding Mental Spackle altogether is impossible. Your mind will always fill in your character’s gaps, confuse removed scenes from five drafts ago with your current version and think like they are still a part of the script.

Plan ahead and be methodical. If you don’t, you may end up like my friend Emery. He wrote a script that took place in Kansas; it was subsequently moved to outer space. Apparently, Emery didn’t catch that when he changed the meet-cute from the Wichita Wal-Mart to his new location planet Merrilia, he left the stage directions the same.

But who knows, maybe Emery knows something about inter-stellar retail that we don’t.

Merrel Davis.

(Article written with contributions from Xandy Sussan)

Merrel Davis is a script analyst based in Los Angeles. He’s worked as a video editor, writer, producer, director, graphic designer and cinematographer on various projects including cutting HD video for the 2008 Bejing Olympics. He’s the creator of ‘Screenwriter Karaoke‘, a successful monthly networking event and is currently working on a feature and a web miniseries.

Cherie Lee

I studied acting for three years and hold a graduate diploma in writing from Sydney’s UTS. My interest in film and writing was solidified through interning at The Story Department and gave me the opportunity to fine tune my skills. I’ve been involved with several film projects, the most recent of which was shortlisted for Tropfest.

With the knowledge gained from university and my experience at The Story Department, I’m now specialising in professional feedback on short films and documentaries.

I have installed version 8.0.0.,  the latest available version at the time of writing.

Because I work with clients who use a variety of software, I often find myself converting and exporting between platforms. In this area, FD hasn’t improved much since FD6 (from which I upgraded). That said, a typical screenwriter may not need to convert that often.

PRO:

– The overall feature set has improved.
– The layout is slightly more pleasing to the eye than before.
– Scene Navigator is a cool feature.
– Not too many bugs (See below: Cons).
– The top toolbars can be customised to contain a range of commands.
– The page count manager. (don’t think you’re allowed to use it, though!)
– FD can be active on two computers; installed on as many as you like.
– An ever improving knowledge base on the FD web site.
– Upgrade is only $99.

CON:

– FD8 saves as .fdx by default, even for imported FD7 scripts.
– Copy and paste between documents has resulted in crashing.
– No good solution for tracking changes.
– Cost: $249 (To compare: MS Word is $229).
– The interactive troubleshooter on the web took forever to launch.
– Key Shortcuts: if you select text and change the style, the text is deleted.
– Chat support times: for OZ writers this support closes at morning tea.
– Phone support is free only for 3 months and for 20mins only.
– The format assistant could have been improved.
– Importing from .rtf resulted in blank pages with “(CONT.)” here and there.
– No competitive upgrade offer to be found on the web site.

If you’re earning money writing for the screen, you should have Final Draft. If you’re not, I believe you can find better value alternatives.

Karel FG Segers

Karel Segers wrote his first produced screenplay at age 17. Today he is a story analyst with experience in acquisition, development and production. He has trained students worldwide, and worked with half a dozen Academy Award nominees. Karel speaks more European languages than he has fingers on his left hand, which he is still trying to find a use for in his hometown of Sydney, Australia. The languages, not the fingers.

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