#MOVIE MAGIC SCREENWRITER 2000 PRO#
Kent Tessman, creator of the screenwriting app Fade In Pro says it plain: “Screenwriters should be able to use the best screenwriting software available without being encumbered primarily by what other people are using. Unfortunately, the best product isn’t always the one that’s most popular. It’s human nature to want to know, before you buy: What’s the best product? How many people are using it?įact: Nobody wants to be the only gal in the room using the software that nobody else is using. That’s what I’m going to find out in this article, one feature or design flaw at a time. So how do these two screenwriting programs measure up? Both to one another and to the state of modern app usability, and to what screenwriters want and need from a screenwriting app? (And now you know why they call them “pitches.”) Most screenwriters are the ones on the other side, with the pitchforks. The fact is, most screenwriters aren’t the ones inside the Hollywood gates. How usable are these two programs to screenwriters in a real-world situation? (Whether that real world situation is multi-million-dollar film production or Jerry from Iowa and Jill from Washington writing the spec scripts that are going to save Hollywood.) Perhaps yes, or perhaps my imagination needs a repair.Įven I, posting a blog that pits “The Big Two,” against each other like I’m doing - or even referring to them as “The Big Two” - in a not-so-subtle way, reinforces the concept that these two software suites are the end-all-be-all of the screenwriting app world.īut what I’ve never seen, in all my internet travels hither and yon, is a detailed assessment of these two software suites, pitted against each other, using criteria and metrics that go beyond the “feature-bloat” features that each seem to suffer from, and go straight to the heart of what matters most: If the question is one I find repetitive - especially in a world where so many great new screenwriting apps are available, and at so much lower a price than “The Big Two” - then I can’t help but think that whenever developers of above mentioned newer screenwriting apps hear that question, they must experience some sort of collective, froth-at-the-mouth-style explosive diarrhea.
#MOVIE MAGIC SCREENWRITER 2000 MOVIE#
the substance of many conversations and arguments about which screenwriting platform is the best (whether that conversation is in forums, or on Reddit, or in snarky blog comments) seems to always come back to someone asking the same question: Should I use Movie Magic Screenwriter or Final Draft? And the two most dominant in the last decade or so? Movie Magic Screenwiter and Final Draft.īut as I write this article, I find it a bit odd that while marketplace is fairly replete with a score of alternatives as of the last half decade or so - FadeIn, Slugline, WriterDuet, Adobe Story, CeltX, Highland, Scrivener, etc. Why is that? Because there have only been a small handful of screenwriting programs available. But I’ve only used a small handful of screenwriting programs. Since then, I’ve written, co-written, or worked on hundreds of feature screenplays. I hit RETURN, just like I’d done a billion times before when writing in Microsoft Word and other word processors. In short, with all due praise to John Hodgman, I was a “PC.”Ī different kind of “PC,” Production Coordinator Joey Geiger laughed at me because I didn’t instinctively know to hit TAB to get from the scene heading to start typing the action text below. It was on a “Macintosh” because I didn’t call them “Macs” back then. At Roger Corman’s Concorde-New Horizons Studios in 1997, I opened a script file using Final Draft for the first time.
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