Screenwriting software are word processors specialized to the task of writing screenplays.
The Orton-Gillingham Approach is a direct, explicit, multisensory, structured, sequential, diagnostic, and prescriptive way to teach literacy when reading, writing, and spelling does not come easily to individuals, such as those with dyslexia. It is most properly understood and practiced as an approach, not a method, program, or system. In the hands of a. 2 Top 10 Features You’ll love in Highland 2.5, the Updated Screenwriting Software from Screenwriter John August - ScreenCraft ( screencraft.org ) submitted 1 year ago by Highlandwriting to r/Screenwriting.
Ironically, Highland’s creator, podcaster John August, never intended Highland to be a screenwriting program. It was created to facilitate the conversion of files between the Fountain markup (a screenwriting markup/set of rules that enables easy creation of properly formatted screenplays using any simply text editor) and Final Draft and PDF.
Fade In Professional Screenwriting Software is the most advanced software used by professionals writing for motion pictures, television, video games, the stage, radio, and more. It features support for multiple languages, tools for outlining, organizing, and navigating, plus extensive screenplay formatting and robust functionality for managing rewrites and revisions.
6) John August’s Highland 2.5. Bang2writer Aydrea reviewed Highland 2.5 last year at his launch party. As I’m sure you know, John is a Hollywood screenwriter himself, so he knows what we need to get writing done! Highland 2.5 software sounds great and is actually free. I would wager that if you’re going to use a free app, this one is the.
Overview[edit]
Features[edit]
While add-ins and macros for word processors, such as Script Wizard[1] for Microsoft Word, can be used to write screenplays, the need for dedicated screenwriting programs arises from the presence of certain peculiarities in standard screenplay format which are not handled well by generic word processors such as page-break constraints imposed by standard screenplay format. Screenplay software often provides specialized shortcuts for quickly typing character names or slug lines, collaborating with other writers, adding production notes, character notes, easy outlining, scene reordering, and other tools to facilitate the creative process.[2] Other features often required when writing shooting scripts include page-locking, scene numbering, revision-tracking, and production-related reports (such as which characters appear in a given scene or which scenes are set during the day or night).
Some screenwriting applications, such as Celtx and Sophocles, also incorporate production scheduling and budgeting features.[3]
Another class of screenwriting software includes those that, rather than act as specialized word processors, attempt to direct the writer's storytelling process by utilizing story theory to facilitate the planning of a screenplay. Examples of this type of program includes Dramatica and Index Card.
Screenwriting software often also provides functions that allow writers to analyze their scripts for various characteristics. In 2018, developers began adding functions that allow an analysis of gender representation such as the Bechdel test, e.g. in Highland 2, WriterDuet and the forthcoming Final Draft 11.[4]
Platforms[edit]
Screenwriting programs exist for all varieties of platforms and environments including traditional standalone desktop applications that run directly on a personal computer, web applications that run solely within a browser, and mobile apps that run on phones, tablets, and other portable devices.
Plain text markup[edit]
The Fountain markup syntax, co-developed by screenwriter John August, facilitates formatting screenplays directly from plain text, be it in dedicated writing software, email programs, or text generated through OCR.[5] There is also a formatting package for LaTeX called screenplay.
History[edit]
The first screenwriting software was a standalone script formatter, Scriptor, from Screenplay Systems[citation needed]. It took a text file generated by a word processor and inserted the proper page break tags. When used in conjunction with a TSR program such as SmartKey or ProKey—keyboard utilities that assigned a sequence of commands to keystroke combinations—the 'dot commands' that Scriptor required could be inserted semi-automatically. Additionally, keyboard macros could be programmed to properly indent and enter abbreviations—allowing a user to customize the working of the word processor.
SmartKey was popular with screenwriters from 1982–1987, after which word processing programs had their own macro features.[citation needed]
An update to Scriptor understood the style sheets used in Microsoft Word for DOS. And so the need for key macro programs was lessened. Scriptor's limitation was that once formatted it was difficult to re-import the resulting text back into a word processor for further editing.[citation needed]
The next generation of screenplay software hooked into Microsoft Word. Warren Script Application was initially released as a set of style sheets for Word for DOS. It was updated for Word for Windows circa 1988. gScript, a shareware script formatter/template, was released via CompuServe in 1989. It was included on the disk accompanying the book Take Word for Windows to the Edge, published by Ziff-Davis in 1993. It was subsequently updated and released commercially as ScriptWright.[citation needed]
This third generation of screenplay software consists of the standalone script writing programs such as Movie Magic Screenwriter, Final Draft, and Cinovation's Scriptware.[citation needed]
The latest generation adds online storage and collaboration and integrates with apps on mobile devices. Many software also integrate outlining tools as well as other creative support, and tools to further integrate the production process.[citation needed]
List of softwares[edit]
Arc Studio Pro - Professional screenwriting software with automatic formatting, real time collaboration and drag and drop outlining features. Free and paid versions available.
Beat - Free and open source screenwriting app for macOS, with drag and drop outlining, scene card and timeline views. It uses the Fountain plain text format.
Causality - an original approach emphasizes visual story development outlining and simultaneous scripting movement while tracking causalities (cause and effects) of key plot points; simultaneously display of 3 story elements: Snippets(Script)/Story Logic (White Board)/Timeline, plus visual Characters tracking. Quickly breeze though an outline, simultaneously write out story Snippets as the ideas come. Exports into Final Draft, Fountain, and PDF, and loaded with extra features, with multi-language support, plus collaboration and other features coming soon. Free and Paid versions for Mac OS X and Microsoft Windows. [6][7]
Celtx - Free to register, but requires paid subscription for the full collaborative version. Browser-based, with apps for Mac OS X, IOS, and Android. Includes a comic book script-writing mode.[8]
DramaQueen - Software for script writers and novelists. Offers working with storylines, turning points, different structure models, a storytelling guidance, character profiles, story-charts and character arcs.
Dramatica - Name of a theory and software suite created as part of a project by Chris Huntley and Melanie Anne Phillips.
DubScript Screenplay Writer- A professional screenwriting software for Android with features such as auto-formatting and Google Docs fixing. A free version is available with a watermark header on printed output/PDF and optional subscription. DubScript also outputs to most major screenwriting formats.[8]
Fade In Professional Screenwriting Software - Professional screenwriting software for Mac OS X, Microsoft Windows and Linux, with mobile versions for iPhone, iPad and Android. Imports and exports Final Draft as well as most other major screenwriting software formats.
Final Draft - Professional screenwriting software for Mac OS X and Microsoft Windows.
Highland - Highland is a screenplay utility for Mac that seamlessly converts PDF screenplays into editable Fountain or Final Draft files, and back again. It’s also a text editor, so a screenplay can be written directly in Highland.
JotterPad - A powerful professional screenwriting app for Android. Includes paid Fountain support, export to Final Draft and print formatted script to PDF.
KIT Scenarist - A free and open source screenwriting software for Mac OS X, Microsoft Windows and Linux, which includes story development tools, corkboard, screenplay editor and statistics module. Includes paid service for real-time collaboration and versions for Android and iOS.
Montage - Screenwriting software for Mac only.
Movie Magic Screenwriter - Integrated professional screenwriting software. Available on Mac and Microsoft Windows.
Page 2 Stage - Free open-source software, designed specifically for Windows. Available in a variety of languages.
Practical Scriptwriter - Professional script writing software for Windows. Formats cover Film, Stage, Radio and TV.
Prewrite - Free browser-based tool for writers to develop story ideas into a screenplay, scene-by-scene—visually with timelines, cards and inspiring images. It tracks story beats, characters, emotional context, plot threads, and provides advanced analysis tools for insights into story structure. Provides importing and exporting features that work with Final Draft and PDF file formats.
Script Studio (formerly Movie Outline) - Creative writing software for Mac and Windows designed by produced screenwriter for writing and professionally formatting movie scripts, teleplays, stage plays and novels. Includes story and character development features.
Scripts Pro - iOS-based app which allows a writer to edit scripts in text file format via Dropbox and iTunes transfers.[8]
Scrivener (software) - A powerful writing tool that helps writers concentrate on composing and structuring long and difficult documents for Mac OS X and Microsoft Windows.
Screenwriter-mode - Major mode for the GNU Emacs free text editor. Includes commands and tools to format scripts as plain text files.
Slugline - It is a screenwriting app for Mac, iPad and iPhone. It uses the Fountain plain text format.
Story Touch - Story Touch is a complete software for dramatic development and creation. Graphs and color pallets will provide a veritable X-ray of a script.
Storyist - Storyist is a creative writing application for Mac OS X and iPad.
StudioBinder Script Sides - StudioBinder is a TV & film production management software which has an inbuilt screenwriting tool called 'script sides'.
Tooleybook - Free online book writing software [9]
Trelby - A free and open source screenwriting program for Linux and Microsoft Windows. (Development at a standstill, but still viable and available for download.)
WriterDuet - Real-time collaborative, online-offline professional screenwriting software.[10]
Discontinued[edit]
Adobe Story - An online collaborative screenwriting suite by Adobe.[11]
Celtx free desktop version - Has become cloud-based requiring paid subscription for the full version.
FiveSprockets - A discontinued free, online, collaborative story-development and scriptwriting web-software.
Scripped - Professional browser-based screenwriting text editing software. (now defunct and no longer accessible)
Sophocles - commercial story-development, scriptwriting, and scheduling package. (discontinued)
^https://medium.com/infodump/a-working-guide-to-screenwriting-software-384abe163545 'A working guide to screenwriting software' Julian Simpson Mar 17 2018
^ abcEaton, Kit (2015-02-04). 'Video Feature: Easy Ways to Get Your Movie Idea Out of Your Head'. The New York Times. ISSN0362-4331. Retrieved 2018-01-03.
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By Kate Wright
Working with Pulitzer Prize-winning playwright Jason Miller and the legendary Tennessee Williams offered me a tremendous entrée into the magical world of storytelling. As American icons, their extraordinary talent inspired the world; and as screenwriters, their remarkable ability to work through the visceral process of storytelling taught me that great stories communicate simple truths that reflect the poetic dimensions of the human soul. Not only do powerful characters help us understand our lives, their stories reflect our core values as human beings. But how do we create these ideas and feelings as a story for the big screen? How can we be certain that a screenplay delivers the maximum impact, both emotionally, and as entertainment? Here are five steps from the trenches - the Five S's of Screenwriting - that invite you into the process: 1) Story 2) Storytelling 3) Structure 4) Sequences and 5) Spine.
Story
Story creates the deeper understanding about human nature that we experience when we hear or see what has happened to another human being. Whether it's an incident in the life of someone we know, the true-life experience of someone in the news, the adventures of a fictional character, or the heroic life of a compelling historical figure, we are fascinated by the progression of events that a human being encounters, and this progression of events is called plot. However, what engages our imagination on a human level is how the main character reacts to this progression of events, and this cumulative insight is called story.
A good story features a main character, or protagonist, who confronts a strong moral choice. This is true in comedy as well as drama, and the best stories feature a protagonist who struggles with identifiable human flaws. The moral choice can be very simple or complex, but it must test the inner moral strength of the main character against his human flaws, not just toward achieving his outward goal, but through his internal transformation, which occurs in his conscience and emotional life. As the story progresses, the hero confronts other characters and situations that support, negate, and challenge his ability to overcome the odds and achieve his goal, but what is satisfying to the audience is the internal triumph that occurs throughout the external struggle, such that, at the end of the story, the audience understands in a profound way what the story is about.
Storytelling
Storytelling is how we tell the story. It's a process, rather than a formula. Storytelling begins with defining what the story is about as an idea. This is usually called theme, although theme is more subtle than an abstract idea. It's what we feel about the story, as revealed through the moral dilemma of the main character, in opposition to other characters. For example, if you were writing a story about freedom, an interesting approach would be to create a world where the main character longs for freedom, but is subjected to servitude by his life situation, or imprisoned as a consequence of his actions. Alternately, if you were creating a story with trust at its dramatic center, there would be strong elements of betrayal within the opposing elements and characters of the story.
The second major storytelling decision is defining where the story begins. Most writers take the easy way out. They begin with back story. The result is a story that never takes off until about page 40. Ugh! The preferable approach is to pinpoint the theme of the story, based on the main character's inner conflict. Die Hard, starring Bruce Willis, is a great example. The story begins with a man who is afraid to fly whose goal is to win back the love and respect of his family. He confronts a hostage situation involving his estranged wife, and all of a sudden, his courage is tested to the max. The combination of his internal conflict and simple goal, together with the challenge of the hostage situation sets the story into fast motion, from beginning to end.
The third storytelling decision is choosing the genre that tells the story. Genre tells the audience how they should feel about the story, whether they should laugh, smile, cry, think, scream, or just enjoy the ride. Genre is so crucial to the movie-going experience, some screenwriters begin with a genre, and then create the idea and story concept.
The fourth storytelling task is creating a point-of-view character within the story. This character interacts with the main character throughout the story to help the audience understand what is going on inside the main character. Interestingly, the point-of-view character also serves as the storyteller inside the story through which you, as writer, establish yourself. Although this is a difficult task at the onset, frequently we, as writers, make this decision unconsciously during the first draft. Despite our conscious efforts, the point-of-view character jumps off the page, easily recognizable by readers.
Structure is form. Screenplay structure is invisible form. Syd Field, who is internationally recognized for his landmark book Screenplay: The Foundations of Screenwriting, defines screenplay form in three-act structure better than anyone else, which is why his work is widely respected among professionals:
The Set-up establishes the main character and dramatic situation.
The Act I Plot Point features the main character's primary story decision, in opposition to the antagonist.
The Mid-Point is the moment when the main character is forced into the antagonist's world, thereby redefining the story premise, this time by the antagonist.
The Act II Plot Point is the lowest point in the story where the main character has been defeated by the antagonist and lost his motivation.
The Ending is the last ten pages, wherein the main character realizes a deeper understanding of his struggle, and summons up the courage to defeat the antagonist.
Sequences
As a producer, I enjoyed learning the art of creating sequences by working with directors and editors in the editing room. This is one of the hallmarks of my approach to screenwriting, which is why it is prominently featured in my upcoming book. Although this can be a complex task, for purposes of discussion, here are some basics to get you started thinking in film sequences:
Each scene is made up of a series of shots. Each sequence is made up of a series of scenes. Each sequence builds upon the next sequence to create story progression. Story progression occurs when story sequences build upon one another in a logical way, moving the story forward through character conflict. In a major motion picture, or studio picture, there are usually 12 sequences that build towards the final climax. The story moves forward in 12 major story beats, or film sequences, that reflect the 12-Sequence Story. Here is a shorthand summary:
1. The main character faces a strong moral dilemma in achieving a goal.
2. The antagonist poses opposition, both morally and to the goal.
3. The main character confronts the major complication, but proceeds into the story.
4. The story moves into a new world, and the main character makes an achievement.
5. The antagonist takes control of the story, sets the counter-plot in motion.
Instabro 5 2 7 – browser for instagram settings. 6. The main character moves forward, believing himself to be victorious, but finds the antagonist to be equal and opposing.
7. The main character restates the goal, with renewed conviction, but experiences his first setback.
8. The antagonist spins the counter-plot forward, and achieves momentum against the main character.
9. The protagonist experiences defeat at the hand of the antagonist, and loses his moral strength.
10. The protagonist loses the will to achieve his goal, but resuscitates his motivation and moral strength. Photoline 20 01 – professional level image effects processor.
11. The protagonist restates his goal and summons up his moral courage. The antagonist restates his mission to destroy the protagonist, as well as his motivation and courage.
12. The protagonist and antagonist prepare for confrontation, but the protagonist experiences an epiphany of moral courage that gives him what it takes to defeat the antagonist. The story resolves with the protagonist understanding his life with renewed meaning and understanding.
Spine
Just in case screenwriting seems simple, please allow me to introduce you to the world of advanced screenwriting, the world of spine. This is an abstract world where (even veteran) screenwriters labor in pain, sometimes without professional breakthrough, sometimes without financial reward. When the breakthrough finally happens, however, there is magic on the screen!
Spine begins with discovering what your story is about through character behavior. It is about creating a unifying depth within your story, character by character, action by action, sequence by sequence, layer upon layer. The surprise is that once you discover what your story is about on a profound level, there are an infinite number of insights and details you can infuse into the material through character behavior, actions, and images. The challenge is to discover this unifying idea or principle that synthesizes what the story is about in simple terms. The genius is to be able to create characters as ideas that morph into character behavior, revealing what the story is about in every frame of the picture.
One of the best examples of spine is Tootsie, the Academy Award winning screenplay written by Larry Gelbart and Murray Schisgal, starring Dustin Hoffman, directed by Academy Award winner Sydney Pollack. The original screenplay went through numerous writers, and it wasn't until Sydney Pollack came aboard to work with the immensely talented Larry Gelbart that they were able to discover what the story was really about. It wasn't enough to do a comedy about a man becoming a woman. Putting on a skirt is good for a few laughs, but not enough to sustain a movie. The challenge was to create a story about a man struggling with his (chauvinist) flaws, who is forced to become a woman, but by becoming a woman, he becomes a better man. With this paradox as the spine of the story, each and every frame of this marvelous movie feeds the heart of the story.
There is a constant demand for writers who can create good stories, especially for the big screen. The fact is, however, over one hundred thousand scripts are written every year, and only a few hundred actually make it. Even then, most do not succeed. Usually the script is the culprit, and the most common script problem is story. Either there is not enough, or the story splinters into more than one storyline because the main character is not developed through a powerful moral dilemma at the center of the story. The market for great screenplays is wide open. The challenge is to develop your own treasure trove of great stories that have never been told. Be bold and original. Remember the Five S's. Strive to master them. Above all, shoot for the stars. You might make it to the moon!
A Writing Exercise
Here is a challenging writing exercise that will help you understand what your story is about. It begins with creating a powerful moral dilemma at the center of your story. Think about the narrative of the story you are working on. Identify your main character, and think through the most important dramatic choice he/she makes. Work through why he/she makes the decision, or why not. Take your time. Set the stage for the consequences of either story direction by developing the antagonist. Understanding the depth of conflict within this key character-driven story moment opens the window to discovering what your story is about.