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Follow Up

What I learned from a year of Highland Pro

April 22, 2026 Apps, Follow Up, Highland

One year ago, we launched Highland Pro. I was confident in the app itself, having put it through its paces over its multi-year development journey. I’d written dozens of scripts and novels in Highland over the years, and knew that Highland Pro was the best version we’d ever made. Our beta testers loved it, too.

Still, I was nervous about the launch itself.

We were switching from a paid upfront model to subscription. The 30-day trial period made it easy for users to get started in the app — but would they stick around?

It turns out, they did!

line chart showing curved arc from last April to today

Roughly 60% of our trial users converted to paying customers. Monthly recurring revenue continues to grow each month at a steady, sustainable level. It’s not a hockey stick, but rather a reassuring climb.

Our first year of Highland Pro brought in more money than the last four years of Highland 2 combined. Most of our annual subscriptions have renewed. We can approach the next twelve months knowing we’re on a solid foundation.

Money is great, but honestly the biggest advantage to a subscription model is that it properly aligns the interests of an app and its users. Rather than chase new customers, we can make the app better and more delightful for existing subscribers. We’re grateful to the thousands of writers who rely on Highland Pro.

On our official blog, Daniel wrote about what we accomplished in this first year, including stats and details on our many new features.

Here I wanted to share some of personal observations as Highland Pro’s part-time CEO and biggest fan.

Twelve lessons we learned

Highland Pro’s first year was successful, but certainly not flawless. Some choices paid off. Others didn’t.

1) We worried that Highland 2 users wouldn’t make the leap to Highland Pro. They did. Three quarters of Highland 2’s weekly active users made the switch in the first two months. Our core users embraced the change and saw the advantages to Highland Pro.

2) Likewise, we worried too much about complaints from people who “don’t like subscription software.” These people were not going to be happy no matter what we did. That’s okay! Let people have their opinions.

3) We moved our #TeamHighland community from Slack to Discord. They’ve been instrumental in helping us quash bugs and develop new features. Discord can feel messy and chaotic, but it’s easy to see the activity. Traditional forum software ends up becoming a ghost town.

4) As a company, we all needed to take a more active role in the support queue and #TeamHighland Discord. Customer service is not a separate department, especially with a subscription app. It’s much easier to fix bugs when you directly engage with the people encountering them. Often, they’re using the app in unexpected ways.

5) Onboarding and paywalls matter — but what’s going to work is not at all intuitive. We A/B tested multiple versions of the paywall and always guessed wrong. For now, a hard paywall when you first launch the app appears to be the most successful.

6) iOS and iPadOS are uniquely frustrating. For years, Highland users have clamored for a version they could use on their iPads and iPhones — but when you give it to them, they’re understandably frustrated by the limitations and compromises. Our reviews for the iOS version are considerably lower than macOS version, and I get it. If your only experience with Highland Pro is on the iPhone, you’ll be disappointed. Whereas if you see the iPhone app as a companion to the “real” version on the Mac, your expectations are appropriately modest.

7) One of the biggest issues for iOS/iPadOS is iCloud syncing. It’s a black box that should “just work,” but often doesn’t, leaving users frustrated and developers at a loss to explain exactly what’s happening. We did a lot of work to improve syncing, including robust new backup features to protect users against data loss in case something goes wrong. But it’s not as seamless as anyone would hope.

8) We expanded the team. This year was our first with a dedicated, full-time marketing director. Daniel tackled all the projects we never fully understood, including revamping our SEO. We also brought in our first outside coder on contract. We learned how to set milestones and appropriately scope new features. It was good practice.

9) We used the latest Apple frameworks as much as possible, but held off on implementing Liquid Glass for the UI. This was the right choice. On iOS, Liquid Glass is sometimes delightful. On macOS, it’s generally a distracting mess.

10) We sponsored the Austin Film Festival this year, including hosting the opening night party. We went all out: printed materials in every conference bag, hundreds of Team Highland t-shirts, and a special conference session about Highland Pro. The four of us who attended had a great time and met interesting writers. We pre-sold a lot of Scriptnotes books. It had limited measurable impact on Highland Pro sales, however. Our promo codes got redeemed at a surprisingly low rate.

11) We experimented with sponsoring smaller film festivals and conferences, focusing on university-affiliated programs. (Highland Pro is free for college students.) These ended up being pretty cost-effective, particularly when you’re giving away subscriptions and t-shirts.

12) For accounting reasons, we moved all our apps to a new App Store account tied to our LLC. It was only after the first two months that we realized our Small Business Program certification hadn’t transferred. We were paying Apple 30% rather than 15%. We got it fixed quickly, but oof. It’s the things you don’t even consider that can cost you the most.

Looking back at a year of Highland Pro, my biggest takeaway is gratitude. I’m endlessly thankful to the team who built it, tested it, and put it out there in the world. I’m grateful to everyone who tried it, whether they ended up subscribing or not. One of the biggest obstacles for a new app is inertia. Writers are used to Microsoft Word or Final Draft, even if they complain about them. I’m thankful to every writer who allowed themselves to be uncomfortable for a few minutes and try something new. (And better!)

I have the unique pleasure of being Highland Pro’s co-creator and most active user. It’s where all my words go. I’m writing inside it for hours each day — including this blog post, which I will fling to the team for comments. (And in the process, catch weird Fling bugs which Nima will quash.)

To me, Highland Pro feels indispensable and almost inevitable, so it’s wild to reflect on just how much has happened over the past 12 months. For the next few months, we’re focused on stability and accessibility improvements in the app itself, and better community engagement. But as always, we have ambitious plans for Highland and beyond. I’m already looking forward to next year’s blog post.

What I did in 2025

December 23, 2025 Follow Up

This was a tough year. American democracy strained under authoritarian assault. Here in Los Angeles, friends lost homes in the fires while many in the industry struggled to find work.

But good things happened as well. Babies were born. Terrific movies and TV shows debuted. My family was happy and healthy.

My husband has a great memory when it comes to personal history — he can tell you when we last had dinner at a particular restaurant — whereas the past to me is a smeary blur. So this year, I decided to go through my calendar, photo roll, and Day One entries to piece together what the hell I actually did in 2025.

Here’s a slightly redacted version, with names of certain people and projects omitted. In these redactions, I’m always referring to the same title, person or place. “Studio” is the same studio throughout, for example.

January

Went skiing at Mammoth with our nephew, Ben. Finished script and score prep for a new Big Fish musical reading, now a one-act. Pitched remake of Tentpole Movie to Studio, which controlled the rights.

February

Big Fish 29-hour reading in New York, with Jerry Zaks directing and Patrick Wilson as Edward Bloom. Recorded interview for Corpse Bride’s 20th anniversary. Released Birdigo on Steam. Studio said yes on Tentpole Movie remake. Finished the D&D campaign (Bandits!) I’d been running for the past year.

March

Released Highland Pro after a lengthy beta. Delivered final edits on Wolf’s Belly, a graphic novel illustrated Simón Estrada. (It comes out July 2026). Met on an animated Riot Games movie that never went anywhere. Remodeled primary bathroom shower. Studio realized Tentpole Movie was too close to another movie in development, and passed.

April

Celebrated 25th anniversary with a 14-day trip to Jordan and Egypt. We flew in and out of Dubai, where a hotel gym weight bench smashed my left thumb. Placed third in Rachel Bloom’s birthday Spelling Bee.

May

Pitched a feature based on Mattel’s Little People to various buyers. Got no takers. Had a general meeting with president at Studio, which led to a protracted series of meetings about a remake of Classic Title with Famous Director and Movie Star.

June

Zoomed with various tabletop RPG designers about a potential heist game. Announced feature I’m writing for Laika — my first WGA-covered animated project. Participated in the first No Kings protest in Anchorage, Alaska, before a weeklong cruise along the coast with my extended family. Served as an advisor to the Sundance Screenwriters Lab online. Staycationed in Venice (CA) while contractors replaced 20 windows and doors in the house.

July

Visited our friends in Cambria on our way to San Francisco, where we ran the San Francisco Half Marathon.

August

Turned in first draft of Laika project. Received first printed galleys of Scriptnotes book. Took various meetings and zooms about Classic Title. Agreed to co-chair the WGA negotiating committee. Went to Bears in Space.

September

Met with potential designers for a new software project. Hired first international contractor. Finished construction at the house. Stayed two nights in West Hollywood during termite tenting. Hosted a pool party. Zoomed with International Director’s development team about Series. Studio said no to Classic Title.

October

Visited daughter in Australia, where she was studying for the semester. Traveled to Hamilton Island with friends. Saw the Great Barrier Reef and Blue Mountains. Attended the No Kings protest in Los Angeles. Pitched Series to streamers. Hosted two live Scriptnotes at the Austin Film Festival, where Highland Pro was a sponsor this year. Spoke with producer about moving Long-Dormant Project to a new home.

November

Visited the set of Indie Film shooting in Palm Springs. Attended first meeting of AI Coalition. Traveled to Las Vegas to see Kelly Clarkson, along with The Mob Museum, The Neon Museum, and Meow Wolf.

December

Launched the Scriptnotes book with a live show at Dynasty Typewriter. Turned in rewrite of Laika project. Finished office sound panel installation. Spent a week in Mexico City. The thumb I smashed in April has finally regrown its nail. Apple featured Highland Pro as one of its 26 Amazing Apps for 2026.

25 for 25

Last year, my husband and I made a list of goals for things we want to do together, which we called 24 for 2024. This year, we completed 17 of our 25 goals, including hosting three game nights, attending two sporting events, and seeing our first-ever opera.

Movies I saw in the theater

  • 28 Years Later
  • After the Hunt
  • Captain America: Brave New World
  • F1
  • Knives Out: Wake Up Dead Man
  • Mickey 17
  • Mission: Impossible – The Final Reckoning
  • One Battle After Another
  • Opus
  • Predator: Badlands
  • Showgirls (revival screening)
  • Sinners
  • Suspicion (revival screening)
  • Superman
  • The Fantastic Four – First Steps
  • The History of Sound
  • The Naked Gun
  • Thunderbolts
  • Tron: Legacy
  • Twinless
  • Weapons
  • Wicked: For Good

Shows I saw on stage

  • Channing/Tatum
  • Cult of Love
  • Eureka Day
  • Mike Birbiglia’s The Good Life
  • Parade
  • Pump Up the Volume
  • Rent
  • Stereophonic
  • Sunset Boulevard
  • WEER

Books I read

  • Nine Princes in Amber by Roger Zelazny
  • Strange Houses by Oketsu
  • Colin Gets Promoted and Dooms the World by Mark Waddell
  • Darryl by Jackie Ess
  • If Anyone Builds It, Everyone Dies by Eliezer Yudkowsky, Nate Soares
  • More Everything Forever by Adam Becker
  • The Ideological Brain by Leor Zmigrod
  • Self-Sabotage by Jeffery Self
  • Waiting for Godot by Samuel Beckett
  • Four Thousand Weeks by Oliver Burkeman
  • The Keep by Jennifer Egan
  • The Scaling Era by Dwarkesh Patel
  • Antimemetics by Nadia Asparouhova

Other Stats

I ran 692 kilometers. I went to the gym 47 times. I played 39 sessions of D&D.

The Scriptnotes Book is out today!

December 2, 2025 Follow Up, News, Scriptnotes Book

scriptnotes book coverOur Big Orange Book is finally available in bookstores around the world today. We’ve gotten a ton of preorders and some terrific reviews.

“Bound to be a staple, this guide, just like the podcast, is accessible, engaging, and informative” – Booklist

“August and Mazin’s volume stands out for its wealth of real-life examples taken from cinema and TV over the past decades, its humanizing tone, and its winning combination of the practical with the entertaining.” – Library Journal

“If you’re going to buy one book on screenwriting, then you should probably make it Scriptnotes by John August and Craig Mazin.” – Forbes

A few things you can do to help us out in this crucial first week:

→ Buy it wherever you buy books. Our official LA bookstore is Chevalier’s on Larchmont, which has some signed copies at least for the next few days. Signed copies are also available at Premiere Collectables for shipping worldwide.

→ Post about it on social media. Tag me (@johnaugust) and Scriptnotes (@scriptnotespodcast) on Instagram/Bluesky/Threads and we’ll repost ya.

→ Leave a review on Amazon or Goodreads. The early ones tend to set a tone.

We’re excited to see the book on shelves and in reader’s hands. Please enjoy it and share it with others!

Writing for microdramas, aka verticals

September 24, 2025 Film Industry, Follow Up, Los Angeles, Television

Over the last six months, we’ve discussed microdramas (aka verticals) several times on Scriptnotes. For readers who don’t know, microdramas are a format originating in Asia in which a filmed narrative is broken into very short episodes intended to be watched on your phone. They’re often called verticals because they’re shot to be watched on a phone held vertically.

Typically, the first few episodes are free, and then each subsequent episode requires an in-app purchase. The overwhelming majority of microdramas are romances, often feeling like a heightened soap opera.

They’ve recently hit American shores, with U.S. productions shooting in Los Angeles, largely using non-union crews. They have provided work for underemployed actors and crew members — particularly recent film school graduates — and have some experienced producers kicking the tires.

Here’s an example from the ReelShort series The Hidden Billionaire in First Class.

Note that the WGA contract does cover this type of work. Guild writers should not be working on these productions unless they’re under a Guild contract.

We asked listeners who have written on these productions to share their experiences. Several wrote in. Here are two examples.


Risky Business writes:

I spent six months writing for Reelshorts. As a writer, it was terrible.

The first 10 chapters were pored over with repeated rewrites until all the joy was taken out of them, then pretty much they didn’t care. The rest of the story had little oversight as they didn’t expect people to watch.

The CEO repeatedly criticized the writers in company wide messages, while giving 100% of the credit for successes to the editors.

All while paying $22 an hour, with ‘no work’ orders between feedback cycles, and a constant “your contract can be cancelled at any time” hanging over your head, and expectation that you’d be immediately available the second they had feedback, which sometimes took over a week to receive. It ended up being less than minimum wage to basically hold all the blame for a possible failure poured on you from the entire company.

Creative decisions were entirely made by algorithms based on what was selling. The whole prediction model that hollywood is always trying to master contracted by the short production schedule.

I have not had the pleasure of joining any union, but the success of reelshorts definitely scares me. If the model succeeds, AI will definitely be writing the scripts, and the CEO can have his dream of never having to rely on a writer’s creativity again


Another listener wrote in with their experience:

In episode 693, Risky Business shared about his negative experience writing for verticals. I recently started as a screenwriter for one of the larger vertical drama companies as well, and I wanted to offer my perspective since I’ve had a more positive experience.

My salary is about $1540 a week–about $40/hr–with benefits. My lawyer also negotiated that my agreement be non-exclusive, so I am free to keep developing and writing non-vertical projects. Since I’m staffed, I still get paid when I’m waiting for feedback.

For sure, figuring out the soapy, melodramatic tone and structure of verticals has been a tough nut to crack. Even though there’s some room for innovation and creativity, at their core verticals are reverse-engineered around data-driven formulas. It’s kind of like doing a fill-in-the-blanks puzzle. It can be fun and even playful, but it’s a very different process from anything else I’ve done.

Because writing verticals often feels more like solving a puzzle than writing from scratch, I usually have a lot of creative energy left over to keep working on my own projects. I’m also able to write remotely outside LA, which has been a godsend for family reasons.

As a non-WGA writer, I’d love to see verticals get WGA coverage. But at this point, especially with the current state of the industry, I’m grateful for a screenwriting gig that pays the bills while leaving space for my own stuff.


To clarify, verticals already do have WGA coverage. WGA writers shouldn’t be writing on them, just as they shouldn’t be writing any film and television that’s produced without a Guild contract.

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