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Screenwriting Software

Introducing Fountain

February 8, 2012 Geek Alert, News, Screenwriting Software

I’m happy to introduce a project we’ve been working on for quite a while.

fountain file[Fountain](http://fountain.io) lets you write screenplays in any text editor on any device, from computers to iPads to smartphones. It’s as simple as we could make it, which is what makes it so useful.  

Fountain files are just text. We use a [straightforward syntax](http://fountain.io/syntax) to indicate what’s what — character names are uppercase, transitions end in “TO:”, and so on.

On the page, Fountain *feels like* a screenplay. When you’re ready for formatting, helper apps do the work of adding margins and page breaks.

Screenwriters can use Fountain for writing scripts, but it’s also ideal for archiving.

Because they’re just text, Fountain files are basically future-proof. You’ll be able to open and edit them 100 years from now. You can’t say the same for .fdr, .mmsw or most of the other proprietary formats. And while .pdfs maintain formatting, they’re nearly impossible to edit.

Why Fountain
—-

Fountain gets its name from Fountain Ave., the famous Hollywood shortcut. ((Asked for advice on the best way an aspiring starlet could get into Hollywood, Bette Davis supposedly replied, “Take Fountain.”))

We see Fountain as a path rather than a destination. It’s not an app. It’s not even really a file format. It’s a way of getting from a jumble of words to a screenplay.

If you’re familiar with [Markdown](http://daringfireball.net/projects/markdown/), this is the screenwriting equivalent. That’s no coincidence; I actually exchanged my first emails with Markdown’s creator, John Gruber, way back in 2004.

I wrote:

> I’d like to have a Markdown-like syntax for formatting text documents into screenplay form. This way, writers who wanted to use their favorite text editor could still generate well-formatted scripts.

Good ideas sometimes sit around for a while.

In 2008, Nima Yousefi and I built a modest implementation called Scrippets, which we released as a plug-in for WordPress and other platforms. Scrippets made it easy to insert small bits of screenplay-like material in blog posts and forums, but it was never intended for full-length screenplays. ((Scrippets is also the secret sauce in FDX Reader, which is what got us thinking about how we’d handle things like page breaks and scene numbers.))

Credit for the full spec goes to [Stu Maschwitz](http://prolost.com), who developed a similar-but-different format called SPMD (Screenplay Markdown). Recognizing that duplicated effort is wasted effort, we’ve spent the past few months merging the standards to what it is today.

Fountain shares a lot of its syntax with Scrippets, ((Indeed, we’ve folded Scrippets into Fountain, and future versions of the plugin will incorporate the revised syntax.)) but we really rethought everything in order to accommodate a range of writing situations and styles. It’s been a process of balancing philosophical consistency (no symbols) with practical concerns (centering titles). Through it all, Stu’s vision and vigilance moved this from being a good idea to an actual thing.

Fountain has benefitted from its many fathers, including me, Stu, Nima, Martin Vilcans, Brett Terpstra, Jonathan Poritsky, Clinton Torres and Ryan Nelson.

Using Fountain
—

You can write Fountain in any text editor on nearly any device, from an iPad to a Commodore-64. If you can get a text file out of it — even an email — you’re Fountain-ready.

In its raw state, Fountain is great for first drafts. It’s terrific for collaborating with a writing partner on Google Docs. It’s also incredibly handy to be able to write scenes anywhere.

Ultimately, screenwriters will use another app to finish formatting their scripts. Final Draft and Movie Magic Screenwriter don’t explicitly support Fountain — yet both import the files remarkably well. (That’s why it’s great being a plain text file.) If you feel like writing in Fountain, you don’t have to wait for new apps…

…but [they’re coming](http://fountain.io/apps). Today, we’re announcing the format spec and an SDK so developers can add Fountain to their applications. The format is free and open-source. We want to see an ecosystem of apps and services that handle Fountain.

The road ahead
—

Back when we announced FDX Reader, I got a lot of emails asking, “When are you going to make a screenwriting app?”

Answer: Today. My hope is that we just made a thousand. Fountain turns every text editor into a screenwriting app.

To me, calls for a “Final Draft killer” are hugely misguided. Professional screenwriters will always need apps that can do the heavy lifting when it comes to production: revisions, locked pages, colored pages, etc. The big apps do this well.

But the tools should match the job. Google Docs is much better at collaboration than a dedicated screenwriting app will ever be. Power users of Vim should be able to write in their custom environment.

Fountain is meant to be *generally useful.* I’m excited to see how it becomes *specifically useful* to screenwriters in the months and years ahead.

For now, I’d invite you to read [Stu Maschwitz’s introduction](http://prolost.com/fountain) and then [check out the Fountain site](http://fountain.io).

Final Draft and Lion, friends again

July 13, 2011 Follow Up, Screenwriting Software

With Mac OS X Lion due any moment, Final Draft has released version 8.0.2, which should [allow it to launch](http://johnaugust.com/2011/final-draft-wont-work-under-lion):

> Final Draft v.8.0.2 has been engineered to run on OS X 10.7 (Lion). It’s available as a free download [HERE](http://www.finaldraft.com/support/software/final-draft-8.php).

> **V.8.0.2 is the only version of Final Draft that will work on this operating system. Final Draft v.7 and older will NOT work on Lion.**

> The free 8.0.2 installer is an operating system-specific patch with no new features or fixes other than 10.7 (Lion) compatibility.

You have to log in with your FD registration number to get to the installer, which feels clunky in the age of auto-updaters. But it’s otherwise painless.

I don’t have a Lion beta to test it against, but the updated app seems to work properly under 10.6. Upon launch it asked me to activate again, which gave me a moment of panic. The online activation worked without incident, however.

Final Draft won’t work under Lion

July 12, 2011 Screenwriting Software

**Update:** [Final Draft and Lion, friends again](http://johnaugust.com/2011/final-draft-and-lion-friends-again)

Last week, Final Draft sent out an email to customers:

> Apple has announced they will release their latest operating system, Mac OS Lion (OSX 10.7) this July. Many of our valued customers are Mac users, so we feel it is important to let you know how this Mac OS update will affect your version of Final Draft software.

> **Final Draft version 8 Users:**
> A FREE update for version 8 users will be available at www.finaldraft.com/downloads/software-updates.php for registered users. If you plan to upgrade your operating system to 10.7, update Final Draft version 8 first for an optimal user experience. Without the update, changes in the new Mac OSX 10.7 will prevent Final Draft version 8 from launching. Once you update your version 8 software, you can activate and run the Final Draft application on your Mac. The new OS will not allow the Final Draft application to run for other users on a given computer unless those users also install and activate Final Draft while logged in under their own user name. If you do not intend to upgrade your OS to 10.7, there is no need to update your version of Final Draft.

Wait, huh?

How do you define “optimal user experience?” Oh — the app *won’t even launch.*

Yes, that does seem sub-optimal.

The included URL takes you to a placeholder page saying that a revised version (8.0.2) is coming soon. So it seems odd to include it as a clickable link. Sending users to a “News” or “Updates” page feels like a much better destination. ((I won’t even mention the 2007-style .php extension on the URL. Except in this footnote.))

To be fair, many Mac apps will need revisions in order to run properly under the new OS. It’s better to warn customers now before they upgrade. But the email was so strangely written that many colleagues assumed it was just Final Draft trying to upsell longtime screenwriters clinging to their old versions.

The company didn’t have to look far for better copy-writers. Their own knowledge base article is [much more clear-cut](http://support.finaldraft.com/article.aspx?cid=1001&aid=9163):

> Will Final Draft run on Mac OS X 10.7 (Lion)?

> **Not yet.** We expect to release Final Draft v.**8.0.2** as a free download at the same time as Lion’s official release by Apple. The new version has been engineered to run on OS X 10.7 (Lion) **and is the only version of Final Draft that will work on this operating system.** If you have v.8 and are planning to upgrade to Lion, we urge you to wait for the patch. The current version of Final Draft 8 is not activatable on this new operating system.

> **Final Draft v.7 and older will NOT work on Lion.**

> The free 8.0.2 installer is an operating system-specific patch with no new features or fixes other than 10.7 (Lion) compatibility.

Much better, right?

I know several screenwriters who are incensed that Final Draft won’t support running FD6 or FD7 under Lion. But I’m siding with the company here. I think users have the right to keep using software as long as they want, but developers have the right to stop supporting old versions they haven’t sold in years, particularly when operating systems change.

Movie Magic Screenwriter is drawing the same [line in the sand](http://support.screenplay.com/answercenter/questions.php?questionid=789):

> All versions of Movie Magic Screenwriter prior to version 6 are not compatible with Mac OS 10.7 (Lion).

They say the current version (6.0.6) will work, with the exception of four tools: Compare Two Documents, Name Bank, Thesaurus, and Export To. (Which, if you think about it, is a significant amount of functionality lost.)

Because I’m a giant nerd, I’ve cloned my startup drive so that I’ll be able to boot in either Lion or Snow Leopard until Final Draft gets its update out.

For less tech-savvy users, I’d urge waiting a bit before upgrading to Lion if there are scripts you need to work on in FD.

Startups and slippery facts

December 4, 2009 Film Industry, International, Screenwriting Software

I cut startups a lot of slack. Innovation and entrepreneurship rely on some suspension of disbelief: we’ll be able to make this product, on this schedule, at this price. Google was once a pipe dream, as were Twitter and Facebook. Dream big, I say.

But since I was name-checked twice in [this interview](http://knowledge.wharton.upenn.edu/india/article.cfm?articleid=4431) from Wharton School of Business, I feel some responsibility to point out a few fallacies and follies.

> When the Writers Guild of America went on strike in 2007, it looked as if Hollywood’s balance of power favoring big, money-hungry studios would never be the same again. To some extent, that’s the case, but not necessarily in the way the striking screenwriters expected. The growing popularity of free, web-based writing software — available to anyone, anywhere — is breaking down the barriers to entry of the screenwriting profession as never before, says Sunil Rajaraman, co-founder, president and CEO of Scripped.com. As he tells it, the urgent mission for his California-based screenwriting software startup couldn’t be clearer, yet more daunting: Change Hollywood.

I met with Sunil and his partner Zak Freer (a Starkie) in 2007 when they were coming up with their concept for Scripped. I gave them a few suggestions and wished them luck.

In particular, I hoped they could fulfill the international aspect to their mission:

> We combine cloud computing and web-based software to provide free access to Scripped.com to aspiring writers worldwide, to find the next John August. He or she might be in Thailand, China or India — not necessarily in Los Angeles, which is the way the film industry has traditionally thought about sourcing this kind of talent.

Their site is up and running. I haven’t really checked in with it for the past two years. But it annoys me to see Rajaraman recycle this Hollywood urban legend as proof his software is needed.

> Two problems are solved with web-based screenwriting software. The first is collaboration. Many of the scripts of the films we see in movie theaters have undergone dozens of rewrites before they make it to the screen. For example, for the original of Good Will Hunting, Matt Damon and Ben Affleck put the screenplay together with more anecdotal stories about South Boston and friends they grew up with. Characters were eliminated from the screenplay and it underwent a very detailed rewriting process. Who knows how many writers had their hands on that screenplay before it was made — and it eventually won an Oscar.

So, wait: does the untrue story about rewriters on Good Will Hunting mean your collaboration software is good thing, or a bad thing? Rajaraman is taking one of the few actual advantages of of web-based screenwriting software — real-time multiple users on an open document — and making it sound unsavory.

> The second problem online software solves is access to writers. If you give the software away for free — it is very cheap to provide the software — you can attract all sorts of talent that would have otherwise not been interested in screenwriting.

There are many free or low-cost options for screenwriting software, including the basic word processors everyone already has on their computers. I wrote Go in Microsoft Word. Screenwriting software is useful, but hardly necessary.

For that matter, both of the flagship applications cost less than $200. When the price of an iPod will buy you all the software you need, that’s a very low barrier to entry.

> The Writers Guild West consists of about 15,000 writers, a very small group. The average price in Hollywood for a feature-length script from an accomplished writer is US$250,000. These writers have to protect the system, and the system exists to provide for them. Because Scripped aggregates talent worldwide and brings new content to producers, it is a threat to the way business is currently done.

[WGAw membership](http://www.wga.org/uploadedFiles/who_we_are/HWR09.pdf) is closer to 8,000. I don’t know where Rajaraman is pulling the $250,000 figure, but he’s committing the classic mistake of confusing a script sale with a career. In 2007, median earnings for a WGA writer were $104,857.

> Hollywood pays roughly US$1.2 billion a year for feature-length scripts. So point one, producers are not necessarily getting the most talented writers to write those scripts. And, two, they are overpaying for those scripts. We aim to democratize the process, cut the cost and increase the talent pool of writers who have access to the Hollywood studio system and elsewhere.

I emailed Rajaraman to ask about the $1.2 billion, but I think he’s off by at least a zero. ((Update: Rajaraman says he’s basing that on $30 billion in worldwide film production costs, with 3% to 5% going to the writer. He will try to get the article updated. It still doesn’t help make his point.)) Regardless, I can’t fathom how that proves producers are overpaying for less-talented writers.

I don’t know that there’s a viable business model for Scripped. I still wish them luck; I’m not rooting against them by any means. But they do themselves a disservice by misrepresenting the facts behind the motion picture industry and the career of screenwriting.

Through my work with the Sundance Screenwriting Labs, I’ve experienced that the best way to extend the craft of screenwriting to other countries is through example and outreach. The Labs does it with in-country sister programs. I do it with this site, trying to make sure my articles acknowledge the wider world beyond the [30-mile zone](http://en.wikipedia.org/wiki/Studio_zone).

But I’m also very leery of trying to promote screenwriting as a career separate from the greater film industry. The reason most screenwriters live in Los Angeles is because this is where Hollywood movies are developed, financed and produced. Software doesn’t change that.

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