Final Draft 12 - Exciting Additions

 

[Here is a later post about this Final Draft 12 function with a video from Storycraft Training.]

As a story and script structuralist I have long experimented with various graphic programs like Keynote (Apple's answer to Powerpoint) to graphically represent and revise a story's outline. The interrelationship of Acts, Sequences, Scenes, Beats and story motifs and accents are critical to creating a story and outlining it before writing...or even during the writing process.

A client recently sent me several Final Draft files where he had used Final Draft's Beat Board to outline his ideas. We were both using Final Draft 11. His work was good and helpful, but elaborating on the story's structure using the Beat Board was a frustrating experience because the Beat Board was too limiting in a graphic sense. It just didn't allow for what I considered common sense flexibility. So, I went back to using my favorite program—Keynote (Apple/Mac). 

In the process I sent a number of suggestions to Final Draft about how to improve the Beat Board, so it could actually be used, and not appear as a mostly useless sales decoration.  They wrote back and said..."Hey we just released Upgrade 12, you might want to take a look." 

My first impression, after looking at a half-dozen tutorial videos on FD12 is WOW! They have made significant upgrades in terms of outlining a script IN Final Draft.  I paid $79.99 to upgrade from FD11 to FD12. The major additions include:

• Outline Elements
• Outline Editor
• Track Changes
• Flow Lines (on the Beat Board)
• Beat Board Collaboration
• PDF Import

I encourage you to go to FD'sYouTube channel at http://www.youtube/finaldraftinc  otherwise known as:

https://www.youtube.com/channel/UCYXcOXLvr3X_ZdA1wbs-vyg

and see if this is worth it to you. I do not know yet, but it appears to be a useful revision upgrade to my favorite script writing software. 

I'm not sure if FD12's Outlining and Beat Board revisions will sideline Keynote but I'm going to give FD a thorough looking over. I'm hoping that I can find a way to do a beat level outline for an entire screenplay and have the beats seamlessly find their way into FD's scripting window. Right now, my method of beating out a story in Keynote requires that I copy and paste each beat into FD script page. It's easy, and works well, but tedious. 

Let me know what you think in the comments below.

Stan Williams

WGA v. Talent Agencies Draw a Line on the Marble Floor

There has been a war brewing between screenwriters and talent agencies in Hollywood. But the frustration is felt most, I think, by independent producers who try to attach talent to a project in order to secure distribution or a funding deal...but can't.

Communicating in Hollywood is like stacking blocks made from inflatable plastic packaging material. They're easy to lift but impossible to build anything stable unless their crammed in a box and otherwise deformed.

Mark Litwak

Some of you may know of Mark Litwak the super entertainment attorney from LA who has helped thousands of independent filmmakers, if not with direct production counsel, then with his entertainment contract templates which I've used for years.

His blog is always interesting because he gets into the nitty gritty of the dealings in Hollywood that are impossible to negotiate for the uninitiated...but somehow get done.

The first link below will take you to his very good explanation of the coming war, and (secondly) why it's difficult to get anything done in Hollywood. I can attest it is true, even for A-List that I've been in meetings with. Even those on the deep inside find it very difficult to get things done....as Mark explains.

This is why I am always encouraging young screenwriters to find friends who are filmmakers to make their own films. Forget Hollywood. Of course, you have to write it cheap so you can afford it, but getting stuff done is ultimately more satisfying that spitting into the Santa Ana Winds.

Enjoy: https://www.marklitwak.com/blog/wga-v-talent-agencies

and here's a little more background from Variety just a few weeks ago.

https://variety.com/2019/film/news/writers-guild-hollywood-agents-negotiations-1203169747/

Storycraft Training Special - Free Episode

Dear Story Tellers and Mavens

Storycraft Training Special

FREE EPISODE

During February (2019) I'm offering an incentive to learn the Moral Premise concepts to all those who have been reluctant to crack my book The Moral Premise—the crux of successful storytelling since Plato, 2,500 years ago. Yes, it's been around that long...and yes, I know, my book came out only in 2006.

There are 3 (maybe 4) ways to learn this valuable concept and how to apply it in the many facets of your storytelling efforts.

a. Read the Book. (link)
b. Read over 200 of my blog posts.  (link)
c. Watch 10 episodes of Storycraft Training (7.5 hours in 20 videos).  (link)

But for February there's a short cut.

Watch Episode 3 for FREE
Program 3 - The Moral Premise Statement (35 min).

1. Go here: https://vimeo.com/314540516
You should be able to play it directly without a pass code. Let me know if it doesn't work. Stan@MoralPremise.com

This will allow you to stream the two videos that make up this Episode which totals 35 minutes.  A description of Episode 3 is below.

This SPECIAL will be good through March 1, 2019

Hopefully, you'll see the benefit of the entire training and purchase all 10 episodes (20 videos) and download them to your computer.  If you do, here's a further incentive.

PURCHASE THE PACKAGE for 25% OFF. 
Normally, $129.99, through February only $97.50.

1. Go here: https://vimeo.com/ondemand/storycraft
2. Click on PURCHASE all
3. Use the Discount code: STC-219.

Description of the entire course is here: http://storycrafttraining.blogspot.com/

Here's the description of Episode 3

The Moral Premise Storycraft Training series is designed for storytellers of all media and genres

Program 3: The Moral Premise Statement. This 35-minute training episode explains the organic basis of the Moral Premise Statement, how it is constructed, how it is used, and how it focuses all the creative elements in a movie, novel or play so all the plots and subplots are about one thing. We also show clips from two films as examples. Prerequisite Recommendation: Episodes 1-2.

SPECIFICALLY, this program covers:
-- Verisimilitude: The integration of 3 critical elements of all successful stories: (1) ironic characters, (2) an impossibility hook, and (3) value based psychological motivations of the characters.
-- Relationship between the two-story realities: The Psychological and Physical worlds.
-- How moral values and decisions precipitate actions.
-- How actions result in physical consequences
-- How physical consequences inform moral value
-- The theoretical and practical structure of the Moral Premise statement
-- How the Moral Premise Statement is often articulated in movies
-- How the Moral Premise Statement keeps the story focused on one thing.
-- How the Moral Premise Statement provides support for character arcs.
-- Capstone example and clips from Die Hard
-- The fifth secret of successful story telling: Consistent Application of the Moral Premise

Bless your storytelling:

Stan Williams