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Here's how much of a standard is for film and television writers: the BBC used to have a site licence and gave copies of the Windows version to writers on its major dramas. You can bet that every one of those writers already had Microsoft Word, and yet it was still worth it to the BBC to buy them another type of word processor.

It's been worth it for writers to buy the Mac version too. Screenwriting for film and television requires you to stick to very specific formats.

Whether you're Aaron Sorkin commissioned to write the great 'You can't handle the truth!' Speech from A Few Good Men or a first-time scriptwriter typing at the kitchen table, the format is the same. You have to follow rules for how you say which character is speaking. You have to follow the format for how you then write what they actually say. Then, there are yet more rules for how you specify where and when all of this is happening. There is documentation on how to write in this style, of course.

It isn't arcane, but it is fiddly and used for gatekeeping. Because scripts look this way for practical reasons, if a script does not follow the format it screams out that the writer is an amateur. All of which is fine but for the fact that the format is a little bit fiddly. What Final Draft 10 does is make writing in that format more automatic. It aims to make it so that the format just happened as you write, that you can concentrate solely on the story you're trying to tell. Final Draft was the first to do this and it has done it so well for ten versions now that it became the industry's standard.

Studios probably now get more scripts in PDF format than anything else but they will all accept Final Draft's.fdx format where they may not take Word's. The best part Before you get to submit anything, you have to write it and it's worth doing a script in Word just for the sheer pleasure you'll then appreciate in Final Draft. For this is how you write an argument in Word. Switch centering on, type the name of the first character.

Then hit Return, change the margins to a narrow column ranged left and you write their stinging insult. Next, you hit Return again, switch to centering, type the name of the second character, hit Return, change the margins again, and then write their brilliant comeback. Then of course it's the first character's turn again and you go through the same rigmarole. Compare that to Final Draft.

With this app you press Tab, write the first character's name, hit Return, write their dialog. Hit return again, press Tab, write the second character's name, hit return, write their dialogue. Already that's faster, and you can see that you don't have to think about it much, and you're not distracted by word processing layout. Yet that's not all. This image shows you the real delight of Final Draft: notice how the name Pierre is typed in gray. That's Final Draft expecting that he'll be the next character to speak. If that's right, you just hit Return and carry on.

If it isn't, if you're bringing a third character into the chat, you can start typing their name. When it's someone already in the script, Final Draft autocompletes it.

If it isn't, if it's someone new, you just carry on typing. Consequently if you're a quick typist with a good idea, you can write an argument in Final Draft just about as fast as actors can perform it. Then this is our favorite part of Final Draft but it does similar things with scene headings.

When you type INT for interior or EXT for exterior then it knows that's a scene heading and it formats the line correctly. It autocompletes previous locations you've used. It also autocompletes common scene words like DAY or CONTINUOUS. No question, writing a script in Final Draft is vastly better than in Word. Also, no question, it has tools that will help screenwriters. Then there's what Final Draft 10 offers over its predecessors. The inciting incident The key reason to move to Final Draft 10 from previous versions is speed.