I was first introduced to the DreamaScript screenwriting software during a two-day screenwriting course called "Write and sell the Hot Script" at Raindance (www.raindance.co.uk) in London. The course was given by Raindance's founder Elliot Grove, and the presentation of the software during his course was no coincidence. DreamaScript can be used according to Elliot's screenwriting method.

The designers of the programme, Paminder Brar (IBM) and Peter Hodge (BT) of DreamaCrome, stressed during their presentation that DreamaScript is much more than just a script formatter. They designed the programme to assist the screenwriter during the entire writing process, from generating ideas to selling the script. Quite a claim. I decided to take a look for myself, and here's what I found.

For a non-techie like myself, the installation was fairly straightforward, which was a relief. You do have to be connected to the Internet for the final stage of the installation (registration and synchronization).

DreamaScript has four main sections which are easily accessed from the Home Window:

• Screenplay
• Boards
• Resources
• Marketing

These are described in detail below. In addition there is the usual online Help which explains how to use the software. I found navigation through the interface pretty effortless, as the sections are clearly displayed at the top of the interface, and all you have to do is click on them.

From wherever you are in the Screenplay window, you can access the extensive Content Help, which contains practically all the text from Elliot Grove's book Raindance Writers' Lab: Write and Sell the Hot Screenplay, published by Focal Press (ISBN: 0240516362) and other acclaimed Screenwriters Courses. Here you can learn more about how best to approach each step of the method. In addition, the software contains examples of premise, characterization, dialogue, etc., from successful movies. You can access these from the corresponding sections, to get an idea of how successful screenplays are built.

I'll go through each window to give you an idea of what the programme offers and how I fared. (Conclusions at the end.)

The Main Window

The Screenplay Window

This is where you do your writing. The window contains nine tabs, each corresponding to one step in the Screenwriters method.

1. Basics - for entering title, alternative titles, author.
2. Ideas - contains a Scratchpad tab for writing your initial idea in rough form. Also includes a tab called Critic Scratchpad, for getting all that debilitating self-criticism out of your system (sometimes a great way of generating new ideas or resolving blocks).
3. Premise - for formulating your 25-word pitch (includes a handy "premise word count" button).
4. Character - for compiling your cast list and entering details of each character (background, personality, worst nightmare, conflicts, and so on).
5. Structure - for entering the goal, main actions, and motive of the hero through the course of your story.
6. Scenes - for writing, listing, analysing, and ordering scenes.
7. Dialogue - for writing dialogue, with four separate windows for story and moral dialogue, keywords and other dialogue.
8. Troubleshoot - questionnaires for checking quality or helping you if you're stuck.
9. Draft - for generating the first draft.

Wherever you are in the Screenplay window, you can always access the Scratchpads which have their own tab at the top of the page. I found this is useful, because I often think of something totally unrelated to the detail I'm working on, and jotting it down this way is a synch. It's no different from flipping to MS Word and typing there-I actually prefer having all the formatting features at hand-but it's a helpful tool nonetheless, and the designers are planning to expand its scope.

Using the Screenplay window tabs is a great way to systematically prepare for writing. As you build your characters you can jot down ideas for scenes or dialogue, or skip back to your premise and revise it. You can have more than one screenplay open at a time, which is cute, because you might be wondering how the hero on the tightrope is going to escape, when you realize how the antagonist in your other story is going to use a length of wire to try and murder the hero there.

It took me a little while to get used to some of the terminology. For example, the tab under Character, called Traits doesn't refer to inherited personality traits, but rather to mannerisms, hobbies, skills, and so on, that make the character unique. However, just using the programme and consulting the online Help resolved any questions pretty rapidly.

In the Scenes tab you'll find a number of resources for displaying an overview of all the scenes you've written. You can easily change the order of scenes, add scenes, look at sequences of scenes in detail, and edit scenes from wherever you are. This really gives you the feeling of being in control of the story, and helps you get a sense of pacing. A disadvantage is that you can't delete scenes from the scene list, so if you decide a scene has become superfluous (a common occurrence, especially during re-writing) the best you can do is move it to the end of the scene list.

I'm not so thrilled with the Dialogue tab. I found it rather counter-intuitive and cumbersome to use. For me would be enough to have one dialogue window with the option for, say, different coloured text for story dialogue, moral argument, etc. As it is, if you want to keep track of the different kinds of dialogue, or write just one type of dialogue at a time, you have to use separate sections, mix them manually yourself in another window (using copy and paste), and then merge the result with your scene descriptions. This feature is the result of the programme strictly following Elliot Grove's method, in which dialogue is written in layers, and separately from scene descriptions.

One of Elliot Grove's tips when pitching a movie, is to find out whether the person you're pitching to is a typical left-brainer (rational, analytically inclined), or more of a right-brainer (emotional, holistic, visually inclined). It seems to me that the dialogue feature in DreamaScript is ideal for left-brainers, but quite a challenge for more holistic types like me. Having said that, it's easy enough to write dialogue directly in the scenes section, or in the window where you would otherwise mix different types of dialogue.

Once you have your scenes and dialogue typed up, you can generate a draft which you can then edit or save in whatever format you need. A drawback here is that it's a one-way street. Changes you make in the draft are not reflected in the scenes or dialogue sections of the programme. So you really have to have finished all your preparation and planning if you want to work on the draft itself. Again, this is logical in the context of Elliot's method, because unless you have thoroughly prepared and planned, you shouldn't be writing a draft.

The formatting of the draft needs some fine-tuning (sluglines and character cues are not automatically capitalized), and is not as intuitive as in some existing screenplay formatters such as Final Draft. But these are teething problems that are being identified and fixed as the first generation of DreamaScript users send in their feedback.

From the Screenplay window you can submit your screenplay, or a section of it, to Raindance for review. It will be read by professional readers who then give you feedback on your progress. You can also register your screenplay or treatment at Raindance in order to establish proof of ownership. Registration follows the same rules as the Writers Guild of America, except there is no extra charge on top of your DreamaScript licence fee.

An additional exciting feature is the Buyer's Market. DreamaScript promises to soon be directly connected to "many well known" production companies, to whom users will be able to submit their screenplay with the press of a button. Considering the extensive connections that Raindance has in the movie industry, this is likely to be a very significant feature.

The Boards Window

Here you can go on-line and connect to a number of message boards. For example you can discuss screenwriting issues with other DreamaScript users, vent your opinion on newly released movies, or put technical questions to the DreamaScript team. Whether you're the type of person who actively participates in e?mail groups, or (like me) one of the silent majority who follows discussions from the sidelines, this feature is interesting because it gives you access to an on-line community of screenwriters.

The Resources Window

This section of the programme consists of a list of screenwriting links, such as sites offering screenwriting advice and on-line research and reference facilities. Each time you synchronize, any additions to your resources list are added. It also contains some nice extras, such as a list of Oscar winners for best screenplay (adaptation and original), a list of useful screenwriting books, and more. I've not exactly found myself scouring these lists daily, but it's nice to know they're there if you need them.

This section, too, is being updated and expanded all the time.

The Marketing Window

This section is basically a series of tips on how to go about protecting and selling your screenplay. Each tip is linked to the corresponding topic in the Content Help.

Conclusions

DreamaScript really is much more than a screenplay formatter. In fact the formatter is a relatively insignificant part of what the software offers. The programme contains just about everything a screenwriter needs to write clearly, consistently and in line with current professional standards. Plus it contains a wealth of information and connections to other writers, Raindance, and the movie industry.

I found the programme's interface, on the whole, intuitive and user-friendly. All the tabs in the Screenplay window-with the possible exception of the Dialogue tab-work like ... well, like a dream. They provide focus, force you to be succinct and help you avoid blind spots. You can skip easily from one element of your screenplay to another, plus the visual design constantly prompts you to pay attention to the bigger picture.

The schematic set-up of some elements, such as the Plan section under Structure (where you describe the hero's plans and the opponent's responses) takes some getting used to if you generally employ a more unfettered, flowing style of writing. I still prefer my trusted word processor for a more stream-of-consciousness brainstorm. I simply return to DreamaScript when I've discovered the essence of the character, scene, etc., and enter a summary of my brainstorm under the relevant tab.

Initially I was sceptical about such a tightly structured screenwriting programme. I was afraid the way DreamaScript limits your room to wander, would somehow obstruct my creative process. However, I've actually found the opposite: Because you are so firmly strapped into your storytelling seat, you can fly in any direction you fancy without worrying about falling out.

The programme is specifically designed to produce screenplays for the mainstream, Hollywood movie industry. That means if you adhere faithfully to the programme's methodology, your screenplay will conform to the industry norms regarding characterization, story structure, dialogue, etc. It also means that if your story is an off-the-wall, avant-garde allegory, starring a fish, shot in one scene, with no dialogue, DreamaScript might not be the programme for you.

In my view, DreamaScript has two main things going for it. Firstly, it puts you in charge of your story. It gives you the tools, the prompts, and the knowledge you need to prepare and write professionally. Secondly, from the point of view of professional and career development, the software offers excellent opportunities, plus a sense of being part of the screenwriting and filmmaking community. I wouldn't say DreamaScript has everything a screenwriter needs-I think screenwriters will always need more than just a computer plus software-but it certainly makes good on its claim to assist the screenwriter through the entire writing process.

The purchase price includes all the above-mentioned on-line and interactive facilities. For more details view the on-line tour.

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