INT. A CLEAN GETAWAY — DAY

Switching from Final Draft, honestly.

Slate imports .fdx directly. This is the no-spin version of what that means: the three-step move, exactly what carries over, exactly what doesn't, and how to keep trading pages with people still on Final Draft.

The move (about two minutes per script)

  1. Have your .fdx files handy. They're wherever Final Draft saves — no export step needed, Slate reads Final Draft's native format.
  2. In Slate: Library → Import. Pick one .fdx or several — each becomes its own script with a cover, ready to file into folders or projects.
  3. Skim the result. Scene count and page flow should match what you remember. The status bar shows live words and pages; the Overview shows scenes and beats at a glance.

What carries over — and what doesn't

✓ IMPORTS CLEANLY

  • Scene headings, action, character cues, parentheticals, dialogue
  • Shots, transitions, act markers
  • Your title (from the title page)
  • The words themselves — every line of them

✗ DOESN'T (YET)

  • Revision colors and locked page numbers
  • Embedded ScriptNotes
  • Inline bold/italic styling inside lines
  • Dual-dialogue side-by-side layout (imports as consecutive speeches)

The honest read: specs and drafts-in-progress move cleanly. A script mid-production with colored pages should stay in Final Draft until it wraps — Slate doesn't do production revisions yet (it's on the roadmap).

Working with people still on Final Draft

You don't have to convert anyone. Two ways to keep collaborating:

Your writing partner doesn't need to buy Slate to review your work either — reading scripts and reviewing, commenting on, and merging proposed revisions is free in Slate, forever.

What you'll want to know on day one

Try it on a real script: import your current .fdx, rewrite one scene as a draft, compare, merge. Thirty days free, no card.

Download Slate for Mac

One universal download — Apple Silicon & Intel, macOS 11 or later.

Full comparison: Slate vs Final Draft