How one Celtx writer continues to grow, create, and tell stories that matter — even when the road isn’t linear.
Wendy Appelbaum has been writing for decades — not because she had to, but because she truly loves it. Her journey isn’t the kind you often see spotlighted. There was no big break, no overnight rise to fame. Instead, it’s a story of consistency, love for the craft, and the quiet success of staying creatively fulfilled even while working a full-time job.
Inspired early on by MAD Magazine and the sketch comedy sensibilities of Mad TV, Wendy’s writing took root in imagination and humor. She dreamed of writing for Sesame Street and even interned at a small PBS station in hopes of getting there. Though that particular door closed, her passion didn’t. She finished her first comedy script in 1998 and hasn’t stopped writing since.
Wendy’s story really hits home because like so many writers, it isn’t one that’s about overnight success — it’s about building a creative life over time while balancing the demands of a full-time job. From comedies and dramedies to animated love letters and low-budget horror, her dedication is a source of inspiration for those of us who can get bogged down by the day-to-day. It’s a quieter but deeply resonant kind of creative success. The kind many writers will see themselves in. And the kind Celtx is proud to support.
Q: Thanks so much for taking the time to chat with us — can you start by telling us a bit about yourself as a writer?
A: I’ve been writing since graduate school. I always had an interest in television, especially writing for it. When I was younger, I was a huge fan of Mad Magazine — I think a lot of writers were. It really shaped how I see the world; I started noticing the absurdity in everyday life. So naturally, I was always imagining scenarios.
Originally, I wanted to write for Sesame Street. That was my dream job. I did an internship at a small PBS station during grad school in hopes of breaking into Sesame Street, but around that time, public television was facing a lot of cuts. Educational content was also shifting to cable.
Even though that door closed, I never stopped writing. My first script — a comedy — was completed in 1998. Back then, I was using WordPerfect on a desktop, which made formatting a nightmare. I was thrilled to discover Celtx, and I think I started using it in the mid-2000s. I loved that it was from an East Coast company, and I’ve been using it ever since.
Only in the past few years have I started treating writing like a second job. I’m a lot more focused now on the business and marketing side of things. I write comedy, dramedy, and recently I’ve ventured into animation and horror. But comedy and dramedy are really my go-tos.
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Q: What inspires you to take on a new genre?
A: It always starts with the story. I think many writers would say the same. We’re writing what we wish we could see. If something sparks my imagination, I think, “Why not just write it?”
I’m especially drawn to stories about imperfect people with good intentions trying to find their way. Some of those stories end up crossing genres. For example, I wrote an animated film that was a love letter to my daughter and our Shih Tzu — it felt different but came from the same place.
I also absorb a lot of content: news, social media, industry blogs, films, TV. I stay informed, but I don’t chase trends. I didn’t write horror because it was hot last year. If it fits the story and tone, I’ll explore it. But ultimately, it’s the idea itself that leads the way. I rarely know what genre it’ll fall into when I start, though I think I’ll stick more with comedy moving forward.
Q: You’ve had success in competitions — are there any goals you’re working toward right now?
A: Right now, I’m trying to strike a balance. It can be tough writing after work and on weekends, but my daughter is older and away at school, and my husband is an artist, so we each have our creative outlets.
My focus has shifted over time. I used to be fixated on getting an agent. I even worked with an entertainment lawyer to get things done, which doesn’t always go smoothly. Now, my goal is just to keep growing as a writer. I get professional notes, feedback from friends, and I’m constantly trying to improve and get my scripts out there.
At the end of the day, I want to sell something and see it get made. That’s the dream. I’m also realistic. The industry is hard, and it’s evolving quickly with AI and other changes. But I stay focused. I write a few pilots and features each year, and I have a portfolio of 12 or 13 pieces. I keep a schedule and hold myself accountable.
I don’t enter a lot of contests. I’ve had some success — semi-finalist placements — but I’d rather invest in getting professional feedback than entering big competitions. And yes, I cold query. A lot. It’s like feeding a funnel; I’m always on that treadmill.
Q: What type of writing do you primarily use Celtx for?
A: All of the above. I’ve written shorts, pilots, and features in Celtx. I even have a short that might work as vertical content, broken into two-minute episodes. I’d love to shoot it someday.
I actually promote Celtx a lot on social media, partly because it’s Canadian! But the real game-changer for me was the “(cont’d)” feature. For years, I had to manually add it to scripts. When I sent scripts out for notes, people would point it out and I’d have to explain. I wasn’t going to switch software over that — and now I don’t have to. That little fix made a big difference.
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Q: What features do you rely on most?
A: I love the word count goals, especially when I can dive into a full act on a weekend. And I appreciate the motivational emails. Writers need encouragement.
I just started using the Read Through feature, which is incredible. I don’t know why I didn’t use it earlier. The Script Insights are great too, especially now that writers are being told to keep budgets low. I recently looked at one of my scripts and realized it had way too many locations. Those insights helped me rethink and streamline.
I haven’t used the episodic tools yet, since I’ve mostly written pilots. I do write TV bibles in Word, but it would be amazing if Celtx could help generate or store those directly in the software.
Q: How does Celtx support your writing routine?
A: When I’m in Celtx and writing, I lose track of time — in the best way. I love getting those little updates that say how much I’ve written. It seems to recognize real writing versus just dumping in a bunch of text, which is great.
I also think I once got a follow-up email after trying a new feature but not finishing it. It asked if I needed more info on how to use it. I thought that was fantastic, and it really made me feel supported.
Q: Were you using anything else before? What made you stick with Celtx?
A: Celtx was my first screenwriting software, which I started using around 2005. Before that, I used WordPerfect, which was a nightmare for formatting. Discovering Celtx was a relief.
Recently, I collaborated on a short film with other writers who used Fade In, so I had to adapt. It was the first time I used different software, but only for a few pages. I quickly returned to Celtx, which feels like home.
Q: Can you walk us through how you use Celtx to go from idea to draft?
A: I have a structured process, typically breaking my scripts into four acts: 1, 2A, 2B, 3A, and 3B. I outline these directly in Celtx, specifying page ranges for each act. This structure helps me, especially with Act Two, which can be challenging.
I input high-level points into Celtx and then flesh them out. I no longer use separate Word documents for outlining; everything is consolidated in Celtx.
I recently even tried writing on my iPhone during a two-hour car ride. Surprisingly, it was quite user-friendly. I could easily navigate between acts and characters — though I do get car sick, so I couldn’t keep it up for long!
What We’re Taking Away
Wendy Appelbaum’s writing path is one of quiet resilience, creativity, and continuous improvement. It’s proof that the “success story” isn’t always about fame — sometimes it’s about consistency, curiosity, and finding joy in the work.
At Celtx, we’re proud to support writers like Wendy — people who keep showing up, even when the journey takes unexpected turns. Because every story deserves to be told. And every storyteller deserves the tools to bring their ideas to life.
Follow along with her journey here.
No matter where you are in your journey, Celtx is here to support it. Start your next script today with Celtx free screenwriting software.
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