The team can answer you on your own ticket
Now, when the StoryFlow team writes back about something you asked for, you read it on your ticket under Mine. You hear of it in your next update email too.
Live
Everything that shipped, newest first, each with the day it went out.
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Final Draft revision marks come in with the file
Now you can bring in a Final Draft file that carries revision marks, and the marks come with it. Track Revisions turns on in the file's own color, the Draft stays exactly as the file came, and the marks show on the page, in a PDF, on the project link and in the file you send back to Final Draft.
Take back a Structure Proposal you accepted
Now, if a Structure Proposal is on your pages and you would rather it were not, Take it back puts your pages as they were. Its marks come off, the cards it made go, your own cards go back to the drawer, and the Proposal is offered again.
A Structure Proposal can lay out cards too
Now a Structure Proposal can offer the cards that organize your story, such as Sequences and Reminder cards, along with the Anchor Beats it would place. You see it all as one offer and answer it with one press.
The studio reads a pilot as a pilot
Now, when your script is a pilot or an episode, the Advisor picks up the clues and asks you once. The Analysis then reads it as one episode, with its own beats and the season's threads left open, and the Advisor never asks you to resolve the whole series.
Put a watermark on a PDF you send
Now you can watermark a PDF when you export it. Type who the copy is for and their name is drawn faintly across each page, with a code at the foot that opens a proof page for that Draft. It is off until you turn it on.
Delete a Character card
Now you can throw away a Character card you no longer need. Open it, press Delete at its foot, and confirm.
Export to Word and bring it back
Now a Word script comes in as a screenplay, with its scene headings, names and dialogue read where they belong. You can export your pages back to Word, and bring that file in again later, and the lines you did not touch stay exactly as they were.
See what changed since your last Draft
Now the Working Pages box at the top of the Structure says what has changed since your last Draft: the counts by kind, any act that moved, and the Anchor Beats. The tab also says when your pages last saved.
Delete a project or a Draft you no longer want
“I’d want the option to delete whatever I don’t want in my files.” Now, on a computer, each of your projects and each past Draft has a bin in the project list. Press it, then press the red row again. Share has Delete this project at its foot too. StoryFlow keeps a copy, so it can come back if you ask.
One link in the invitation signs you in
Your invitation now carries a single link. Press Open StoryFlow Studio and that device is signed in and on your first project, with no code to copy. A used or expired link points you to the sign in, where a code can still be asked for.
Put your production's words on every reader's pages
In Share, under Project link, type a line such as your company's name and "Confidential". It shows faintly under each reader's name, on the link's pages and on their PDF. Leave it empty and readers see only their own name.
Readers download a PDF with their name on every page
A reader who has verified their email can press Download PDF on your project link. Their address runs faintly across every page, with a code that leads back to this copy. A reader who came through a role link gets the role's name instead.
Mark Revised and Clear Revised from the keyboard
Sometimes a line counts as revised even if its words did not change, or the other way around. Mark Revised and Clear Revised work on the line you are on or every line you select, with one Undo to take it back.
See who changed a line, and when
While a color is open, every line someone changes remembers who, the color and the day. Its card says, for example, changed by a producer on Oct 7, so a team knows whose revision it was.
Proof of Authorship, and a Provenance Seal anyone can check
Your project shows who wrote it: Proof of Authorship, with your name. Each version you share carries a Provenance Seal and the date it went out, and anyone can open its certificate to check that the pages are exactly as they were sealed. A PDF from the studio carries a record of where it came from.
Export a PDF
Download your script as a PDF that breaks pages exactly where the studio does, with the title page and page numbers. Each PDF is tied to a saved Draft, so you always know which version went out.
Readers can ask what changed between drafts
On your project link, a reader can ask the Advisor in Messages what changed between the drafts they can see. The Advisor says first that it doesn't write. One question is free; after that, the reader verifies an email.
A reader can write to you, and you answer from your inbox
A verified reader of your Project Link can send you a message. It lands in Messages and in your email, and you can answer from either. Your answer reaches the reader on the link and by email.
Readers verify an email to see more
A reader of your Project Link can confirm their email with a code to open the earlier drafts you offer. You choose who may: anyone who verifies, anyone at a company's address, or only people you allow. You are told when someone is waiting and let them in from Share.
Links for a whole team, with no email asked
Make a named link for a group, such as Finance or Casting, and send it once. Everyone with it reads the Current Script with no email asked, and Share counts how often each link was opened. Each link has its own off switch.
Revision colors, and circulate the script in its color
Revisions go out in the industry's colors, White, Blue, Pink, Yellow and on. When a round is ready, Circulate saves it as a Draft in its color, shows it on your project link, and opens the next color for your changes.
Scene Lock with scene numbers that stay put
When the script heads toward production, lock the scenes. Scene 47 stays 47, a new scene becomes 47A, and a cut one reads OMITTED. Before you lock you are told how the numbering will work, and you can unlock with a plain account of what will change.
Tracked revisions with marks in the margin
Turn on tracked revisions and every line you change is marked in the margin, as Final Draft and Word do it. Put back undoes a change, and Not a revision clears a mark that does not count.
Filter the Structure by a word or a name
Type a name and see every line that person says and every line that names them. Type INT for each interior scene, or a beat's name for its lines. The Structure and the page show the same lines.
Mark any beat as one of the seven Anchor Beats
Tap a beat in the Structure and choose Mark as an Anchor Beat. Each of the seven is explained in a line, your mark shows on the page, and the Advisor replies right away.
Save a Draft whenever you choose
You write in your Working Pages. When you reach a point worth keeping, Save a Draft keeps a read-only copy dated the day you saved it, and you keep writing.
Drag through the pages with your thumb
On a phone, hold the page number at the right edge and drag to move through the script. It shows the page you are on, and the Anchor Beats come up as you pass them, so you can land on the Midpoint in one move.
Research a question with sources
Ask a factual question in Research mode and the Advisor looks it up. Its sources follow the answer as links, and a research page you can come back to is saved with the project.
Choose how the Advisor helps
Pick a mode at the top of Messages: Branching, Filtering, Revising, Flow, Research or Critique, or leave it on Auto. Every reply shows the mode it answered in, and you can ask for the same answer in another.
See how your edits move the Anchor Beats
You do not have to wait for a new Analysis to know what your rewrite did. The Structure says which Anchor Beats were kept, moved, rewritten or gone since the last Draft, and the first row of the Working Pages box, Changes since your Draft, lists what has changed.
See each Character Arc in Messages
Ask the Advisor about your people and it can draw each Character Arc as a map: how that person acts at each stretch of the story and at each Anchor Beat.
Write a task right on the pages
On an empty line, type / and choose To-do, then write the task. It gets a box, stands on that exact line and joins the project's Task list. Tick it and it leaves the page.
Task lists on a card
A card can hold a list of tasks with boxes to tick. When a card with open tasks is placed on the page, its tasks stand under it so you can write into them or check them off right there.
One Task list for the whole project
Every task, from every card and from the pages, in one list. Put it in priority order or newest first, add a task from the list itself, and watch checked tasks fold away.
Collaborators' cards are theirs, and you can Duplicate them
On a shared project each card has one owner, shown by their face. Everyone else can read it, discuss it, place it and tick its tasks, and Duplicate makes a copy of your own to change.
A clear way to start a new project
A new project opens on your own blank page with four ways to begin. Drop in a script you have, start with story cards, read a familiar script, or ask the Advisor. The choices fold away at your first move.
Turn everyone's comments into a to-do list
When readers leave a pile of notes, the studio gathers what they ask for into one to-do list, in order of priority, with the faces of who asked. Tick a line off and the comments behind it are resolved.
The studio on an iPad
On a tablet the studio keeps the desk's panels and lays the phone's views over them, so the page has room. The Structure opens over the page when there is not space beside it.
Cards and Messages as sheets on a phone
On a phone, the foot of the screen opens Cards and Messages as sheets that slide up over the page. Messages moves between half and full; Cards rises to fit, and to full when a card is open. A tap on the script puts them away.
Writing tools above the phone's keyboard
When you type on a phone, a row of tools rides at the top of the screen: the line's element, bold, italic, underline, add a comment, and a way to bring the words to Messages. It follows the screen as the keyboard comes and goes.
Select words and ask the Advisor about them
Select a passage on the page and bring it into Messages with the Advisor's mark. The passage travels with your question, quoted, so the Advisor knows exactly what you mean.
Mention someone in a comment
Type @ and a name in a comment to bring someone in. They get an email. If the person is not on the project yet, the studio offers to invite them.
Remind someone who has not opened it yet
When an invitation email did not go out, the studio told me to press a button that did not exist. Now any person who has not opened the project has a Remind button on their row in Share, which sends the invitation again.
Ask the Advisor for a Structure Proposal
When a few Anchor Beats are still unsettled, ask for a Structure Proposal. The Advisor gathers your own words into cards that would place the missing beats, says why, and lays them on your pages only if you say yes.
Go back to an earlier Draft
Open any saved Draft and read it as it was. If you want it back, Revert makes it your Working Pages again, after telling you plainly what will happen, and your pages as they stood are kept.
Acts that follow your Anchor Beats
Act Two opens after the Break Into Two and Act Three after the End of Act Two. The acts in the Structure move with the beats, so you never keep act headings by hand.
Anchor Beats stay on their lines as you rewrite
Rework a scene and its Anchor Beat keeps up with the line it belongs to. Your own marks never move, and a beat that can no longer be found says so plainly.
Each Anchor Beat shows the line it was read from
Every Anchor Beat the Analysis finds points to the exact line on your pages, with the beat's own paragraph a tap away. You can check its reasoning against your script.
Ask for a new code when yours is lost
A code arrived once by email and there was no way to get another. Now the sign in screen has a line for it. Type your address and a fresh code is on its way, and the old one stops working.
Sign out of this device
There was no way to sign out. Sign out now sits at the foot of the menu under your face in the lower left. It signs out this browser only, so another device you use stays signed in.
A reviewer opens straight onto the notes
Someone invited to review lands on the pages with the comments open and nothing in the way. They see a light wash on what they touch rather than a typing cursor, since they are there to read and comment.
Open the pages where you left them
Coming back used to put you at the top of the script, or on a different project. Now the studio opens the project you were last working in, scrolled to the line you were reading, on each device.
Write on your phone
The studio works on a phone. You read and write the script reflowed to the screen, and slide between the pages, the Structure and the comments as one window. Add it to your home screen and it opens full screen, like an app.
Pinch to size the type, and keep it
Pinch on a phone to make the script's type larger or smaller. The line under your fingers stays put, the screenplay's shape holds, and the size you chose comes back next time on that device.
Agree or Disagree with the Analysis on an Anchor Beat
When the Analysis places an Anchor Beat, say whether you agree. Agree lights the beat in its color at once. Disagree keeps your own view, and every choice is a line in Messages.
Write your Status Quo, Plot Goal and Emerging Pursuit
Write the three things that frame your story in your own words. Each sits at the head of the act it opens in the Structure, and each can be discussed with the Advisor.
Resolve comments, and see what became of their lines
Resolve a comment once it is dealt with and it steps back but stays on record. In a later draft, a comment whose lines changed shows a before and after, and one whose lines are gone moves to a short list of its own.
Move a scene by dragging it in the Structure
Grab a scene by its grip in the Structure and drop it somewhere else. The whole scene moves on the page in one step, and undo puts it back.
Comments on lines of the script, with replies
Select lines and comment on them. The page slides aside to make room, every comment and reply is signed, and a whole-draft comment is there for notes about the script as a whole.
Invite someone to your project by email
Share lets you invite a person by their address as a reviewer, who reads and comments, or as a collaborator, who writes with you. They get an email with your note and a way in.
A switch to turn spell check on and off
Spell check underlines typos as you go. A switch on the bar turns it on or off, and the studio remembers your choice.
Character names that finish themselves
Start typing a character name and the rest of it appears in gray. Press Tab to take it. Every name already on your pages is offered, the way Final Draft writers expect.
Page numbers on the page
The page used to run as one long column. Now every page after the first carries its number in the corner, where a printed script has it, so you can find page 47 when someone mentions it.
Ask the Advisor how the studio works
Ask where something is or how to do it, and the Advisor answers from the studio's own guide. It points to the real button. It never makes up a menu that is not there.
Advisor suggestions on a Character card, yours to keep
The Advisor can suggest what goes in a row of a Character card. A suggestion is marked as one, with Keep it and Not it. When it sees two readings of a row, it offers both and you choose.
Tell the Advisor to forget an idea
If you drop an idea, say so in a sentence. The Advisor keeps what you decided together, and a newer decision takes the place of the old one. An offer you turned down is not offered again.
The Advisor uses they/them until you say otherwise
The Advisor never guesses a pronoun from a name. It uses they/them until you or a collaborator say who someone is, or your pages clearly do, and it never asks.
Bold, italic and underline for emphasis
Sometimes a word has to land, for an actor or a director. You can now bold, italicize or underline words on the page, and the emphasis travels with the script when you export it.
Undo and Redo buttons you can see
Losing pages is every writer's fear. Undo and Redo now sit on screen where a hand can reach them, as well as on the usual keys, so going back is never a guess.
A Help sheet for when you get stuck
It would help to have a help screen to come back to when stuck. The ? on the top bar opens Help, with How do I, Shortcuts and Words, and one search across all three. You can also ask the Advisor how something works, and it answers in a sentence and points you to Help.
Export back to Final Draft and Fountain
Working writers go back and forth with Final Draft. Export your pages as a Final Draft file or a Fountain file, and bring them in again later without anything piling up on the way.
Character cards that ask the questions a story needs
A Character card asks what keeps this person in balance, what knocks them off it, whether they change, and how it ends. You write straight into each row, in your own words.
Rename a project
A new project gets a name to start with, such as your first name and first project. A pencil on its row in the project list lets you give it your own name and a second line, and Escape keeps the old one.
Characters sorted into leads, supporting and minor
The Characters panel opens with your leads, then the supporting people, then a fold of minor characters. Drag someone up or down to change where they sit.
Lift lines off the page into a card
Select a passage and Lift it. The lines step out of the script and stand where they were as a card, so you can rewrite around them without losing them. Put it back and it is as if nothing happened.
Bring in a PDF of a script
Many scripts only exist as a PDF. Drop one in and the studio reads it back into scene headings, action, names and dialogue you can keep writing in.
Scene, Dialog, Beat and other kinds of card
A card can be a Scene, a bit of Dialog, a Beat, a Sequence, a Character, an Image or a list of Tasks. The studio reads the kind from what you wrote, and a title from the first line unless you give it one.
When the Advisor quotes your pages, the line is really there
The Advisor offers an Anchor Beat by quoting the exact line from your script. It cannot invent one. Keep the offer and the beat lands on that line.
See who placed each Anchor Beat
An Anchor Beat looks different depending on who put it there. Gray is the Analysis alone, a dashed outline is your own hand, and full color means you and the Analysis agree.
Bring in a new draft and keep the old one
Bring the next draft of a script you already have here and it becomes Draft 2, with Draft 1 kept and readable. The studio tells you what the new draft changed.
Keep the fixes I made here when I bring in my next draft
If you fix a typo in the studio and then bring in a new draft from Final Draft, those fixes would be lost. The studio now lists the lines you changed here and offers to carry them onto the new draft, and it says plainly if one cannot be placed.
"Yes, I wrote this" for the pages you bring in
When you bring a script in, the studio asks once who wrote it. Say Yes, I wrote this, or name the writer and file it to them. It is asked once per project, after your pages are in front of you.
Upload a script and get its Analysis without asking
Bring in a screenplay and StoryFlow reads it on its own. When the Analysis lands, the seven Anchor Beats appear on your pages and the Advisor can talk about them.
Choose which projects reach your inbox
Under your face in the lower left, choose whether email comes from all your projects, only your own, or none. The bell in a project's Messages turns that one project on or off.
A welcome that shows you around
A new writer is welcomed in Messages, once. The welcome says the project is yours, that the Advisor will show you the structure, and that it never writes your script.
Bring in a Final Draft file
Drop your .fdx file into the studio and your pages arrive as you wrote them, title page included. Italics, shots and smart quotes come through too.
Pages that look like a Final Draft page
Your pages are set the way a working screenplay is set, in Courier at 12 points with the familiar margins and indents. One page still reads as about a minute of screen time, so fonts and sizes stay fixed on purpose.
See who is here right now
The faces at the top of the studio show who is on the project, and the ones in the room right now wear a ring and a dot. You know at a glance whether you are writing alone.
Bring in a Word or Fountain file
Drag a Word document, a Fountain file or plain text onto the studio and it turns into pages on its own. Nothing to convert first.
Keyboard shortcuts, and a sheet that lists them
Press Cmd+/ to open Help, and every keyboard shortcut in the studio is on its Shortcuts tab. The same list drives the keys themselves, so what the sheet says is what the keys do.
A read-only link to share your pages
Share gives your project one link that anyone can open to read the pages, with no account. It shows the Current Script, the version you choose, never the pages you are still working on. You can set an end date, see which readers opened what, and turn it off.
Find and switch projects from one list
One list holds every project you can open, with a search at the top and keys to move through it. The project you have open is marked and opened at the top, and nothing is chosen for you until you pick. On a phone, tap your face at the top to open it.
Find and replace across the script
Search the whole script, step to the next or previous match, and replace one at a time or all at once. The search counts its matches so you can see how many are left.
Enter and Tab move through the elements the way Final Draft does
Enter takes you to the element that usually comes next: a character name leads to dialogue, and dialogue leads back to action. Tab turns an empty line into a character name or opens a parenthetical, and in a scene heading it writes INT. and steps you to the location and the time. Each element also has its own keyboard shortcut.
Moments in the Advisor's answers take you to the page
When the Advisor names a marked moment like the Midpoint, the name is a link. Press it and the page jumps to that line. Scenes named in Messages work the same way.
Write together on the same pages at the same time
Everyone on a project can be on the pages at once. What one person types shows up for the others as they type it, and nobody's work overwrites anyone else's.
Focus mode that hides everything but the page
One press clears away the panels, Messages and the cards so only your pages remain. One more press brings everything back exactly as you left it.
The Flow, a picture of your story's pressure
The Analysis drawn as a band that thickens where the story pushes hardest. Each thread is a storyline. It is a picture of what the pages do, not a verdict.
Discuss any Anchor Beat with the Advisor
Open a placed Anchor Beat in the Structure and press Why this beat? to hear why it lands where it does. A beat not found yet has a Discuss button to talk it through. The answer comes in Messages, grounded in your pages.
Pasted words show where they came from
Words pasted in from a website or another tool are marked on the page, with where they came from in the margin. The mark stays until you rewrite them in your own words, so your pages always show what is yours.
Write the screenplay right on the page
The page is where you write. Scene headings, action, character names, parentheticals, dialogue and transitions are all one keystroke away, and your work saves itself a moment after you stop typing.
A drawer of story cards under the page
Ideas, scenes and lines you are not ready to put on the page live in the Cards drawer. Open it with one key, filter by kind, and arrange the cards however you think.
Drag a card onto the page, try it, then commit it
Drag a card from the drawer to the spot in your script where it belongs. It stands there as a preview first, and when you are happy, commit it and it becomes part of the pages. A card already on the page moves instead of doubling.
The Structure: your acts, scenes and the seven Anchor Beats
One outline of the whole script. Acts, every scene as a row, and each Anchor Beat standing above the scene it lands in. Every row jumps the page to its place.
Reply from your inbox
Answer a StoryFlow email from your own mail and your reply appears in the project's Messages, under your name. A reply to a comment's email lands under that comment.
An AI Advisor that helps a writer and doesn't write for them
A story partner that asks good questions about your pages and hands every decision back to you. It reads the structure and talks it through. It never writes your script.