Every idea, glitch and rough edge lands here, from the professional writers who use StoryFlow. Vote for the ones you want next.
Writing a series, each episode needs its own shape: its own Anchor Beats, a pilot that resolves its story while leaving the season's threads open, and a way to see how the episodes add up across the season. The Structure would show every episode's beats, and the season's, side by side.
“If it’s called StoryFlow, I’d want it to not only help my script flow and work better in the final draft, but also help guide me section by section so I can flow through the process seamlessly.”
In a conversation with the team, a writer asked whether the studio could point them to how a produced screenplay handled a moment they are struggling with. Building tension from an unseen threat, for example, they might be shown a scene, a passage or a line of dialogue from Alien.
“I wanted to see if the AI could respond to me in a more conversational tone, rather than so formal… like two writing friends having coffee, so once I prompted, it was able to do that.”
When two characters talk over each other, a script sets their speeches in two columns. It would be great to write dual dialogue right on the page and see it the way Final Draft shows it.
It would be great to have a quick visual cue that says the story is slowing here and not much is happening. Not a fix, just a place to look.
A quick count of words, pages and scenes would help while revising to length. It would be great to see it without leaving the page.
The roundup comes once you have been away for a while. Some writers may want it less often, such as once a day. Whether to offer that choice is still being decided.
Today the Advisor knows one project at a time. It would be great if it could see across everything you are writing, so it can connect a lesson from one script to another.
Once a production is shooting, the pages themselves need to hold still. Page 12 stays page 12, new material becomes 12A, and only the pages that changed go out in the new color. Scene Lock keeps the scenes in place across the whole script, and Locked Pages would do the same for each page.
Signing in today is by an emailed code or link. It would be easier to use the passkey already on your phone or laptop, or a text to your phone number. This is planned for the next StoryFlow app rather than the current studio.
Whoever brings a script in owns the project for good. It would help to offer ownership to a co-writer, who accepts it, with both told. And when an owner cannot be reached, the writer named as author could ask to take it over.
When a production sends the script out, each person gets their own copy, with their name across the pages and a code at the foot. Scanning the code always opens the latest circulated version, so nobody works from old pages, and you can see which version each person has.
On the free plan, you can choose to put a small "Made with StoryFlow" mark at the foot of the pages you send out, with a code a reader can scan to see your writer's page. It is off unless you turn it on, and it never covers your words.
A guided way to find who a person is in your story, starting from what you intend rather than from what is on the page. The pages then show where that person is evident and where not yet.
A wall for your cards. Pin them where you like, tie related ones together with string, and drag a card onto a beat or scene in the Structure. On a phone you can see a preview today.
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.
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.
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.
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.
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.
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.
Now you can throw away a Character card you no longer need. Open it, press Delete at its foot, and confirm.
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.
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.
“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.