Plan the screenplay visually,
with every scene in view.

One card per scene, carrying the scene heading, whose scene it is, what they want and what changes. Lay the cards left to right in story order, group them into acts, and read the spine for cause and effect: each scene should force the next. Then move cards until the escalation works. In Storyflow the method is the same, with walls as act columns and cards you drag between them.

Yes. Give each lead a card or a character sheet with want, need and the turn they make, and place their turns beside the beats that cause them. An arc with nothing in the middle third shows up as a gap. The AI's character sheet workflow builds a profile per character from your story, and because the AI reads the whole board, you can ask which lead goes quiet in which act.

Yes, and it is one of the main reasons to plan on a canvas rather than a wall. Drop stills, location photos and colour swatches beside the scenes they belong to. Upload a clip or play a YouTube or Vimeo reference, scrub to the moment and grab the frame as an image. Long research lives in a Doc on the same board, with inline comment threads, and exports to Word or PDF.

It reads the board you have open, so the cards, arcs and notes already there shape what it suggests. Ask it to lay out an outline from your logline, one wall per beat, build a story map of themes, arcs and subplots, or give notes on a draft you attach. You can add up to five documents and three boards as context, such as a series bible. Every edit has one-click Undo.

Storyflow is paid-only during early access, with plans from $7.99 a month billed annually ($9.99 monthly). A free plan launches before the end of 2026, and anyone a paid member invites to a board joins free, so a co-writer can edit with you without a plan of their own. AI image generation, including AI storyboard frames, is on Pro and Max.

Yes. Turn on sharing and a view-only link opens the whole board in any browser with no account; they see the latest version each time they open or reload it. If they want to leave notes, they sign in to comment. For a meeting, export the board as an image or PDF, or put sections in frames and step through them in presentation mode.

Yes. Once the script is written, attach it and the AI builds a script breakdown of scenes, cast and elements with page-eighth estimates, a strip board grouped into shoot days, a shot list, and a storyboard laid out scene by scene. AI-generated storyboard frames need Pro or Max. There are no dedicated storyboard drawing tools (only a freehand pen) and no animatics, so artists who draw their boards bring the images in.

Yes. Storyflow lays a pilot out like a feature at a smaller scale: a wall per act, teaser included, with scene cards inside, the leads' character sheets underneath and a column for the series threads the pilot has to plant. Ask the AI for a story outline in the act structure you name. Keep the series bible on its own board and attach it as context, so the pilot is planned against the show's rules.

All three are visual canvases, and Milanote and Miro have free plans today, which Storyflow does not yet. The difference is what the AI does for a screenwriter: Storyflow's builds a story plan, an outline or character sheets from your logline, reads the whole board to answer questions about the structure, and breaks down the finished script. Miro's AI is a general assistant rather than a set of story workflows.

Yes. Both writers edit the same board in real time with live cursors, from anywhere, and anyone a paid member invites joins free. That is the practical advantage over a wall of index cards, which only works for whoever is standing in front of it. Split the sequences between you, and keep a column of open questions so disagreements get settled on the board.

Left to right in story order. A wall per act or sequence with its scene cards inside, the leads' character sheets in a row underneath so each arc runs below the beats that turn it, and references pinned beside the scenes they serve. Keep one column at the edge for open questions. Layout matters because a board is read by eye: an act that runs long looks long, and a storyline whose colour disappears has dropped out.