A two column script template
that turns into the storyboard beside it.

Two are essential: video on the left and audio on the right, though some tools flip the two. Most producers add a scene number, a time for each row, a column for on-screen text and one for notes, which makes six. Keep one shot per row, write the video column in the present tense, and put every spoken line in quotes so the voice artist can find it.

A row for each shot or moment, read left to right. Scene number and time first, then the picture, then what the viewer hears: voiceover and dialogue with the speaker named, with music and effects marked MUSIC and SFX. On-screen text gets its own column. Head the page with the client, the spot, the length, the version and the date.

At 120 to 180 spoken words a minute, the usual rule of thumb, a 30-second spot holds 60 to 90 words and about 75 reads without rushing, and a 15-second spot 30 to 45. Leave seconds for the product shot and the logo at the end, and read the script aloud with a stopwatch before anyone books a recording.

A screenplay runs down the page in one column, with scene headings, action and dialogue, at roughly a page a minute. An AV script splits picture and sound into two columns, row by row, which suits ads, explainers, corporate and training video where voiceover drives the cut. Drama built on dialogue stays in screenplay format.

When the words and the pictures are written separately: a voiceover over footage, an interview covered with B-roll, an animated explainer, a training video with on-screen text, or a commercial the client signs off line by line. For drama carried by dialogue, write a screenplay; for a vlog, a list of beats is usually enough.

Give each row of the video column its own frame, in order, with the audio line underneath. In Storyflow the AI's storyboard workflow does this from the table on the board, one frame per row, and on Pro and Max it can generate the frame images. Otherwise drop in your own sketches or reference stills.

Yes, and most corporate scripts suit it. Put the interview lines and voiceover in the audio column in the order you want them, and the B-roll, graphics and titles that cover them in the video column. Mark which lines are scripted and which come from interviews not yet filmed, so the shoot knows what it must capture.

Yes, as a draft to rewrite. Paste the brief into Storyflow and the AI's video script workflow drafts the script without inventing a name, date or number the brief does not give; then ask it to lay the draft out in two columns. Anything it changes comes back with one Undo. Read it aloud before trusting the timing.

Time the pictures instead. Give each row the seconds its action needs, a beat for each reaction and about three seconds for an end card, then check the total against the music at the length you need. Note where the music changes, row by row, because a silent spot is cut to the track.

No. Storyflow keeps the two column script in a table, but it does not paginate screenplays, count words or time the read. For a feature film or a TV episode, write in Final Draft or Celtx. For rows timed from their word count as you type, and a timed animatic with sound, use Boords; StudioBinder totals the durations you set per row. The frames, shot list and call sheet can still live on the Storyflow board.

Not during early access. 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. Your client reads the script and its frames at no cost.