Turn your idea into a screenplay

AI Screenplay Generator: Write a Film Script

Go from a one-line idea to a formatted, shootable screenplay. The engine builds the structure, writes dialogue that carries subtext, and formats every scene to industry standard, then exports Final Draft (FDX), Fountain, and PDF, in your language, not just English.

Write your screenplay See pricing

700+

books generated

600+

writers on the platform

book languages

DOCX · EPUB · PDF

KDP-ready exports

Live platform totals, verified 2026-07-17

Why it works

Real screenplay format, not prose

INT./EXT. scene headings, character cues, action lines, and dialogue, formatted to industry standard. Export Final Draft (FDX), Fountain, and print-ready PDF.

Structure and continuity

The engine plans the beats, writes scene by scene, and keeps characters, plot, and tone consistent from the first page to the last.

Native in your language

Write the whole screenplay in any of 18 languages, right-to-left scripts included, not an English draft translated after the fact.

How it works

1
Describe your film
Give it an idea, a genre, and a length: short film, TV pilot, or feature.
2
The engine writes the screenplay
Scenes, dialogue, and action, structured and formatted while you watch.
3
Export and share
Download Final Draft (FDX), Fountain, or PDF, ready to open in your writing app or send to a collaborator.

Write your screenplay

Can AI write a screenplay that reads like a screenplay?

The format is the easy part and the part most tools get wrong anyway. A screenplay is not prose with names in capitals. It is a strict document: INT. and EXT. scene headings, action in present tense, character cues, parentheticals used sparingly, dialogue that carries what the character will not say outright. BookFoundry routes screenplays to their own engine, separate from the one that writes books, because a scene is not a chapter and a beat is not a paragraph. It plans the structure first, then writes scene by scene against that plan. What comes back is a formatted script, not a story you then have to reformat. The harder part is subtext, and that is where you come in. The engine will give you a scene that works. Whether the line underneath the line is the one only you would write is still your job, and the script opens in a full editor so it can be.

Three lengths, and what each one is for

The lengths come from the server, so what you see on the picker is always current. A Short Film is about twelve pages, roughly twelve minutes on screen, eight scenes, and costs half a credit. A TV Pilot is about thirty-two pages, thirty-two minutes, fifteen scenes, one credit. A Feature Film is about a hundred and ten pages, a hundred and ten minutes, forty scenes, two credits. That page to minute parity is not a coincidence: the industry rule of thumb is one page per minute of screen time, and the tiers are built on it. Two credits for a feature is worth pausing on. It is less than a full-length novel costs here, because a screenplay is a shorter document, and we price by what the engine actually produces rather than by how impressive the output sounds.

Structure you choose, not structure you accept

Four structure models, picked before anything is written: Three-Act, Save the Cat, the Hero's Journey, and Sequence. They are genuinely different shapes, not labels on the same skeleton, and the one you pick changes where the turns land and how much room each act gets. Six genres sit in the Quick grid: drama, thriller, comedy, horror, science fiction and romance. There are five content ratings, from G to NC-17, and the rating you pick is sent to the engine with the rest of the blueprint rather than stamped on the finished file. Page format is US Letter, the industry standard, or A4 for international submission. Quick mode asks for very little. Guided asks more and gives you the premise, cast and tone. Power opens nine sections: foundation, spine, characters, world, theme, style, generation, title page and author, including the craft modules that switch individual writing behaviours on and off.

The export is the whole point

A screenplay that will not open in the software a reader uses is not finished, however good the writing is. Four files are served, already built, with no extra generation step and no wait. Final Draft FDX is valid Final Draft XML and opens in Final Draft, WriterDuet and Fade In. Fountain is the plain-text screenplay format that every modern tool reads. The PDF is set in Courier with industry margins, which is what you attach to an email. DOCX is there if someone has asked for Word. You pick a format and the file is there. This matters more than it sounds. A great deal of AI screenplay output arrives as a text blob that the writer then spends an evening reformatting by hand, which is exactly the work the tool was supposed to remove.

Eighteen languages, written not translated

The screenplay is written natively in the language you choose, one of eighteen, across forty-nine language and region variants, including right-to-left scripts. It is not written in English and translated afterwards. In a screenplay that distinction is sharper than in a novel, because a screenplay is mostly dialogue, and dialogue is the first thing translation flattens. Rhythm, idiom, the way a character interrupts, how an insult lands in one language and dies in another: those survive being written and rarely survive being converted. If you are writing for a market that is not English speaking, this is the difference between a script an actor can speak and a script an actor has to fix.

What it does not do

It does not sell your screenplay, and nothing here connects to an agency, a competition or a studio. It does not register your work with a guild or a copyright office; that is a separate step you take yourself, and it is worth taking. It will not replace the instinct that tells you a scene is one beat too long. What it does is remove the two things that stop most screenplays from existing at all: the blank page and the formatting. Everything you paid for is yours to submit anywhere. Screenplays are paid for with prepaid credits rather than a monthly subscription, which matters in a craft where people write one script and then think about it for six months.

Frequently asked questions

Yes. From a single idea, the engine plans the structure and writes every scene, dialogue and action included, in proper screenplay format. You can edit anything before you export.

Industry standard. You get Final Draft (FDX), Fountain, and a print-ready PDF, so it opens in the tools screenwriters actually use.

Yes. The screenplay is written natively in any of 18 languages, right-to-left scripts included, not translated from English after the fact.

Four, all pre-built with no extra step: Final Draft FDX as valid Final Draft XML, Fountain, PDF set in Courier with industry margins, and DOCX. The FDX opens in Final Draft, WriterDuet and Fade In, so the script arrives in the software a reader already uses.

Three lengths, all served live from the backend. Short Film is about twelve pages and twelve minutes across eight scenes for half a credit. TV Pilot is about thirty-two pages and thirty-two minutes across fifteen scenes for one credit. Feature Film is about a hundred and ten pages and a hundred and ten minutes across forty scenes for two credits.

Yes, before anything is written. Four models are offered: Three-Act, Save the Cat, the Hero's Journey and Sequence. They place the turning points differently and give each act a different share of the running time, so the choice changes the script rather than labelling it.

Eighteen languages and forty-nine language and region variants, right-to-left scripts included, written natively rather than written in English and translated. A screenplay is mostly dialogue, and dialogue is the first thing a translation flattens, so this matters more here than in prose.