AI Storyboard Generator, Straight From Your Script
Most storyboard tools make you re-describe every shot from scratch. The Story Maker generates storyboards directly from your locked screenplay — it already knows the scene, the characters, and the action, so you're not starting from a blank canvas or re-typing scene descriptions into a separate tool.
This is the Visualize stage of the lifecycle: once your script is locked (Write), storyboards, concept art, and animatics all pull from the same source instead of you re-briefing each tool separately.
Before you upload anything
Nothing changes until you Merge
Every edit opens an A/B compare — nothing changes your scene until you Merge.
Your script is never used to train AI
Zero Data Retention on every model — your script is never used to train AI. Zero Data Retention means the model providers we send your pages to are contractually barred from storing them: your script is processed to produce your result and then it is gone from their side. Read the policy.
You stay the author
These tools read your script and tell you what they found. Where they suggest a change, it arrives as a proposal beside your original, never in place of it.
Your work stays yours, and you can delete it
Your projects stay in your account for as long as you use it. An account left completely inactive for 2 years is notified before anything is removed, and you can delete a project or your whole account at any time. Full terms in the privacy policy.
What “A/B compare” means in practice
- Character Voice
- “Rewrites only this character's dialogue — action and other characters stay untouched.”
- Alternate Takes
- “Two contrasting rewrites of this scene, compared side-by-side — pick one, or blend the best of both.”
Both quoted from the editor itself. Every suggestion lands next to your original with a Merge button; declining it leaves the scene exactly as you wrote it.
What's included
Shot-by-shot, from your actual scenes
Generate a storyboard sequence scene by scene, with shot composition suggestions grounded in your actual script content — not generic placeholder frames. Choose Fast for a quick pass to block out a scene, or Premium when you need boards detailed enough to walk a DP or director through the coverage plan.
Feeds into concept art and animatics
A locked storyboard sequence is the natural jumping-off point for Concept Art (visual development of key frames) and Animatics (timed, sequenced previz) — the same visual language carries through instead of restarting the creative brief for each tool.
Boards without a storyboard artist
Most productions that would benefit from boards never get them, because a storyboard artist is a real line item and an indie schedule rarely has room for one. The consequence is that shot ideas live in the director's head until the morning of the shoot, which is an expensive place to discover a sequence does not cut together.
Generating boards from the script gets a visual pass in front of the department heads early, when changing a plan costs a conversation instead of a setup.
Boards, shot lists and the link between them
A board is only half the tool. What the 1st AD and DP actually work from is the shot list — sizes, angles, movement, lens, estimated time — and a board that is not tied to one tends to become decoration.
Boards here derive from the same scenes the shot list and schedule use, so the frames, the shot list and the day's plan describe the same intent. There is also a free printable storyboard template if you would rather draw them by hand.
What boards change on the day
The practical value of boards is not artistic — it is that the department heads arrive having already seen the plan. The DP knows the lens ideas, the gaffer knows where the light comes from, the AD knows how many setups the sequence really needs.
That last one is where boards pay for themselves. A sequence that reads as three shots in the script and turns out to be eleven is the single most common reason a shoot day collapses, and it is visible in boards long before it is visible on set.
Coverage, eyelines and the things boards catch
Boards catch problems that only exist in the geometry: crossing the line, eyelines that will not match across a conversation, a sequence with no wide to establish where anyone is standing.
These are cheap to fix on paper and expensive on the day, because the fix on the day is usually another setup you did not schedule.
When not to board
Boards are not free — even generated ones cost time to review and revise, and a fully boarded dialogue scene is usually wasted effort. The return concentrates in sequences where the shot list is non-obvious: action, VFX, stunts, complex geography, anything with an effect that has to be planned around.
Knowing which sequences to board and which to block on the day is part of directing, and boarding everything is its own kind of inefficiency.
Frequently asked questions
Do I need to describe every shot manually?
No — storyboards generate from your locked screenplay's actual scene content, so the tool already knows what's happening in each scene.
Can I use this if my script wasn't written in The Story Maker?
Yes — upload a finished script and it flows into storyboarding the same way a script drafted in the platform does.
Do I need drawing skills?
No — boards are generated from the scene text. If you would rather draw your own, the free storyboard template pack is a printable six-frame page designed to map one row per shot on your shot list.
Can I use these to pitch?
They are useful for communicating intent to a department head or a collaborator. For an investor-facing pitch, treat them as one element alongside a lookbook and the script rather than as finished concept art.
How do boards relate to the shot list?
Both derive from the same scenes, so the frames and the shot list describe the same plan rather than drifting apart — which is the usual failure mode when boards are made in one tool and the shot list in another.
Will boards make my schedule more accurate?
Usually, yes — because they force the real setup count into view. A sequence that reads as a few shots on the page but needs eleven setups is a common cause of a day running over, and boards surface that while the schedule can still absorb it.
Can I board only part of the film?
Yes, and you generally should. Boarding concentrates its value in sequences where the shot list is non-obvious — action, VFX, stunts, complex geography. Fully boarding a dialogue scene is usually effort better spent elsewhere.
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