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| # | Kind | Title | ||
|---|---|---|---|---|
| 001 | Guide | Screenplay outline templates that actually survive a draftSix outline shapes — beat sheet, index cards, sequences, treatment, mini-movie, eight-sequence — and when each one helps. Free .arq + .fdx + PDF pack at the bottom. | Six outline shapes — beat sheet, index cards, sequences, treatment, mini-movie, eight-sequence — and when each one helps. Free .arq + .fdx + PDF pack at the bottom. | 15 min |
| 002 | Guide | How to write a logline (without selling your soul)The logline is not a marketing exercise. It's a structural test. If you can't write yours, the script has a hole. | The logline is not a marketing exercise. It's a structural test. If you can't write yours, the script has a hole. | 10 min |
| 003 | Guide | The Save the Cat beat sheet — a practical guideFifteen beats, page by page, with what each one is actually doing — plus where Snyder is wrong and why working writers still use it. | Fifteen beats, page by page, with what each one is actually doing — plus where Snyder is wrong and why working writers still use it. | 15 min |
| 004 | Guide | How to register a screenplay — WGA West, WGA East, US CopyrightWhat each registration actually protects, what it costs, and which one you want. (Hint: it's not the one most beginners pick.) | What each registration actually protects, what it costs, and which one you want. (Hint: it's not the one most beginners pick.) | 10 min |
| 005 | Guide | Screenplay revision marks — asterisks, coloured pages, and whyThe asterisk gutter, the coloured-page rotation, the locked scene number. A complete reference for production-ready revisions. | The asterisk gutter, the coloured-page rotation, the locked scene number. A complete reference for production-ready revisions. | 10 min |
| 006 | Guide | MORE / CONT'D conventions, demystifiedWhen to use (MORE), when to use (CONT'D), what your software is doing automatically, and the one rule that's actually contested. | When to use (MORE), when to use (CONT'D), what your software is doing automatically, and the one rule that's actually contested. | 10 min |
| 007 | Guide | Slugline rules and conventionsINT. / EXT., DAY / NIGHT, secondary headers, sub-sluglines, and the mini-slug that working writers actually use to control pace. | INT. / EXT., DAY / NIGHT, secondary headers, sub-sluglines, and the mini-slug that working writers actually use to control pace. | 10 min |
| 008 | Guide | How to write a cold openThree structural jobs of a teaser — and how the openings of Breaking Bad, The West Wing, and Whiplash do them in under three pages. | Three structural jobs of a teaser — and how the openings of Breaking Bad, The West Wing, and Whiplash do them in under three pages. | 10 min |
| 009 | Guide | Screenplay vs teleplay format — what actually changesActs, teasers, tags, double-spaced scenes, half-hour vs hour, single-cam vs multi-cam. The format differences that matter and the ones that don't. | Acts, teasers, tags, double-spaced scenes, half-hour vs hour, single-cam vs multi-cam. The format differences that matter and the ones that don't. | 10 min |
| 010 | Guide | How to format a screenplay — the definitive guideMargins, fonts, sluglines, action, dialogue, transitions, page numbers — every rule in industry-standard screenplay format, with examples. | Margins, fonts, sluglines, action, dialogue, transitions, page numbers — every rule in industry-standard screenplay format, with examples. | 20 min |
| 011 | Guide | How we shipped FDX round-trip in four weeksFrom 'import mostly works' to 'export is production-safe' — the parser fights, the PDF fights, and the one Final Draft quirk that ate a Thursday. | From 'import mostly works' to 'export is production-safe' — the parser fights, the PDF fights, and the one Final Draft quirk that ate a Thursday. | 10 min |
| 012 | Struct | Hero's JourneyJoseph Campbell's monomyth structure - the classic adventure template | Joseph Campbell's monomyth structure - the classic adventure template | 12 beats |
| 013 | Struct | Story CircleDan Harmon's simplified 8-step structure based on the Hero's Journey | Dan Harmon's simplified 8-step structure based on the Hero's Journey | 8 beats |
| 014 | Struct | Three Act StructureThe foundational dramatic structure used in most screenplays | The foundational dramatic structure used in most screenplays | 8 beats |
| 015 | Struct | Save the CatBlake Snyder's 15-beat structure for commercial screenwriting | Blake Snyder's 15-beat structure for commercial screenwriting | 15 beats |
| 016 | Struct | Five Act StructureClassical dramatic structure from Greek theater, used in TV and theater | Classical dramatic structure from Greek theater, used in TV and theater | 5 beats |
| 017 | Struct | Pixar Story SpineEmma Coats's six-sentence framework used at Pixar — great for emotional clarity | Emma Coats's six-sentence framework used at Pixar — great for emotional clarity | 6 beats |
| 018 | Struct | KishōtenketsuFour-act structure from East Asian storytelling — no conflict required | Four-act structure from East Asian storytelling — no conflict required | 4 beats |
| 019 | Struct | Seven-Point StructureDan Wells's seven-point plotting system used in novels and screenplays | Dan Wells's seven-point plotting system used in novels and screenplays | 7 beats |
| 020 | Struct | Freytag's PyramidClassical five-part dramatic arc from Gustav Freytag — common in tragedy | Classical five-part dramatic arc from Gustav Freytag — common in tragedy | 5 beats |
| 021 | Struct | Mini-Movie MethodChris Soth's 8-sequence structure — each sequence is a mini-movie | Chris Soth's 8-sequence structure — each sequence is a mini-movie | 8 beats |
| 022 | Struct | TV Pilot StructureSix-act structure for hour-long TV dramas with act breaks | Six-act structure for hour-long TV dramas with act breaks | 7 beats |
| 023 | Struct | Rom-Com Beat Sheet10 genre beats — meet cute, obstacles, grand gesture, happily ever after | 10 genre beats — meet cute, obstacles, grand gesture, happily ever after | 10 beats |
| 024 | Struct | Thriller / Mystery12-beat structure for escalating tension and investigation | 12-beat structure for escalating tension and investigation | 12 beats |
| 025 | Spec | FDX round-trip conformance specEvery element we read and write, and what survives a trip back to Final Draft. | Every element we read and write, and what survives a trip back to Final Draft. | Spec |
| 026 | Spec | FDX conformance checkerUpload a .fdx and get a pass/fail receipt on the spot. | Upload a .fdx and get a pass/fail receipt on the spot. | Tool |
| 027 | Spec | Conformance scorecardThe suite run in public, with the failures still on the board. | The suite run in public, with the failures still on the board. | Live |
| 028 | Spec | Authorship receipts, explainedHow we prove a draft is yours, and exactly what the proof covers. | How we prove a draft is yours, and exactly what the proof covers. | Method |
| 029 | Term | SluglineA slugline is the scene heading that opens every scene in a screenplay. It names whether the scene is interior or exterior, the location, and the time of day — for example, "INT. KITCHEN — NIGHT." Sluglines are set in all caps and tell the reader, and later the crew, exactly where and when the action happens. | A slugline is the scene heading that opens every scene in a screenplay. It names whether the scene is interior or exterior, the location, and the time of day — for example, "INT. KITCHEN — NIGHT." Sluglines are set in all caps and tell the reader, and later the crew, exactly where and when the action happens. | Definition |
| 030 | Term | Mini-slugA mini-slug is a short, partial scene heading used to move the eye within a single location without resetting the scene. Writers use them — a single word like "KITCHEN" or "ON THE PHONE" — to control pace and direct attention inside a master scene, without the overhead of a full slugline. | A mini-slug is a short, partial scene heading used to move the eye within a single location without resetting the scene. Writers use them — a single word like "KITCHEN" or "ON THE PHONE" — to control pace and direct attention inside a master scene, without the overhead of a full slugline. | Definition |
| 031 | Term | Action lineAn action line is the prose in a screenplay that describes what the audience sees and hears — movement, behaviour, and visual detail — between the dialogue. It is written in the present tense, set full-width on the page, and kept lean: a screenplay describes only what the camera can capture. | An action line is the prose in a screenplay that describes what the audience sees and hears — movement, behaviour, and visual detail — between the dialogue. It is written in the present tense, set full-width on the page, and kept lean: a screenplay describes only what the camera can capture. | Definition |
| 032 | Term | DialogueDialogue is the spoken text a character delivers in a screenplay. It sits in a narrow column beneath the character cue, indented from both margins. Screenplay dialogue is formatted distinctly from action so a reader — and an actor — can find every line at a glance. | Dialogue is the spoken text a character delivers in a screenplay. It sits in a narrow column beneath the character cue, indented from both margins. Screenplay dialogue is formatted distinctly from action so a reader — and an actor — can find every line at a glance. | Definition |
| 033 | Term | ParentheticalA parenthetical, sometimes called a wryly, is a short instruction in parentheses inside a dialogue block. It notes how a line is delivered or what a character does mid-speech — "(whispering)", "(to Sam)". Used sparingly, it clarifies; overused, it steps on the actor's job. | A parenthetical, sometimes called a wryly, is a short instruction in parentheses inside a dialogue block. It notes how a line is delivered or what a character does mid-speech — "(whispering)", "(to Sam)". Used sparingly, it clarifies; overused, it steps on the actor's job. | Definition |
| 034 | Term | Character cueA character cue is the uppercase name centred above a block of dialogue that tells the reader who is speaking. Extensions like (V.O.), (O.S.), or (CONT'D) attach to the cue to mark voice-over, off-screen delivery, or continued speech across a page break. | A character cue is the uppercase name centred above a block of dialogue that tells the reader who is speaking. Extensions like (V.O.), (O.S.), or (CONT'D) attach to the cue to mark voice-over, off-screen delivery, or continued speech across a page break. | Definition |
| 035 | Term | TransitionA transition is an uppercase cue — "CUT TO:", "DISSOLVE TO:", "SMASH CUT TO:" — that marks how one scene gives way to the next. Set flush right, transitions signal an edit. Modern spec scripts use them lightly, since a hard cut between scenes is already implied. | A transition is an uppercase cue — "CUT TO:", "DISSOLVE TO:", "SMASH CUT TO:" — that marks how one scene gives way to the next. Set flush right, transitions signal an edit. Modern spec scripts use them lightly, since a hard cut between scenes is already implied. | Definition |
| 036 | Term | Fade In"FADE IN:" is the transition that traditionally opens a screenplay, set flush left at the very top of page one. Its mirror, "FADE OUT.", closes the script. The pair brackets the screenplay the way a curtain frames a stage — the image rising from and settling back into black. | "FADE IN:" is the transition that traditionally opens a screenplay, set flush left at the very top of page one. Its mirror, "FADE OUT.", closes the script. The pair brackets the screenplay the way a curtain frames a stage — the image rising from and settling back into black. | Definition |
| 037 | Term | Voice-Over (V.O.)Voice-over, abbreviated (V.O.), marks dialogue spoken by a character who is not physically present in the scene as a sound source — narration, a remembered line, a phone voice routed through a device. The (V.O.) extension sits next to the character cue to flag it for the reader and the sound team. | Voice-over, abbreviated (V.O.), marks dialogue spoken by a character who is not physically present in the scene as a sound source — narration, a remembered line, a phone voice routed through a device. The (V.O.) extension sits next to the character cue to flag it for the reader and the sound team. | Definition |
| 038 | Term | Off-Screen (O.S.)Off-screen, abbreviated (O.S.), marks dialogue or sound from a source that is physically present in the scene but outside the frame — a character calling from the next room. On multi-camera shows the equivalent is (O.C.), off-camera. Both attach to the character cue. | Off-screen, abbreviated (O.S.), marks dialogue or sound from a source that is physically present in the scene but outside the frame — a character calling from the next room. On multi-camera shows the equivalent is (O.C.), off-camera. Both attach to the character cue. | Definition |
| 039 | Term | Dual dialogueDual dialogue is the formatting used when two characters speak at the same time, with their lines set in two side-by-side columns. It signals that the speeches overlap rather than alternate — useful for arguments, interruptions, and crowd moments where simultaneity is the point. | Dual dialogue is the formatting used when two characters speak at the same time, with their lines set in two side-by-side columns. It signals that the speeches overlap rather than alternate — useful for arguments, interruptions, and crowd moments where simultaneity is the point. | Definition |
| 040 | Term | (MORE) / (CONT'D)(MORE) and (CONT'D) keep a single speech intact across a page break. When a character's dialogue runs off the bottom of a page, (MORE) sits beneath the last line and (CONT'D) rides next to the character cue when the speech resumes at the top of the next page. Most software inserts both automatically. | (MORE) and (CONT'D) keep a single speech intact across a page break. When a character's dialogue runs off the bottom of a page, (MORE) sits beneath the last line and (CONT'D) rides next to the character cue when the speech resumes at the top of the next page. Most software inserts both automatically. | Definition |
| 041 | Term | MontageA montage is a sequence of short shots, presented as a list, that compresses time or shows a process — training, falling in love, a city waking up. In a screenplay it is headed "MONTAGE" and broken into lettered or bulleted beats, each a single image, often scored to carry the passage of time. | A montage is a sequence of short shots, presented as a list, that compresses time or shows a process — training, falling in love, a city waking up. In a screenplay it is headed "MONTAGE" and broken into lettered or bulleted beats, each a single image, often scored to carry the passage of time. | Definition |
| 042 | Term | IntercutAn intercut is an instruction to cut back and forth between two locations that are happening at the same time — most often a phone call between two rooms. Writing "INTERCUT" once lets the dialogue alternate without repeating a full slugline for every switch, keeping the exchange fast on the page. | An intercut is an instruction to cut back and forth between two locations that are happening at the same time — most often a phone call between two rooms. Writing "INTERCUT" once lets the dialogue alternate without repeating a full slugline for every switch, keeping the exchange fast on the page. | Definition |
| 043 | Term | Smash cutA smash cut is an abrupt, jarring transition from one scene to a sharply contrasting one — loud to silent, calm to chaos — with no easing between them. Written "SMASH CUT TO:" flush right, it is used for shock, comedy, or to slam two opposing images together for effect. | A smash cut is an abrupt, jarring transition from one scene to a sharply contrasting one — loud to silent, calm to chaos — with no easing between them. Written "SMASH CUT TO:" flush right, it is used for shock, comedy, or to slam two opposing images together for effect. | Definition |
| 044 | Term | Match cutA match cut transitions between two scenes by aligning a shape, motion, or composition across the join — a thrown bone cutting to a spacecraft, a round mirror to a round moon. Written "MATCH CUT TO:", it links scenes through visual rhyme, carrying an idea forward without dialogue. | A match cut transitions between two scenes by aligning a shape, motion, or composition across the join — a thrown bone cutting to a spacecraft, a round mirror to a round moon. Written "MATCH CUT TO:", it links scenes through visual rhyme, carrying an idea forward without dialogue. | Definition |
| 045 | Term | Cold openA cold open, also called a teaser, is the scene that runs before a show's title sequence. It drops the audience into action with no setup, doing three jobs at once: hooking attention, establishing tone, and planting the question the episode will answer. Common in television and many features. | A cold open, also called a teaser, is the scene that runs before a show's title sequence. It drops the audience into action with no setup, doing three jobs at once: hooking attention, establishing tone, and planting the question the episode will answer. Common in television and many features. | Definition |
| 046 | Term | TeaserA teaser is the pre-title scene in a television script, named for its job of teasing the audience into the episode. In hour drama it is the engine that sets up the week's story; the closing counterpart, the tag, is a short scene after the final act that lands a button or a hook into next week. | A teaser is the pre-title scene in a television script, named for its job of teasing the audience into the episode. In hour drama it is the engine that sets up the week's story; the closing counterpart, the tag, is a short scene after the final act that lands a button or a hook into next week. | Definition |
| 047 | Term | TagA tag is a short scene at the very end of a television episode, after the final act break, used to land a last laugh, a quiet character beat, or a hook into the next episode. It is the bookend to the teaser — brief, pointed, and often played over or just before the end credits. | A tag is a short scene at the very end of a television episode, after the final act break, used to land a last laugh, a quiet character beat, or a hook into the next episode. It is the bookend to the teaser — brief, pointed, and often played over or just before the end credits. | Definition |
| 048 | Term | BeatA beat is the smallest unit of story — a single moment of change, decision, or shift in a character's emotional position. Writers also use "beat" as an in-script pause, written on its own line, to mark a held moment in dialogue. In both senses it is the basic pulse of dramatic action. | A beat is the smallest unit of story — a single moment of change, decision, or shift in a character's emotional position. Writers also use "beat" as an in-script pause, written on its own line, to mark a held moment in dialogue. In both senses it is the basic pulse of dramatic action. | Definition |
| 049 | Term | Beat sheetA beat sheet is a one-page outline that maps a story's major turning points — opening image, catalyst, midpoint, all-is-lost, finale — before a word of script is written. The best-known is Blake Snyder's fifteen-beat Save the Cat sheet, which assigns each beat an approximate page in a feature. | A beat sheet is a one-page outline that maps a story's major turning points — opening image, catalyst, midpoint, all-is-lost, finale — before a word of script is written. The best-known is Blake Snyder's fifteen-beat Save the Cat sheet, which assigns each beat an approximate page in a feature. | Definition |
| 050 | Term | LoglineA logline is a one- or two-sentence summary of a screenplay that names the protagonist, their goal, and the central conflict standing in the way. It is the script's elevator pitch — but more than marketing, it is a structural test: if you cannot write a clean logline, the story usually has a hole. | A logline is a one- or two-sentence summary of a screenplay that names the protagonist, their goal, and the central conflict standing in the way. It is the script's elevator pitch — but more than marketing, it is a structural test: if you cannot write a clean logline, the story usually has a hole. | Definition |
| 051 | Term | TreatmentA treatment is a prose retelling of a screenplay's full story, written in the present tense and running anywhere from one to a dozen-plus pages. It walks through the plot scene by scene without dialogue or formatting, used to develop, pitch, or sell a story before the script exists. | A treatment is a prose retelling of a screenplay's full story, written in the present tense and running anywhere from one to a dozen-plus pages. It walks through the plot scene by scene without dialogue or formatting, used to develop, pitch, or sell a story before the script exists. | Definition |
| 052 | Term | SynopsisA synopsis is a brief prose summary of a screenplay's story, usually a paragraph to a page, that captures the premise, the main characters, and the arc through to the ending. Unlike a logline it includes the resolution, and unlike a treatment it stays high-level rather than scene-by-scene. | A synopsis is a brief prose summary of a screenplay's story, usually a paragraph to a page, that captures the premise, the main characters, and the arc through to the ending. Unlike a logline it includes the resolution, and unlike a treatment it stays high-level rather than scene-by-scene. | Definition |
| 053 | Term | SequenceA sequence is a run of scenes that together form one self-contained movement of a story, with its own small beginning, middle, and end. The classic feature is often built as roughly eight sequences of ten to fifteen minutes each — a mid-level unit between the individual scene and the full act. | A sequence is a run of scenes that together form one self-contained movement of a story, with its own small beginning, middle, and end. The classic feature is often built as roughly eight sequences of ten to fifteen minutes each — a mid-level unit between the individual scene and the full act. | Definition |
| 054 | Term | Act breakAn act break is the structural turning point where one act ends and the next begins — a decisive shift that raises the stakes and changes the direction of the story. In television it is also the literal break for a commercial, written to leave the audience on a hook that survives the ad. | An act break is the structural turning point where one act ends and the next begins — a decisive shift that raises the stakes and changes the direction of the story. In television it is also the literal break for a commercial, written to leave the audience on a hook that survives the ad. | Definition |
| 055 | Term | MidpointThe midpoint is the major turn at the centre of a story, around the halfway mark, that reframes the protagonist's situation — a false victory, a false defeat, or a revelation that changes the stakes. It splits the long second act in two and gives the middle of a script its forward drive. | The midpoint is the major turn at the centre of a story, around the halfway mark, that reframes the protagonist's situation — a false victory, a false defeat, or a revelation that changes the stakes. It splits the long second act in two and gives the middle of a script its forward drive. | Definition |
| 056 | Term | All is lostThe all-is-lost moment is the story's low point, late in the second act, where the protagonist's plan collapses and the goal looks unreachable. It is the dramatic floor — the defeat that forces the character to change before the final push — and is often immediately followed by the "dark night of the soul." | The all-is-lost moment is the story's low point, late in the second act, where the protagonist's plan collapses and the goal looks unreachable. It is the dramatic floor — the defeat that forces the character to change before the final push — and is often immediately followed by the "dark night of the soul." | Definition |
| 057 | Term | SceneA scene is a single unit of dramatic action that takes place in one location and one continuous stretch of time, opened by a slugline. It is the basic building block of a screenplay: a scene begins when the place or time changes and carries one clear piece of the story forward. | A scene is a single unit of dramatic action that takes place in one location and one continuous stretch of time, opened by a slugline. It is the basic building block of a screenplay: a scene begins when the place or time changes and carries one clear piece of the story forward. | Definition |
| 058 | Term | Spec scriptA spec script is a screenplay written on speculation — without a commission or a buyer — to sell on the open market or to showcase a writer's voice. Spec format is clean and reader-focused: no shot numbers, no camera directions, no production markup, since its only job is to be read and bought. | A spec script is a screenplay written on speculation — without a commission or a buyer — to sell on the open market or to showcase a writer's voice. Spec format is clean and reader-focused: no shot numbers, no camera directions, no production markup, since its only job is to be read and bought. | Definition |
| 059 | Term | Shooting scriptA shooting script is the production-locked version of a screenplay, with every scene numbered and revisions tracked, used by the crew to plan and shoot the film. Unlike a spec, it carries scene numbers, locked pages, and coloured revision pages so the whole production references one stable document. | A shooting script is the production-locked version of a screenplay, with every scene numbered and revisions tracked, used by the crew to plan and shoot the film. Unlike a spec, it carries scene numbers, locked pages, and coloured revision pages so the whole production references one stable document. | Definition |
| 060 | Term | ScriptmentA scriptment is a hybrid document, part script and part treatment, that mixes prose storytelling with occasional formatted scenes and dialogue. Coined by James Cameron, it lets a writer sketch a film at treatment speed while dropping into full scene format wherever a moment needs to play in detail. | A scriptment is a hybrid document, part script and part treatment, that mixes prose storytelling with occasional formatted scenes and dialogue. Coined by James Cameron, it lets a writer sketch a film at treatment speed while dropping into full scene format wherever a moment needs to play in detail. | Definition |
| 061 | Term | Scene numbersScene numbers are the figures placed beside each slugline in a shooting script so every scene has a stable address. Once a script is "locked," these numbers never change: new scenes get letter suffixes (47A) and deleted scenes are marked OMITTED, so the whole crew keeps referring to the same set. | Scene numbers are the figures placed beside each slugline in a shooting script so every scene has a stable address. Once a script is "locked," these numbers never change: new scenes get letter suffixes (47A) and deleted scenes are marked OMITTED, so the whole crew keeps referring to the same set. | Definition |
| 062 | Term | Revision marksRevision marks are the asterisks in the right margin of a shooting script that flag exactly which lines changed in the latest revision. Paired with a rotating sequence of coloured pages — blue, pink, yellow, and so on — they let a crew see at a glance what is new without re-reading the whole script. | Revision marks are the asterisks in the right margin of a shooting script that flag exactly which lines changed in the latest revision. Paired with a rotating sequence of coloured pages — blue, pink, yellow, and so on — they let a crew see at a glance what is new without re-reading the whole script. | Definition |
| 063 | Term | A-pageAn A-page is an inserted page in a locked shooting script that adds material without renumbering the pages that follow. When new content lengthens page 12, the overflow becomes page 12A (then 12B, and so on), so page 13 keeps its number and every department's existing references stay valid. | An A-page is an inserted page in a locked shooting script that adds material without renumbering the pages that follow. When new content lengthens page 12, the overflow becomes page 12A (then 12B, and so on), so page 13 keeps its number and every department's existing references stay valid. | Definition |
| 064 | Term | OMIT / OMITTEDOMIT, or OMITTED, is the label that replaces a deleted scene in a locked shooting script. Rather than removing scene 47 and renumbering everything after it, the script keeps the number and marks it "47 OMITTED," so the deletion is visible and every later scene number stays exactly where it was. | OMIT, or OMITTED, is the label that replaces a deleted scene in a locked shooting script. Rather than removing scene 47 and renumbering everything after it, the script keeps the number and marks it "47 OMITTED," so the deletion is visible and every later scene number stays exactly where it was. | Definition |
| 065 | Term | STETSTET is the proofreading mark — Latin for "let it stand" — used on a revised shooting script to cancel a change and restore the original text. When a line was altered in a previous revision and the team decides to revert it, STET in the margin tells everyone to ignore the edit and keep the line as it was. | STET is the proofreading mark — Latin for "let it stand" — used on a revised shooting script to cancel a change and restore the original text. When a line was altered in a previous revision and the team decides to revert it, STET in the margin tells everyone to ignore the edit and keep the line as it was. | Definition |
| 066 | Term | SidesSides are the small excerpts of a script handed out for a specific purpose — the few pages an actor reads for an audition, or the scenes scheduled for a single day of shooting. Pulled from the full screenplay, sides give a performer or crew exactly the pages they need and nothing more. | Sides are the small excerpts of a script handed out for a specific purpose — the few pages an actor reads for an audition, or the scenes scheduled for a single day of shooting. Pulled from the full screenplay, sides give a performer or crew exactly the pages they need and nothing more. | Definition |
| 067 | Help | General settingsApp-wide basics — language, startup, and how Arqo opens. | App-wide basics — language, startup, and how Arqo opens. | 1 min |
| 068 | Help | Editor settingsHow typing works — element cycling, SmartType, autosave. | How typing works — element cycling, SmartType, autosave. | 2 min |
| 069 | Help | Pagination & page formatPage size, margins, and how Arqo breaks pages for print. | Page size, margins, and how Arqo breaks pages for print. | 2 min |
| 070 | Help | Sync across devicesHow your scripts stay current on phone, tablet, desktop, and web. | How your scripts stay current on phone, tablet, desktop, and web. | 2 min |
| 071 | Help | AI settingsWhat Arqo's AI does, what it sees, and bringing your own key. | What Arqo's AI does, what it sees, and bringing your own key. | 2 min |
| 072 | Help | Privacy & your dataWhat's stored, what's encrypted, and what never leaves your device. | What's stored, what's encrypted, and what never leaves your device. | 2 min |
| 073 | Help | Advanced settingsExport defaults, diagnostics, and power-user options. | Export defaults, diagnostics, and power-user options. | 1 min |
| 074 | Help | Start your first scriptOpen the editor, type a scene heading, hit return. That's it. | Open the editor, type a scene heading, hit return. That's it. | 2 min |
| 075 | Help | Use Arqo on every deviceSame editor on phone, tablet, desktop. Same Fountain engine. Same export. | Same editor on phone, tablet, desktop. Same Fountain engine. Same export. | 3 min |
| 076 | Help | FDX round-trip with Final Draft 12Open in Arqo. Export back. Locked scene numbers, A-pages, dual dialogue, revision marks — preserved. | Open in Arqo. Export back. Locked scene numbers, A-pages, dual dialogue, revision marks — preserved. | 3 min |
| 077 | Help | How the memory layer worksCharacters, locations, continuity — surfaced when you ask, hidden when you don't. Never used as training data. | Characters, locations, continuity — surfaced when you ask, hidden when you don't. Never used as training data. | 4 min |
| 078 | Help | Bring your own API keyPro and above. Anthropic, OpenAI, or Google. Free with BYOK on top of your subscription. | Pro and above. Anthropic, OpenAI, or Google. Free with BYOK on top of your subscription. | 2 min |
| 079 | Help | Production PDF exportCover sheet, scene numbers, optional watermark. Distribution-ready. Free tier exports too. | Cover sheet, scene numbers, optional watermark. Distribution-ready. Free tier exports too. | 2 min |
| 080 | Help | Back up and export everythingOne click. FDX, Fountain, plain text, PDF — for every script. Free tier too. | One click. FDX, Fountain, plain text, PDF — for every script. Free tier too. | 2 min |
| 081 | Help | Change your planFree → Pro → Studio → Team. No annual lock-in. Pro-rated to the day. | Free → Pro → Studio → Team. No annual lock-in. Pro-rated to the day. | 2 min |
| 082 | Help | Cancel an accountAccount → Danger zone. 30-day grace period. Deletion certificate by email. | Account → Danger zone. 30-day grace period. Deletion certificate by email. | 2 min |
| 083 | Help | Migration conciergeSwitching from Final Draft, WriterDuet, Highland, or Google Docs? Free white-glove for the first 100 switchers per quarter. | Switching from Final Draft, WriterDuet, Highland, or Google Docs? Free white-glove for the first 100 switchers per quarter. | 3 min |
| 084 | Help | Switch from CeltxComing from Celtx? Land in Arqo via the FDX export bridge — round-trip safe. | Coming from Celtx? Land in Arqo via the FDX export bridge — round-trip safe. | 2 min |
| 085 | Switch | Coming from Final DraftFDX out and back with locked scene numbers, A-pages and revision marks intact. | FDX out and back with locked scene numbers, A-pages and revision marks intact. | Guide |
| 086 | Switch | Coming from CeltxGetting your PDF export back out from behind a subscription. | Getting your PDF export back out from behind a subscription. | Guide |
| 087 | Switch | Coming from WriterDuetCollaboration and the round-trip, plus three months of Pro on the house. | Collaboration and the round-trip, plus three months of Pro on the house. | Guide |
| 088 | Switch | Coming from Fade InFountain underneath both, so the scripts open exactly as written. | Fountain underneath both, so the scripts open exactly as written. | Guide |
| 089 | Switch | Coming from Highland 2Same Fountain, plus an editor that runs off the Mac. | Same Fountain, plus an editor that runs off the Mac. | Guide |
| 090 | Switch | Coming from ScrivenerA screenplay engine instead of a compile preset over a long-form draft. | A screenplay engine instead of a compile preset over a long-form draft. | Guide |
| 091 | Switch | Coming from Arc Studio ProRound-tripping back to Arc or Final Draft when a producer asks. | Round-tripping back to Arc or Final Draft when a producer asks. | Guide |
| 092 | Switch | Coming from StudioBinderWrite here, produce there — the FDX hand-off in both directions. | Write here, produce there — the FDX hand-off in both directions. | Guide |
| 093 | Switch | Coming from Google Docs or WordReal elements, real pagination, real export — instead of tab stops. | Real elements, real pagination, real export — instead of tab stops. | Guide |
| 094 | Brand | Logo and wordmarkThe spiral, the lockup, and the clear space around them. | The spiral, the lockup, and the clear space around them. | Kit |
| 095 | Brand | ColourBone, ink, spring and canopy — with the contrast pairs that pass. | Bone, ink, spring and canopy — with the contrast pairs that pass. | Kit |
| 096 | Brand | TypeThe display, text and mono faces, and the scale they sit on. | The display, text and mono faces, and the scale they sit on. | Kit |
| 097 | Brand | IconsThe glyph set, drawn on one grid at one stroke weight. | The glyph set, drawn on one grid at one stroke weight. | Kit |
| 098 | Brand | MotionDurations, easings, and what we never animate. | Durations, easings, and what we never animate. | Kit |