For feature writers and filmmakers
Feature Film
Build your feature on a guided structure, premise to final draft.
A feature asks you to hold 90 to 120 minutes of story in your head at once. Screenburn breaks that job into the questions working screenwriters ask, and your answers assemble the architecture before you write a line of dialogue.
Acts, sequences, scenes
Screenburn organises the story into acts, sequences, and scenes, and maps your premise onto a working structure up front. At every point in the draft you know where you stand, what the scene must accomplish, and what the story needs next. The blank page never gets to set the agenda.
Characters with jobs to do
Every character earns a place through function. Screenburn defines your protagonist, antagonist, and key support through their relation to the central conflict and the thematic argument, and the ensemble arrives on the page with work to do rather than biographies to recite.
Output the industry reads
Export to PDF, Final Draft (FDX), or Fountain with scene numbers and title pages in place. On the Studio tier, forensic watermarking marks every export so a leaked draft traces back to the copy that leaked.
What you get
- ✓Guided development across all three acts
- ✓Character function mapping
- ✓Beat tracking, scene by scene
- ✓PDF, FDX and Fountain export
- ✓Forensic watermarking (Studio)
- ✓Live collaboration in the editor
Ready to write?
Screenburn is free to start. No credit card required.
How a feature holds two hours
A feature runs a hundred-plus pages, and the shape that holds them has kept audiences in seats for a century. Three acts: Setup, Confrontation, Resolution. Each act has a job, a length, and a door at the end that locks behind you. Learn the jobs and the doors, and the two hours stop being a void.
Act One spends its thirty pages answering two questions: whose story runs here, and what breaks their world open? The first plot point lands around page twenty-five and shoves the protagonist into the central conflict with no road back. Miss that door and the film sits in neutral while the audience checks the time.
Act Two covers sixty pages, and sixty unplanned pages will drown any writer. The midpoint splits the act in half. Through the first half the hero reacts, improvises, and survives on luck; the midpoint flips the board with a false win or a hard loss; through the second half the hero drives. Pinch points near the quarter and three-quarter marks keep the antagonist's breath on the hero's neck.
The second plot point fires around page eighty-five and launches Act Three: thirty pages where every planted promise comes due. Act Three answers the dramatic question in full. The protagonist pays the price or ducks it, and the audience judges the duck.
Structure gives you the skeleton; the transformational arc supplies the nervous system. The inner journey moves through four stations. The Orphan clings to a false belief that once kept them safe. The Wanderer goes hunting for something better and resists the change the whole way. The Warrior fights for the new way of being. The Martyr gives up the old self so the new one can live. Lay that arc over the acts and the plot turns into a person changing under pressure.
Theme is the claim the whole machine exists to prove, and every scene either tests it or steals time from one that would. Learn the paradigm cold, learn the arc deeper, and then break both on purpose once you know what they carry. Screenburn walks the paradigm and the arc with you one decision at a time, so the morning starts with a question rather than a blank page.
Put it to work
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