Write

A whole writers' room, inside one project.

Every tool below does one job a real writers' room does: someone who shapes the idea, someone who breaks the story, someone who builds the scene list, someone who writes pages, someone who gives notes. They all work from the same cards, so each one knows what the others decided.

We'll follow one real project all the way through: Station One, a feature that started as one paragraph and became an 83-page screenplay. Every example below is taken from it.

HOW IT FITSMEMORYFORMATSIDEASTORYSCENESWRITEREWRITEAGENTPUBLISHMODELS
00 · HOW IT FITS

Every stage reads the ones before it.

The process runs in the order professionals work: idea, story, scenes, pages, notes. Each stage hands its decisions forward as cards, and nothing downstream is allowed to quietly contradict them. That's why a character introduced on a card in week one still talks like herself on page 70.

IDEAA paragraphStory Mentor · Beat Wizard · Import
STORY50 beatslogline, theme, cast, 34 beats
SCENESA causal scene listeach scene with its engine
WRITEFormatted pagesin a voice you choose
REWRITENotes → changesreviewed before applied
PUBLISHDecks & exportsfrom the same cards

Use all of it

One paragraph in, a formatted first draft out. Station One went from premise to 83 pages in about an hour and a half of wizard runs, and every card along the way stayed editable.

Use one piece

Just want a scene list for the story in your head? Fill the beat cards yourself and run Scene Wizard. Just want notes? Import your draft and ask the room.

Use none of it

Every card is a text field you can type in. The screenplay editor is a real editor. The AI only runs when you press a button.

WHY IT HOLDS TOGETHER

It doesn't forget what you decided.

Anyone who has written with a chat window knows the pattern. The first fifteen minutes are great. Then the details start slipping: a name changes, a rule you set early is broken, an idea from the first hour quietly disappears. Nothing warns you. The model can only hold so much at once, and old messages fall out the back.

BeatBandit doesn't keep your story in a conversation. It keeps it in the project.

A LONG CHAT
0 minYou set it up: Ines, 54, sealed the hatch on her brother. He knocked three times.
15 minGreat scene ideas. The brother is now "Tomás, her cousin".
40 minThe knock is twice now. The rule that no one can override the burn is gone.
90 minYou paste the outline back in and start again.
BEATBANDIT
Cards are the memoryEvery decision lives on a card: characters, rules of the world, beats, scenes. Not in scrollback.
Built fresh, every timeEach AI step is put together from the cards it needs, as they are right now, including the change you made a minute ago.
Written down as it goesEvery part of the screenplay records what it made true (names, props, injuries, who knows what) and the next part must not contradict it.
Checked against your textReview notes have to quote your pages exactly. Made-up quotes are thrown out.

What one writing step actually reads

When the Writer drafts Station One's sequence 7, it doesn't get "the conversation so far". It gets a package assembled for that job: the story beats and treatment, the four scenes it has to write with their beats, the characters in those scenes and how each one talks, the canon ledger from sequences 1 to 6, the setups later scenes depend on, the notes you accepted in review, your Writing Voice, and the last scene of sequence 6.

Almost all of it is your own material. That's why page 70 still knows what page 3 decided.

Instructions
format + writing rules
Story
beats, treatment, genre
Scenes to write
cards + linked beats
Characters
who's here, how they talk
Canon ledger
everything made true so far
Notes & setups
accepted notes, plants
Previous scene
so the seam doesn't show
Writing Voice
how pages read

Gold = your project material.

FORMATS

A different machine for every format.

A feature film, a TV episode and a 90-second vertical drama are different crafts. They break differently, pace differently, and fail in different ways. So each project template in BeatBandit is its own workshop: its own story cards, its own wizards and scene rules, its own writing voices, and a review room that knows what to look for.

FEATURE FILM

Feature Film

The full machine: 34 beats across four acts, eight sequences, a scene list with setups and payoffs, and pages written sequence by sequence. Station One was made here.

FEATURE FILM

Multi-Genre Feature

Pick your genres and each one adds a contract: beats it requires, promises the audience expects kept. Every beat carries its genre job, and review checks for genre debt you haven't paid.

TV

TV Episode, 60 min

Built around acts and act-outs. Its own writing voices, from Network Clean to Premium Lean to Procedural Crisp.

TV · BETA

Season Planner

Weave storylines across a whole season: tentpole episodes, threads, where each one peaks. Review asks showrunner questions like "Is there a spine, not just surface?". Then send each episode to its own TV project.

VERTICAL

Micro-Drama Series

A season of 50 to 100 short episodes. Episode one must orient the audience almost immediately, the first four are planned as a launch, and pace is judged exchange by exchange.

VERTICAL

Micro-Series

Episodes from 15 seconds to 2 minutes, for stories told in short bursts.

SHORT

Short Movie

A flexible scope, with a choice of scene shape: one location, continuous time, or a rapid-cut rhythm.

SHORT

One Scene

Beats straight to pages. For a single scene you want to get exactly right.

COMMERCIAL

Advertisement

From brief to spot: 6 to 105 seconds, for TV, pre-roll or vertical social. It won't invent claims: numbers and "better than" must come from your brief.

BOOK

Novel Adaptation

Turn a finished screenplay into a novel. Every scene gets a decision: preserve, expand, split, merge, reframe, move or omit, because "increased word count alone is not a valid purpose". Then chapters, a voice, a manuscript, and an audit that must quote the source.

01 · IDEA

A paragraph is enough to start.

You bring the part only you can bring: what the story is about. BeatBandit does the structural work of turning it into a story that holds together.

Beat Wizard 50 BEATS FROM ONE PARAGRAPH

Paste an idea, however rough. In one pass, Beat Wizard writes the whole story foundation: logline, theme, designing principle, story world and its rules, the ticking clock, three kinds of stakes, what the hero wants and what they actually need, the opponent's plan, a full cast, and all 34 beats of the four-act structure.

Pick one of 16 story styles (Modern Noir, Heist / Caper, Indie Character Study, Horror, and more), and each brings its own rules. Mystery, for example, insists that all clues must be on screen before the reveal. Or start from one of 25 fill-in shapes: a classic three-act outline, the Hero's Journey, Pixar's Story Spine, a "Dead on Page One" mystery, a heist crew call sheet.

  • It checks cause and effect. The instructions are literal: moving a vehicle doesn't move the people left behind, and holding a recording doesn't mean the opponent can hear it.
  • It doesn't pad. A minor character's wound can stay empty: "Do not invent wounds to fill a schema."
  • One event, many jobs. If the midpoint and the reveal are the same moment, it's written once and referenced, not staged twice.
Premise in, cards out
YOUR PARAGRAPH

"Station One, the first commercial space station, is being shut down after 22 years and will be crashed into the ocean at Point Nemo. Its last occupant is Ines Vasquez, 54, the chief engineer… she hears three knocks on the hull, the way Tomas used to knock on her door when they were kids…"

↓ Beat Wizard · 1 run · 7 credits
Theme
Is true loyalty to the dead demonstrated by maintaining their tomb, or by surviving to carry their memory back to earth?
Antagonist Plan · Hidden Plan
Accelerate remote takeover schedules, bypass Ines's manual abort switches, and trigger the descent burn twelve hours early if her physiological sensors or irrational EVA requests threaten the de-orbit contract.
  • Story MentorRather talk it through? The Mentor asks what a story editor would ask and turns your answers into cards. Suggested edits collect in a Working changes drawer; nothing is saved until you apply it.
  • Take WizardGet 2 to 5 different angles on your premise. The one you pick sets the dramatic engine; your original keeps its names, places and details.
  • ImportAlready have a draft? Bring in a Final Draft or text file. Its scenes and pages become an editable project you can review and rewrite.
02 · STORY

The story bible, before a single page.

Changing the midpoint on a card takes a minute. Changing it in a written draft takes a week. So BeatBandit keeps the big decisions on cards, where they're cheap to change, and every later stage reads from them.

Characters that carry the writing

A character isn't just a name and an age. Each card holds what the writing needs to make them specific: the wound that drives them, a physical clue to it, their flaw, their arc, how they talk, and the texture: habits and objects that make a person feel real.

Those fields aren't decoration. The Writer later receives each scene's focal character's speaking style, and the details travel into the pages.

A detail on a card, and where it ended up
CARD · TOMAS VASQUEZ · SPECIFIC TEXTURE"…always tapping three times on metal surfaces when arriving."
becomes, in the pages
PAGE · SEQUENCE 7TOMAS (V.O.)
He'll knock. Three. So you know it's me.
Characters / Protagonist
Protagonist
Name
Ines Vasquez
Wound clue
A thick, ritualistic scar across the palm of her left hand, the friction burn from manually spinning the dog-wheel hatch shut eleven years ago.
Unique dialogue style
Terse, operational, rhythmically clipped. Withholds personal feelings; speaks in quiet, declarative sentences that soften only when referencing Tomas's handmade tools.
Specific texture
Chews unsweetened dried mango strips at 03:00; wears Tomas's oversized fleece vest with the name tag roughly unstitched; carries a brass torque wrench on her thigh.

A cast designed together

Characters are written as a set, so no two of them sound alike. Each one gets a way of speaking the Writer has to follow. From Station One, exactly as generated:

Character cards · how each one speaks
InesTerse, operational, rhythmically clipped. Withholds personal feelings; speaks in quiet, declarative sentences.
MarcusMeasured, cadence modulated for Houston audio loops. Protocol shorthand: "Copy that", "Stand by for uplink".
MateoSoft-spoken, rapid-fire technical observations. Offers raw data instead of interpretations.
TomasCasual, warm, colloquial Chilean Spanish mixed with engineering slang. Humorous nicknames.

Later, Writing Vitals measures whether the pages kept the promise. See Ines's numbers →

An opponent with a plan

Pressure on the hero should escalate for reasons, not by coincidence. So the opposition gets a plan with five parts. Station One's flight director:

Antagonist plan · Marcus Vance
Public planGuide Ines through standard decommissioning checklists, power down non-essential modules, and supervise her boarding of the return capsule before the burn.
Hidden planBypass Ines's manual abort switches and trigger the descent burn twelve hours early if her sensors or EVA requests threaten the contract.
Attack sequenceFirst, call the hull sounds acoustic illusions; second, restrict her cameras and EVA locks under medical protocol; third, seal her into the return vehicle early.
ContingencyIf she cuts communications, seize thruster command through backup transponders and burn the station regardless.
Weakness exploitedHer compulsive need for technical control, framing her grief as an engineering error.

Look back at the scene chain below: the hatch lockout and the camera restriction are steps two of this plan, arriving on schedule.

34 beats, four acts

Opening Image to Closing Image, via Wound Reveal, Pinch Points, Gate / Gauntlet and Dark Night. The eight that matter most sit on one Key Beats screen.

Stakes in three layers

What the hero loses inside, what they lose in the world, and what the story is arguing about. Station One's: guilt, a capsule and a deadline, and whether surviving means forgetting.

Lenses

Ten cards for looking at the story from another angle: three kinds of stakes, a real dilemma ("zero safe compromise"), revelations, the 3–7 setups the audience must not forget, and the texture of the world.

03 · SCENES

The scene list. The hardest part, done properly.

Ask a working screenwriter what takes longest and many will say the scene list: weeks of index cards, working out how every scene leads to the next, where each plot thread is planted and paid, where the story breathes and where it tightens. Most people who start a screenplay never get through it.

Scene Wizard builds that list from your beats, with the reasoning a good story editor would apply, and it writes the reasoning down so you can see it and change it.

Every scene knows why it exists

Each scene card holds the full dramatic engine of the scene, not a one-line summary: whose scene it is, what they want by the end, what's underneath, where it turns, the dilemma, the choice, what's different afterwards, and what shoves us into the next scene. Plus which beats it serves and which earlier scene it depends on.

The instruction behind it: every scene must leave the story in a new state it will not return to. The fallout is written as a change, from X to Y.

Scene 9 card
Scene 9 · Sequence 2 · reveal · intensity 7
Ines spots Tomas's scorched four-legged repair drone crawling on the solar truss.
FocalInesGoalAcquire visual confirmation of the object striking the outer hull.SubtextValidation of her sanity battles the terror of confronting a ghost.Turning pointCamera glare clears, revealing Peanut clinging to the truss rails.CrisisReport the finding to Houston or keep the discovery private.ClimaxShe snaps high-resolution optical frames of the autonomous drone.FalloutInes proves to herself that Tomas's handmade machine survived eleven years.Push forwardThe drone's battery indicators blink critical red on telemetry.ServesBreak Into Two

"Therefore", not "and then"

Each scene's push-forward becomes the next scene's trigger. Before it returns the list, Scene Wizard traces these dependencies across the whole story, and it's told not to invent a convenient rescue to hide a missing link. Here are four consecutive scenes from Station One, exactly as generated:

Scenes 7 to 10 · push forward → inciting incident
SCENE 7

Thorne orders Marcus to lock down exterior hatches and accelerate de-orbit.

PUSH FORWARDThe station's master terminal displays an administrative hatch seal.
INCITING INCIDENTThe external hatch display locks out manual EVA commands.
SCENE 8

Ines consults Tomas's handwritten digital maintenance journals for guidance.

PUSH FORWARDShe redirects optical diagnostic cameras toward the P6 truss.
INCITING INCIDENTInes manually slews the exterior diagnostic camera to the mast.
SCENE 9

Ines spots Tomas's scorched four-legged repair drone crawling on the solar truss.

PUSH FORWARDThe drone's battery indicators blink critical red on telemetry.
INCITING INCIDENTHouston's remote override rejects her EVA authorization credentials.
SCENE 10

Ines uses a legacy mechanical bypass bar to manually vent the locked airlock.

PUSH FORWARDHouston monitors light up with an unauthorized airlock cycling warning.

The shape is data, not a feeling

Every scene gets an intensity from 1 to 10 and a type of turn. The rules: intensity is a curve, not a setting; put a genuine low right before each major peak; each act climbs higher than the last; and don't follow a scene with another of the same kind. This is Station One's actual curve, all 36 scenes:

All 36 scenes · intensity and turn type
2
3
4
5
4
5
6
4
7
7
6
6
5
8
7
6
8
7
5
7
7
6
8
7
7
9
8
6
8
8
7
9
8
9
3
2
ACT I · peak 7ACT IIA · peak 8ACT IIB · peak 9ACT III · peak 9, then down to 2
decision 7reveal 6quiet-true 5reversal 5collision 4setback 3relief 3refusal 2cost-paid 1

Setups have an address

If a scene depends on something planted earlier, the card names the plant and the scene where it's planted. In Station One, the final scene where Ines spins the capsule hatch shut is tied back to the Wound Reveal, where she freezes at the same kind of wheel.

Eight mini-movies

Scenes are grouped into eight sequences, each with its own job ("Seq 6: bad guys close in"), and each Act 2 sequence changes the objective, the opponent or the arena so the middle doesn't sag. Thrillers must visit the antagonist's side before the midpoint.

Checked before you see it

The list is checked for scenes after the closing image, sequences that are too thin or too fat, and epilogue drift ("years later…"). The save is all-or-nothing: you never get half a list.

Twelve ways to break the same story

The same beats make a different film depending on what you prioritize. Choose an approach and edit its instructions if you like:

Macro-Plot IntegrityFaithful to the beats, strict cause and effect, clean setups and payoffs. The default.
High-Drama PassConflict first; quiet moments become suspense coils.
Character-Interior LensBuilt around what the hero feels, wants and needs.
Motif & Payoff WeaveKey images and promises, without making every scene announce the theme.
Pace & Rhythm EngineNo two adjacent scenes at the same emotional temperature.
Visual-Cinema ModeSet-pieces and geography, less talk.
Set-Piece GeometryClear space, shifting objectives, reversals.
Lean-Budget BlueprintFewer locations, cast and effects; beats consolidated.
Dialogue ChamberSubtext, status games, blocking.
Comedy Beat BuilderConflict lands laughs before it resolves.
Atmosphere & Mood BathImmersion first: horror, noir, art-house.
Playful RemixShuffle, merge or split beats; non-linear and POV shifts allowed.

Every object has a route

Sequence Wizard reads the whole outline and writes notes for each of the eight sequences, including the threads that must run through all of them. One of Station One's, word for word: "Track the brass torque wrench from routine maintenance tool on Ines's hip, to tether anchor, to electrical circuit bridge, and finally to symbolic release into the sea." And here's where the pages delivered each stop:

Sequence Wizard thread · the brass wrench
SEQ 1A tool

A brass torque wrench rides her right thigh on a short lanyard. The knurled handle is rubbed bright.

SEQ 3An anchor

Flung off the truss, she arrests her drift by lodging the wrench behind a radiator flange.

SEQ 6A bridge

The fuses are melted. She jams the wrench across the bus bars. "T.V." is scratched into the handle.

SEQ 8Let go

In the Pacific, she drops the wrench into the sea. She keeps Tomas's drive.

  • Sequence WizardEach sequence is written separately, so this writes the notes that glue them together, the hints one pro writer leaves another. It tracks who knows which secret, injuries, deadlines, and resources like cash, battery or, in Station One, oxygen. If something doesn't add up, it writes "Unresolved:" instead of inventing a fix.
  • Treatment WizardA readable prose treatment, about 600 words per act, in one of 10 styles, from Minimalist to Marketing / Pitch. It is told not to invent new story, and to show inner change through action: "She hands over the gun."
04 · WRITE

Pages that sound like people.

Most AI writing sounds like AI writing: everyone articulate, every feeling named, every scene ending on a quotable line. BeatBandit's Writer works under a set of rules designed against exactly that.

Writer Wizard

Write a sequence, an act, half the script or all of it. A full script is written act by act, each part checked before the next begins. For every part, the Writer gets exactly what it needs and nothing it could confuse:

  • the scene cards for this part, with their beats
  • the characters in these scenes, with how each one speaks
  • the canon ledger: every name, prop, injury and secret established so far
  • setups that later scenes depend on
  • the notes you accepted in review
  • the last scene of the previous part, so the seam doesn't show

After each part, the Writer lists every new fact it introduced, or states "No new canon." Later parts are told: "Never rename, re-introduce, or contradict them."

Sequence 7, the recording

A cough. A long breath.

TOMAS (V.O.)

He'll knock. Three. So you know it's me. And then you go home. Vive, ¿ya? Live, Ines. That's the job.

Breathing. Hiss.

What the Writer is told

A short contract that's always on, whatever style you choose. A few of its rules:

Every line pursues something the character wants right now: to get, stop, hide, refuse, correct, connect or survive.
"Most individual lines should not be remarkable or identifiable in isolation."
Action stops at what a camera or microphone can capture. No narrating what someone realizes.
No thesis lines, slogans or trailer-copy endings to scenes.
Characters don't know the outline. They want something now.
A final pass finds the most polished-sounding dialogue and roughens it.

The canon ledger

An 83-page script is written in parts, and parts forget. So after every part, the Writer records what it just made true. The next part reads the whole ledger before writing a word. Real entries from Station One:

Canon ledger · Writer notes, sequences 1–6
SEQ 1Knocks recurred at 90 min +4 sec, 03:04 station time; TOA triangulation fix at P6 truss, residual 1.8 cm
SEQ 2Drone's name 'Peanut' not yet revealed on screen
SEQ 4Ines dogged the Maya hatch on Tomas at 14:51 UTC eleven years ago; the recording starts one minute later
SEQ 4Peanut runs only on solar power; it will go dark in orbital shadow
SEQ 5Download froze at 84%; Peanut display: AUD_UNCMP_01 / XFER ABORT / CRC ERR; Peanut dark
SEQ 6Portable O2 bottle gauge is now in the red reserve
SEQ 6Setup obligation 30.10.13 already executed in Sequence 1; not repeated

That's why, two sequences later, Peanut wakes up only when the sunlight comes around the station, and why the download is still stuck at exactly 84%.

Who wins an argument

A Writer gets instructions from many places: your voice, the character cards, the story, your note for this run. When they disagree, a fixed order decides:

  1. Format, length and runtime
  2. The always-on writing rules
  3. The story structure
  4. How each character speaks
  5. Your Writing Voice
  6. Your direction for this run
  7. Everything else in the project

Tells it checks for

After writing, the pages are scanned for phrases that give AI prose away, and anything found is reported to you:

a flicker ofsomething shiftsthe weight ofThe truth isThat landsI feel likeIt's not X, it's Y

Writing Voice

Choose how the pages read: Classic Hollywood, Kinetic Action, Intimate Naturalism, Literary & Atmospheric or Comic Precision, each with a sample scene. Or describe your own and get two versions to choose from, or paste your own pages and let it infer your voice. The exact instructions sent to the model are shown to you.

Screenplay Editor

Industry formatting as you type, full revision history, and the scene rail: each scene's goal, turn and crisis beside the page. Six scene tools (Sharpen the turn, Stronger button, Make it visual…) each offer three alternatives for one scene.

Dialogue Checker

Every line one character says, in order, scene by scene. The fastest way to hear whether they sound like one person, and to fix a line where it sits.

05 · REWRITE

Notes you can actually act on.

Getting notes is easy. Turning a note into the twelve small changes it implies, across cards and pages, without breaking anything else, is the real work. That's what these tools are for. Every one of them proposes; you decide.

Room Review

A reviewer reads the whole project and gives up to ten ranked notes. Choose who's in the room: a balanced editor, a blunt producer ("ask what changes because this scene exists"), a character detective, or an emotional reader.

  • Notes cite the page. Every note quotes the passage it's about, and the quote is checked against your text. Invented quotes are rejected.
  • No quota. "An empty notes list is correct" when there's nothing wrong.
  • Decisions stick. Choices you've already made aren't argued with again. Each note has a next step: work on it, inspect it, or explore alternatives.

Revise

Describe one change, for example "Marcus gave the order to close the hatch", and Revise finds everything it touches: the character card, the scenes that depend on it, the lines of dialogue that now mean something else. It looks for the smallest change that works, then rereads nearby setups and payoffs.

You see every card and page change before and after, with a reason. Tick what you want. Unticked items wait.

A polish pass on Station One

The first draft's weakest character was Thorne, the corporate executive: he wanted what everyone else wanted and sounded like everyone else. A character rewrite proposed 31 edits; we kept 13. Two of them:

Character rewrite · Thorne
Before
THORNE
Her EVA isn't authorized.
After
THORNE
EVA complement is one. That's the approved number.
Before
He keys his executive pass against the console reader.
After
His pass touches the reader. Stops there for one beat. Then presses flat.

Writing Vitals: the numbers behind the prose

Thirteen checks that run on the pages in an instant, with no AI and no credits: vague reactions, narrated feelings, emotion parentheticals, action paragraphs over 60 words, a gesture used four times, scenes that are all the same length, and two characters who sound alike. It measures; you decide. Station One, before and after its polish pass:

Writing Vitals · first draft → polished draft
Warnings9 → 0all nine were (beat)-style parentheticals
Parentheticals per speech0.048 → 0.009only blocking notes remain
Ruiz vs Thorne, voice similarity0.80 → 0.72after the Thorne character rewrite
Dialogue to action0.19a quiet, behavior-driven script
Writing Vitals · character voice

And did Ines stay terse? Her card said so. The pages say:

CharacterWords spokenAvg. sentenceFragments
Ines3032.8 words71%
Marcus9044.5 words41%
Mateo6104.1 words51%
Thorne3104.6 words49%
Dr. Ruiz2526.0 words29%

The protagonist of an 83-page film says 303 words. That's a choice the character card made, and the pages kept it.

Four reviewers

A balanced editor, a blunt producer, a character detective who only watches relationships, and an emotional reader who only tracks what the audience feels. Same pages, very different notes.

Creative Canvas

Stuck? Pick up to three cards and get exactly four directions, on a dial: grounded, bolder, surprising, wild card. Each says what it opens and closes downstream. Apply one, or keep talking.

Polish · Continuity · Analysis

Nine polish passes, from dialogue to exposition. A continuity audit after big changes. And a scored analysis with comps and a logline rewrite, which won't demand a happy ending you didn't choose.

06 · AGENT

Talk to the project instead of clicking through it.

The BeatBandit Agent reads your cards and pages and can run any of the tools above. Anything that costs credits, rewrites broadly or deletes waits for your Confirm.

Working changes

Edits from a conversation collect in a drawer. Change them, drop them, or apply them together. Applying is one step with a receipt.

Confirm means confirm

Each approval is single-use and bound to the exact action, project and arguments you saw. It can't be replayed or quietly reused for something else.

Your own AI, via MCP

Connect Claude, ChatGPT or any MCP client to the same 33 tools. Most of Station One was built this way, by an outside agent running the wizards through MCP. MCP docs →

07 · PUBLISH

Out into the world.

Your work leaves with you, in the formats people actually ask for.

Exports

15 formats: screenplay PDF, Final Draft, Fountain, Word, a project bible PDF with treatment and cards, shot lists, and more.

Pitch deck & trailer

Five deck templates, from a five-slide teaser to a twelve-slide production package, as PowerPoint or PDF. A trailer script in one of 14 styles.

Models

The best models, your choice.

BeatBandit writes with the leading models from OpenAI, Anthropic and Google, plus DeepSeek and the strongest open models for creative writing. Pick one per project and switch any time: a lighter one for brainstorming, a stronger one for the pages. New models are added as they come out.

  • OpenAI
  • Anthropic
  • Google
  • DeepSeek
NEXT

Script done? Take it into Produce →

Shot lists, consistent references, storyboards, sound and video, from the same project.