Getting Started: The Hardest — and Most Exciting — Part

June 8, 2026 · 4 min read · By Chris Stevenson

A Screenplay Assistant storyboard panel: a wide establishing shot of a modest cabin at the edge of a clearing, with the scene description beside it.

For me, getting started with a story is the hardest part. Even after building this app and working so hard to get it just right for you to start writing — and that was hard work — it still seems that the moment I sit down to write, all that effort feels like nothing compared to what I'm about to begin. At the same time, it's really exciting to get going. Now, that may be different for everyone else; I can only speak for myself. Okay — enough of my ranting.

So, in my mind, I create a short story. It's like a self-contained episode that could be the starting point for an entire movie or TV show — but there's a reveal in this one. I'm writing it that way so I get a beginning, a middle, and a great end. What matters in a good story is a strong, lock-them-in beginning (the first ten minutes); the middle matters, for sure; and the ending is key. Below is exactly what I wrote for my first two scenes, and then the screenplay format for each. It's simple, but it's a good start. I'll share both scenes here to give you an idea — even with the worst grammar and spelling, you can focus on the story and let Screenplay Assistant help write the screenplay for you.

Now, because of the way this app works, if you write a character into your first scene, it's really fun to go straight to the Characters page and generate them. So yeah — I did that. Then I went to Storyboard and generated that too… couldn't help myself, and then I made a few video clips. But I realized that as great as all that is, I need to keep writing. That's the key — and I know I can stop anytime and get right back to where I was.

So here is what I wrote — the left side, the writing side:

What I wrote — the writing side
Upstate NY, USA, Camera birds eye view that start from a remote road paralle to a forest tree line, there is a remote exit hard to find that is a dirt  road less used that goes  to a cabin in the woods, its average size cabin, the camer zooms on the front window revealing inside Josh, a mid 20 year old guy, dark curly hair, white, good looking,  wearing a plade green shirt selves rolled up, blue jeans and hicking booths, he is sitting at small wooden table just out side his small cabin kitchen drinking a coffe out of a mug that says "LIKE TEARS IN RAIN..."

Yes — typos and all, on purpose. Focus on the story; let the app handle the screenplay.

And this is the screenplay format. I chose “Creative Polish” — it helps with the flow but takes nothing away from your writing. It's a nice touch, and clean enough to edit, too.

Screenplay Assistant — Creative Polish
EXT. REMOTE FOREST ROAD - UPSTATE NEW YORK - DAY

BIRD'S EYE VIEW. A narrow two-lane road cuts parallel to a
dense forest treeline. The canopy stretches endlessly —
ancient oaks and pines packed tight, barely letting the
light through. From above, the world feels vast, untouched,
and quietly indifferent to human presence.

The camera drifts slowly — a bird glides just left of frame,
then peels away mid-pan. Easy to miss, almost invisible from
the road, a dirt path breaks away from the asphalt.
Overgrown at the edges, tire tracks faint and infrequent. A
road less traveled, in every sense.

The camera follows the dirt path as it winds deeper into the
woods, tree branches arching overhead like a tunnel closing
in. Then — a clearing.

EXT. CABIN IN THE WOODS - CONTINUOUS

A modest cabin sits at the edge of the clearing. Average in
size, weathered wood siding, a stone chimney, a small
covered porch. Humble. Solid. The kind of place that doesn't
ask anything of you.

The camera descends slowly, gliding toward the front of the
cabin, zeroing in on the front window — its glass catching a
faint glare of morning light.

INT. CABIN - SMALL DINING AREA - CONTINUOUS

Through the window, the world inside comes into focus.

JOSH (mid-20s, dark curly hair, white, easy good looks that
seem entirely unintentional) sits at a small wooden table
just outside the cabin's open kitchen. The table is simple —
worn, honest, the kind that's been here longer than he has.

He wears a green plaid shirt, sleeves rolled to the elbows,
blue jeans, and well-broken-in hiking boots. No phone. No
laptop. Nothing on the table but him and the moment.

He wraps both hands around a ceramic mug. On its side, in
faded block letters: "LIKE TEARS IN RAIN..."

He raises it slowly. Takes a long, unhurried sip. His eyes
drift toward the window — toward the trees, toward nothing
in particular. Completely, almost enviably, at ease.
Watercolor portrait of Josh — a mid-20s man with dark curly hair in a green plaid shirt and blue jeans, sitting.
Josh, generated on the Characters page straight from the scene.

Now on to Scene 2, which is really a continuation of Scene 1 — but I wrote it separately so that if I decide to expand Scene 1, with Josh walking around the cabin, I can add it later.

Scene 2 — my horrible writing, raw, no edits, a straight brain dump from my mind's eye. No shame, LOL!

Scene 2 — the writing side (raw brain dump)
Continue..
JOSH takes a glance outside his window and he sees from the road to his house a car is appreaching, he recognizes is soon enough its Frank; Frank is in his 60s a little overweight white man who his an ex cop, you know this by his apprach, he seems relax but siligh couras as well, has he pulls up to the front of JOSH cabin he walks walk out, cut to JOSH getting up to meet him at the door, Frank walks to the door to great JOSH Frank is wearing a light jacket, navy blue and what looks like a police slack paints look like it just fitting him a his belly pops out a bit, not out of shape but at typlical 60 year old man, he has on black boots that like abit millatary grade, underneath his jacket is a black t-shirt, he has a good amout of hair dark and short for his age a few grays on the side, is has a please smile on his face as he appparches, JOSH he say got something for yeah, its in the truck, pretty heavy, he hints he needs help getting it out, JOSH says or nice, I think I know what that is as they walk to the car trunk of the car JOSH contineus to talk, thanks again Frank for going out of your way... frank kindly interupt, not at all buddy for all you did for me, much aappreaded buddy and as I prmoised, all hush hush, I know you value yoru privcie, JOSH says much appreated, Frank oepens the trunk, there reveals a heavy very old looking chest, wood and metal framing, rusted and worn.

Raw and unedited — exactly how it leaves my head. No shame. 😄

And the screenplay result:

Screenplay Assistant — Creative Polish
EXT. JOSH'S CABIN - DAY

Josh stands at his window, gaze drifting to the road. A car
rolls up the long drive toward the cabin — unhurried,
deliberate.

Josh studies it for a beat. He recognizes the car. He
recognizes the man behind the wheel.

FRANK, 60s, pulls to a stop in front of the cabin. He's a
big man — not out of shape, just solidly built the way time
and a desk job will do to a former cop. A little belly
pushing against a black t-shirt beneath a navy blue light
jacket. Police-slack trousers that fit him the way they
always did — barely. Black boots, military grade, worn but
kept.

He steps out of the car with the easy, measured confidence
of a man who spent thirty years walking into rooms he owned.
Relaxed. Slightly cautious. A pleasant smile already forming
on his face.

His hair is dark and cut short — good amount of it for his
age, a few grays creeping in at the sides.

                                                     CUT TO:

INT. JOSH'S CABIN - CONTINUOUS

Josh pushes up from his chair and moves toward the front
door.

                                                     CUT TO:

EXT. JOSH'S CABIN - FRONT DOOR - CONTINUOUS

Frank reaches the door just as Josh opens it. The two men
meet with the quiet ease of people who don't need to perform
for each other.

                           FRANK
          Josh. Got something for you. It's in the
          trunk — pretty heavy. Could use a hand.

                            JOSH
           Oh, nice. I think I know exactly what
                          that is.

They fall into step together, heading toward the back of
Frank's car.

                       JOSH (CONT'D)
          Thanks again, Frank. Really — going out
                  of your way like this...

                           FRANK
                   cutting him off warmly
            Not at all, buddy. Not at all. After
          everything you did for me — this is the
            least I could do. Much appreciated,
            truly. And as I promised... all hush
            hush. I know you value your privacy.

                            JOSH
                  Much appreciated, Frank.

Frank pops the trunk.

They both look in.

Sitting heavy in the trunk is an old chest — deeply old.
Wood and iron framing, the metal rusted through in places,
the wood worn dark and smooth from decades of handling. It
looks like something that was never meant to travel light.

Josh stares at it for a moment.
Full-body image of Frank — a solidly built man in his 60s wearing a navy blue light jacket over a black t-shirt, dark trousers, and black military-style boots.
Frank, ready to generate the moment he walked into the story.

It's really fun when you introduce a new character — I go right to the Characters page, and there's Frank, ready to be generated and come alive. Again, I do head over to Storyboard to watch my mind's eye come to life, and it's pretty awesome. I can't believe how good it is. Sure, some things may not match exactly — it's not perfect — but that's not the point at all. It's enough to get me going, keep my story moving, and even help me edit. As I mentioned in my first blog, I'll be planting some foreshadowing and hints throughout the rest of the story and the ending — and it's really fun that you can do that with Screenplay Assistant and watch it come to life.

Take your time, write each scene, and the next thing you know you're in a groove — just keep plugging away at the scenes. Now that you know character generation will be there waiting, there's no need to keep clicking back. You really don't have to, if you're in the groove; you can rest assured you can go back anytime and bring them to life. And the more you write, the more the app updates for you as you go. It's pretty awesome.

Until next time — I hope to have more written, plus more insights into other features our app provides. Oh, a couple of quick things I noticed while looking at the app: you can edit the title of each scene as you go. There's a lot more you can do, too — so if you ever get stuck, check out How It Works. And if you have a feature idea, click Feedback in your user dropdown and share it. I read them all!

Looking forward — Chris Stevenson