Draftlight is a free screenwriting app that runs in your web browser. It has five parts: a Script editor that formats your pages automatically, a Story tab for your logline, synopsis, treatment, pitch sheet and characters, a Beat Board for planning your story, a Storyboard where you plan and draw each shot with a checklist of what it needs, and Reports that break your script down the way a production would. There is nothing to install and no account to create.
Go to the Draftlight web address. The start screen appears with three choices:
| New script | Choose the kind of script first: short film, feature film, TV half-hour, TV one-hour, or a two-column Documentary or AV script. It sets your page goal, and TV scripts start with their act breaks in place. |
| Open from computer | Opens a .draftlight project you saved earlier, or a Final Draft (.fdx) or Fountain (.fountain) script. |
| Try the sample | A short finished scene with beats and storyboards, so you can explore every feature before writing your own. |
Below these, On this device lists every project saved in this browser. Click Resume to pick up exactly where you stopped.
| Top bar | Projects returns to the start screen. File opens, saves, prints and exports. The tabs switch between Script, Story, Beat Board, Storyboard and Reports. Title Page, the light/dark switch and Help are on the right. |
| Toolbar | Changes with each tab. In the Script tab, from left to right: the current element, Undo and Redo, Find, Insert, + Note, ✓ Check and Drafts (snapshots and revision colors). On the right are the next-step hint, which tells you what Enter and Tab will do, the View menu (zoom, scene numbers, bold scene headings, automatic CONT'D, reading options) and Focus. |
| Scene list | The left panel lists every scene with its page and length. Click a scene to jump to it, or drag it by the ⠿ handle to move it. The Notes tab holds comments on your lines, and the Check tab lists format and craft suggestions. |
| Page | Your script on real US Letter pages. The grey label in the left margin names the element the cursor is in. |
| Status bar | Current page, scene count, estimated screen time, word count, your goal and save status. |
Every change is saved in this browser within a second. You will see Saved on this device in the status bar. To keep a copy you can take anywhere, use File → Save to computer (Ctrl S). If you haven't saved a copy for a few days, Draftlight reminds you. See Saving, opening and exporting.
Click ◎ Set a goal in the status bar to choose a page goal, a due date and, if you like, a number of words a day. The status bar then shows your progress, such as 8 / 12 pages · 5 days left, and the Goals window shows how much you wrote each day this week, your streak, and how many pages a day will get you to the goal.
While you write, Draftlight keeps a simple record of when you wrote and how much: minutes, words written and deleted, and sessions. It never records the words themselves, and it stays in your project. Print writing record in the Goals window turns it into a page you can hand to a teacher to show your process. It is a record, not proof: you can clear it at any time.
A screenplay is made of elements: scene headings, action, character names, dialogue and so on. Each has its own margins and capitalisation. In Draftlight you never set margins yourself. You choose the element, and the page formats itself.
| Scene Heading Ctrl 1 | Where and when a scene happens: INT. KITCHEN - NIGHT. INT. means inside, EXT. outside. Typing INT. or EXT. on a new line turns it into a heading automatically. |
| Action Ctrl 2 | What we see and hear, written in the present tense. Keep paragraphs short: three or four lines. |
| Character Ctrl 3 | The name of the person speaking, in capitals, centred above their dialogue. |
| Parenthetical Ctrl 4 | A short note on how a line is said, such as (quietly). Use it only when the meaning would otherwise be unclear. |
| Dialogue Ctrl 5 | What the character says. |
| Transition Ctrl 6 | An edit instruction like CUT TO: or FADE OUT., aligned to the right. Most modern scripts use very few. |
| Shot Ctrl 7 | A camera direction such as CLOSE ON THE LETTER. Use sparingly; the storyboard reads these when it builds frames. |
| General Ctrl 8 | Plain text with no special formatting. |
| Act Break Ctrl 9 | For TV scripts: ACT ONE, TEASER or END OF ACT ONE, centred and underlined. Each new act starts on a new page. |
The View menu has three options that change only how the page looks on screen. Printed and exported scripts always use standard Courier.
| Screen font | Atkinson Hyperlegible Mono was designed to be easier to read, with letters that are hard to mix up. It is sized to match Courier exactly, so your page count stays the same. |
| Highlight the line I'm on | Fades every other line, which helps you keep your place. |
| High contrast | Black text on white with stronger lines. |
Enter starts the element that usually comes next. Tab changes the element you are in. The hint at the top right always shows what each key will do.
| After a… | Enter gives you… | Tab changes it to… |
| Scene Heading | Action | Action |
| Action | Action | Character |
| Character | Dialogue | Transition |
| Dialogue | Action | Parenthetical |
| Parenthetical | Dialogue | Dialogue |
| Transition | Scene Heading | Scene Heading |
Press Enter on an empty line to open a menu of all elements; press the highlighted letter (S, A, C, P, D, T, H, G) to choose one.
Some moments have a standard way of being written: a montage, a phone call between two places, a flashback, a text message. Insert ▾ in the toolbar adds the correct lines for you, with placeholder words in [square brackets] to type over. Most of them go after the line the cursor is on. The voice items change the speech the cursor is in. ✓ Check lists any placeholders you forget.
| Dual dialogue | Two characters speak at the same time. Their speeches print side by side. |
| Montage | Time passing, or a process, in quick moments: MONTAGE - JO LEARNS TO SKATE, then one line per moment and END MONTAGE. |
| Series of shots | Like a montage, but the shots tell one event in order, lettered A), B), C). |
| Intercut phone call | Set up both places with scene headings once, write INTERCUT - PHONE CONVERSATION, then write the call as ordinary dialogue. |
| Phone call, one side seen | We stay with one caller. The voice on the other end is marked (V.O.). |
| Flashback / Dream | Add (FLASHBACK) or (DREAM) to the scene heading and say clearly when we return: BACK TO PRESENT. Use flashbacks sparingly. |
| Insert | A close look at something the audience must read, such as a letter or a sign: INSERT - THE LETTER, what it says, then BACK TO SCENE. |
| Text message | An insert of the phone screen with the message in quotes. Keep it short. |
| Super / Title card | SUPER: "Paris, 1944" prints words over the picture. A title card shows words on a black screen. |
| Point of view (POV) | Exactly what a character sees, ended with BACK TO SCENE. |
| Voice-over (V.O.) | A voice from outside the scene: a narrator, a voice on the phone or radio, a character's thoughts. |
| Off-screen (O.S.) | The speaker is in the scene but out of sight, such as in the next room. |
| Pause (beat) | Splits the speech at the cursor with (beat). Use it only when the pause matters. |
| Another language | Write the line in English and add (in Spanish; subtitled) so readers can follow it. |
| Song lyrics | A (singing) parenthetical, with lines separated by /. Use only lyrics you wrote or that are in the public domain. |
| Continuous / Later | Scene headings ending in CONTINUOUS (no time skipped) or LATER (same place, time has passed). |
These follow the conventions taught in standard formatting guides such as Dave Trottier's The Screenwriter's Bible. As his book stresses, use them for clarity or dramatic effect, not decoration.
INT. CLASSROOM - DAY. Suggestions appear as you type; press Enter or Tab to accept one.Rain streaks the windows. JO (15) stares at a blank page. New characters are written in CAPITALS the first time they appear.JO and press Enter.Okay. Just one line.(whispering)), press Tab on an empty dialogue line straight after the character name, or at the end of a line of dialogue. It becomes a Parenthetical and Draftlight adds the brackets. Type whispering and press Enter to continue with the dialogue.Character names and locations you have already used are suggested automatically. In a two-person conversation, the other speaker is suggested first.
Documentaries, commercials, PSAs, news stories and explainer videos are usually written as a two-column script, also called an AV script (audio-visual). The picture goes in the left column and the sound in the right, so you can see what the audience hears during each shot. Choose New script → Documentary or AV script. Both use the same two-column page. Documentary starts you with an interview, b-roll and narration; AV script starts with an open and a close.
| Section Ctrl 1 | A part of the film, such as OPENING or THE STORM. It spans both columns. Sections work like scenes for the scene list, Beat Board and Storyboard. |
| Video Ctrl 2 | What we see, in the left column: B-ROLL: Boats leave the harbour at dawn. |
| Audio Ctrl 3 | What we hear, in the right column, starting with a label in capitals: NARRATOR (VO): Every morning, the boats go out. |
| General Ctrl 4 | A note that spans the page. |
Each Video line and the Audio lines after it make one row and print side by side. Enter goes from Video to Audio to the next row's Video. Tab at the end of a line starts the other column. In an audio cell, start typing a label and Draftlight suggests the ones you have used.
| B-roll | Supporting footage that plays over narration or a sound bite. |
| Interview | Someone speaking on camera. Name them and give the framing: INTERVIEW: Rosa Diaz, harbour master. MS. |
| Lower third | The name and title shown on screen the first time someone speaks. |
| Archival | Old photos or footage. Note where they come from, since you need permission to use them. |
| Recreation | A staged scene. Label it so viewers never mistake it for real footage. |
| VO | Voice-over: narration heard over the pictures. |
| SOT | Sound on tape: a piece of an interview. Write the IN cue (first few words) and the OUT cue (last few words) so the editor can find it in the transcript. |
| NAT sound | Natural sound recorded on location: waves, traffic, a crowd. |
| Music cue | How music enters, for example ESTABLISH, THEN UNDER: it starts full, then drops beneath the voice. |
The Insert menu changes to match: new rows and sections, interview, b-roll, archival, recreation, graphic, lower third and super for the picture, and narration, sound bite, natural sound, music, sound effects and silence for the sound.
Instead of one page a minute, a two-column script is timed by its sound. Draftlight estimates running time from the audio column at about 140 words a minute, plus about 3 seconds for each picture with nothing said over it. The status bar shows the total, and the scene list shows each section's length. Read your narration aloud with a timer to check it.
Many documentaries are only fully written after filming. A common way to work: write a treatment in the Story tab, plan interviews and b-roll here, film, then rewrite the script around the best sound bites from your transcripts.
On a Mac use Cmd wherever you see Ctrl.
| Enter | Next logical element (or the element menu on an empty line) |
| Tab / Shift Tab | Change the current element forward / back. At the end of a line of dialogue, Tab starts a parenthetical on a new line; at the end of an action line, it starts a new character name. |
| Ctrl 1 … Ctrl 9 | Scene Heading, Action, Character, Parenthetical, Dialogue, Transition, Shot, General, Act Break |
| ↑ ↓ then Enter | Choose from a suggestion list |
| Esc | Close a suggestion list or menu; leave Focus mode |
| Ctrl D | Dual dialogue on or off for the current speech (also in Insert) |
| Ctrl Z / Ctrl Shift Z | Undo / redo (Ctrl Y also redoes) |
| Backspace at the start of a line | Joins it to the line above |
| Ctrl F / Ctrl H | Find / find and replace |
| Enter / Shift Enter in Find | Next / previous match |
| Alt Shift ↑ / Alt Shift ↓ | Move the scene the cursor is in up or down |
| Ctrl S | Save to computer (keeps saving to the same file in Chrome and Edge) |
| Ctrl Shift S | Save a copy as a new file |
| Ctrl O | Open from computer |
| Ctrl P | Print or save as PDF (the storyboards when you are in the Storyboard tab) |
| F1 | Open Help |
| Ctrl / | Open this list of shortcuts |
| Drag a card's top edge | Move the card |
| Drag empty space | Move around the board |
| Ctrl + scroll | Zoom in and out |
A beat is a moment where the story turns. Planning your beats before you write pages makes the first draft much faster, because you always know where the scene is heading.
The board is divided into Act I, Act IIA, Act IIB and Act III. Structure templates lays out a complete set of cards from a well-known structure:
| Fifteen-beat sheet | A detailed commercial structure, from Opening Image to Final Image. |
| Three-act structure | Setup, confrontation and resolution with the main turning points. |
| Hero's journey | Twelve stages of a mythic adventure. |
| Story circle | Eight simple steps: want, go, find, pay, return, change. |
Rename the template cards so they describe your story.
The Story tab holds the writing that goes around a script. Teachers, producers and festivals often ask for these, and writing them makes the script better.
| Logline | Answer four questions: who it's about, what they have to do, what stands in the way, and what happens if they fail. Draftlight builds a first sentence from your answers; rewrite it in your own words until it's sharp. Aim for under 35 words. |
| Synopsis | The whole story in about one page, present tense, including the ending. Start from my Beat Board copies your cards in order as a starting point. |
| Treatment | A longer prose version of the film, scene by scene. Start from my scenes adds a rough paragraph for each scene to rewrite. |
| Pitch sheet | A one-page summary with your title, logline, genre, format, a short synopsis, the main characters, who it's for and what it's like. Print it or save it as a PDF. |
| Characters | A page for each character: what they want, what they need, what stops them, their flaw, who they are at the start and the end, and how they speak. Everything they say lists all their lines together. Reading one character's lines in a row is the quickest way to hear whether they sound like themselves; click a line to go to it. |
| Scene changes | For each scene, write where things stand at the start and at the end, and whether things got better or worse. A scene where nothing changes is marked, and the strip of ▲ and ▼ shows the rhythm of your story at a glance. |
Synopsis, treatment and pitch sheet each have a Print / Save as PDF button, and print with your title.
The Storyboard tab helps you plan how each scene will be filmed. Draftlight does not draw your storyboard for you. It sets up the frames and tells you what each one needs; you decide what it looks like. Click Build frames and every scene gets a row of empty frames, each with a shot size and a checklist of what to draw.
| Scenes (left) | Every scene and how many frames it has. Click one to open it. |
| Frames (middle) | The scene's text at the top, then its frames. An empty frame shows its checklist; a frame you have drawn shows your drawing. The corner shows how much of the checklist is done, such as ✓ 2/4. Each line of text shows which frames came from it, such as 2C. Click a line to jump to its frame. Drag frames to change their order, for example to plan the shooting order or try a different edit. Moving frames changes only the storyboard: it never moves scenes or lines in your script. To reorder the script itself, drag scenes in the Script tab's scene list. |
| Frame editor (right) | Click a frame to see its checklist, draw it, and set the shot size, camera angle and camera movement. |
Each frame's To draw list is read from its line of the script:
| 👤 Characters | Who is in the frame and what they are doing, read from the verbs: running, kneeling, aiming, on the phone, holding a flashlight, shouting, toward VOSS. Sitting and props in hand carry on from line to line until the script says otherwise. “He” and “she” follow the last person named. |
| ◆ Objects | Props, vehicles, machines, weapons, furniture and animals named in the line, with where they are when the line says so: on the table, in the sky, in the distance. |
| 👥 Background people | Crowds, guards, soldiers, nurses and other extras. |
| ✸ Effects | Explosions, fire, smoke, sparks, gunfire, lightning, rain, snow, fog, darkness and more. |
| ✎ Notes | Your own reminders. Click + Note. |
Settings and backgrounds are not listed: where the camera is and what the location looks like are yours to decide. Tick items as you draw them. + Character or element adds something the line doesn't name, and the word can be remembered for every scene.
Click ✎ Draw this frame. The checklist sits beside the frame while you work.
| + Place | Drops a ready-made drawing into the frame: a character in the pose the line describes, holding what they hold, or a prop, vehicle, animal or effect. It starts at a size that suits the shot. Place all in the frame editor places everything at once. |
| ✥ Move | Click a placed drawing to select it, then drag it. Use − and + to resize, ⇋ Flip to face the other way, the pose list to change what a character is doing, Bring to front and Remove. Arrow keys nudge it; Delete removes it. |
| Pencil, Red marker, Eraser | Draw freehand over everything. |
| ➜ Movement arrow | Drag to draw a blue arrow showing where a character or vehicle moves. Camera moves are shown as red arrows. |
Save frame keeps your work; Cancel leaves the frame as it was. Placed drawings are simple stand-ins for planning. Draw over them, replace them, or skip them and draw everything yourself.
Every frame is labelled, for example MS · Medium · Low angle · Tracking. In the frame editor, the shot sizes are picture buttons that show how much of a person each one includes; a short explanation appears under your choice. Shot guide in the toolbar shows every option with an example.
| Shot sizes | Establishing, Extreme wide, Wide, Full, Medium wide, Medium, Medium close-up, Close-up, Extreme close-up, Two shot, Over-the-shoulder, Point of view, Insert |
| Angles | Eye level, Low angle (subject feels powerful), High angle (subject feels small), Overhead, Dutch (tilted, uneasy) |
| Moves | Static, Pan, Tilt, Dolly in, Dolly out, Tracking, Handheld, Crane. Moves are drawn as red arrows. |
Objects are recognised with a word library of about 8,000 everyday words and phrases from the WordNet dictionary, plus a hand-picked list of common screenplay words. Plurals count, phrases like “police car” are matched as one, and words that are usually verbs, like “watch”, only count after a word such as “a” or “his”. Character names are recognised from character cues and from introductions such as MAYA (16).
Open Word library to search the list or browse a category. Add a word teaches it something new, such as “forklift” as machinery, and In the frame picks which of about 120 drawings + Place uses for it. Your words are saved with the project.
| ⤒ Use my image | Use a photo or picture of your own, such as a location photo. You can still place drawings and draw on top. |
| ✦ Copy AI prompt | Copies a text description of the frame (shot, angle, setting, characters, elements) that you can paste into an image tool you are allowed to use. Draftlight sends nothing anywhere. |
| ← → ⧉ 🗑 | Move the frame earlier or later, duplicate it, or delete it. + Frame adds an empty frame after the selected one. |
| Print storyboards | Every frame on landscape pages with its label and description. Empty frames print with their checklist. |
| Print shot list only | Just the shots, without the pictures: a portrait table grouped by scene, with shot number, size, angle, movement, description, cast, and props and effects. Each row has a box to tick off on the shooting day. Scenes with no frames yet are listed at the end. Also in File → Shot list PDF. |
| Shot list spreadsheet | The same list as a .csv file for Excel, Numbers or Google Sheets. |
✓ Check in the Script toolbar looks for common format and craft problems and lists them in the Check tab beside the script: scene headings without DAY or NIGHT, characters not introduced in capitals or speaking before they appear, long action paragraphs, “we see”, camera directions, things the camera can't film (“she remembers”), action in the past tense, long or emotional parentheticals, long speeches, (V.O.) written wrongly, two spellings of one name, very long scenes, too many CUT TO:s and a script far from its usual length. Each one explains why it matters; click a line to go to it. These are suggestions, not rules: Don't check for this switches off any you disagree with. Checking runs only when you ask, so it never slows your typing.
Press Ctrl F or click Find. Matches are highlighted on the page; use Enter and Shift Enter (or the arrows) to step through them. Aa matches capital letters exactly and “ab” finds whole words only. Type in Replace with to change one match or all of them. Renaming a character keeps the capitals right: replacing “Maya” with “Ava” turns MAYA into AVA in character cues. Ctrl Z undoes a replacement.
Drag a scene by the ⠿ handle in the scene list to move it, with everything in it, to a new place. Or put the cursor in a scene and press Alt Shift ↑ or Alt Shift ↓.
A snapshot is a saved copy of your script that you can return to. Before a big rewrite, open Drafts → Save a snapshot now and give it a name such as “Draft 1”. Drafts → Snapshots & compare lists them all. Compare with now shows exactly what changed since then, with added lines in green and removed lines in red. Restore brings a snapshot back; your current script is saved as a snapshot first, so nothing is ever lost. Snapshots are stored inside the project file.
Click a line and press + Note to attach a comment. Notes appear in the scene list's Notes tab and as yellow markers in the left margin. Click a note's quote to jump to the line, or Resolve it when it is dealt with. Notes are saved inside the project file, so a teacher, classmate or producer can open your file, add notes and send it back.
Feedback travels as files, so nothing is uploaded and no accounts are needed:
Once a script has been shared, rewrites are tracked by colour. Open Drafts, pick a colour and choose Start revision mode. Every line you change is coloured and marked with * in the right margin, and printed pages show the revision colour at the top. The traditional order is Blue, Pink, Yellow, Green, then Goldenrod. Clear all revision marks starts fresh.
When two characters speak at the same time, put the cursor in the second speech and choose Insert → Dual dialogue (or press Ctrl D). The two speeches are printed side by side. See Special formats in Writing basics for the other devices in the Insert menu.
With View → Automatic (MORE) and (CONT'D) on, a character who speaks again after an action line gets (CONT'D) after their name. When a page break interrupts a speech, (MORE) is added at the bottom of the page and the name with (CONT'D) at the top of the next.
The Reports tab shows page count, estimated screen time and the interior/exterior and day/night balance. It also has a table for each of these:
Only in two places, both under your control:
.draftlight file. In Chrome and Edge you pick the file once and later saves update it; other browsers download a fresh copy each time.Clearing your browser's site data erases the browser copy, and Safari clears websites' saved data if you haven't visited for about a week. So save to your computer regularly, especially before a deadline and before a holiday. Draftlight reminds you if a script hasn't been saved to your computer for a few days. Open the file on any computer with Open from computer. If the browser has a newer copy of the same project than the file, Draftlight asks which one you want.
File → Back up all projects saves every project in this browser into one .draftlight-backup file. To restore, open that file with Open from computer on any device. Projects already there are kept, and where both have the same script, the newer one wins.
If your school's website hosts Draftlight with its offline files, you can install it: File → Install as an app on a computer, or on an iPad or iPhone tap Share → Add to Home Screen. It then opens from its own icon, even without internet. Installed on an iPad, it also keeps its saved work longer.
| Print / Save as PDF | The standard way to share a script. Choose “Save as PDF” as the printer, keep scale at 100% and margins at Default. The title page prints first. |
| Final Draft (.fdx) | Opens in Final Draft and most professional screenwriting software, including dual dialogue. |
| Fountain (.fountain) | A plain-text screenplay format that many writing apps can read. |
| Storyboards PDF | All frames on landscape pages with labels and captions. Frames you haven't drawn yet print with their checklist. |
| Shot list PDF | The storyboard's shots as a table on portrait pages, without the pictures, ready for the shooting day. |
Anyone using the same browser on the same computer can see your projects on the start screen. Use a private or incognito window, or when you finish, save to your computer or a USB drive and choose File → Remove this project from this browser. The start screen also has a button that removes every Draftlight project from the browser.
Every writer works differently, but most scripts pass through these stages. Each step shows where Draftlight helps.
Use the Logline page in the Story tab. Sum up the story in one sentence: who the main character is, what they want, and what stands in their way. “A lonely teenager has one month to save a lighthouse from demolition, with help from the old keeper who refuses to leave.” If the sentence is hard to write, the story is not clear yet. Put the logline on the first beat card or in the title page's Source line while you work.
For each main character, decide what they want (the goal the audience can see), what they need (the change they don't know they need) and what they are afraid of. Write it down on the Characters page in the Story tab.
Open the Beat Board, load a Structure template and rename every card for your story. Make sure you know your opening, the event that starts the story, the midpoint turn, the lowest moment and the ending before you write scenes.
Add cards until each one is roughly a scene, then use Write beats into script to turn them into scene headings. Rename each INT. LOCATION - DAY to the real place and time. A feature film usually has 40 to 60 scenes; a short film 3 to 15.
Write fast and don't stop to polish. Use Focus mode to hide everything but the page. Set a page goal and due date with ◎ Set a goal and watch your progress in the status bar. Typical lengths are 90 to 120 pages for a feature, 25 to 35 for a half-hour TV episode and 5 to 15 for a short film.
Put the draft away for a few days, then read it in one sitting. Look at Reports: Is any scene much longer than it needs to be? Does your lead speak enough? Are there too many locations for your budget? Draw storyboards for key scenes to check that the story is told through pictures, not just talk.
Use File → Send for review so a teacher or classmate can add notes and send them back, or print a PDF. A table read, with friends reading the parts aloud, quickly shows which dialogue sounds false. Fill in Scene changes in the Story tab: any scene where nothing changes is a candidate to cut or rethink.
Fix the big problems first (story and character), then scenes, then individual lines. Save a snapshot before each pass so you can compare drafts or go back. Once others have read the script, turn on revision colors so everyone can see what changed. Use Find and replace for changes that run through the whole script, like renaming a character, and drag scenes in the scene list to try a new order.
Run ✓ Check first, then go through this list:
Open Title Page and fill in the title, “Written by”, your name, the draft date, your contact details and, if you like, a copyright line. A clean title page has no images and no extra decoration.
Your script is your intellectual property. In many countries, including the United States, copyright belongs to you automatically once the work is written down. Keep dated copies of your drafts. Writers who want extra proof often register the script, for example with the U.S. Copyright Office or the WGA Script Registry. This is general information, not legal advice. When you are ready, export a PDF for readers, contests and festivals, or a Final Draft file for production.
The browser copy is erased when site data is cleared, in a private window when it is closed, or when you use a different browser or computer. Open your last saved .draftlight file with Open from computer. This is why saving to your computer regularly matters.
Some browsers don't let websites pick a save location. Draftlight downloads the file instead; look in your Downloads folder.
In the print window choose “Save as PDF”, set scale to 100%, margins to Default, and turn off headers and footers. Use Chrome or Edge for the most reliable results.
Yes. The page zooms to fit, and the scene list opens from the button at the top left. A keyboard makes writing much faster. On an iPad, save your script to Files often, or install Draftlight to your Home Screen, because Safari can clear websites' saved data.
Export it as Final Draft (.fdx) or Fountain from that app, then use Open from computer. You can also paste a plain-text script; Draftlight recognises headings, characters and dialogue.
The same script is open twice, in two tabs or windows of this browser. Each one saves its own version, so edits in one can overwrite the other. Close one of them and keep working in the other.
A single paragraph or speech longer than a page can't be printed on one page, so Draftlight splits it at the ends of sentences into page-sized paragraphs of the same kind. Long speeches carry (MORE) and (CONT'D) across pages as usual.
Undo remembers your recent steps in the current session. For a bigger safety net, save a snapshot (Drafts → Save a snapshot now) before large changes.
You own your work. Everything you create in Draftlight is your intellectual property. Draftlight is a writing tool, like a pen or a word processor, and claims no ownership, licence or credit over anything you make.
Private by design. Draftlight runs entirely in your browser. Once the page has loaded it makes no network connections; a security rule built into the page blocks it from sending anything anywhere. Your writing is never uploaded, so nobody else can see it, including the people who run the website. There are no accounts, no tracking and no ads.