Where the AI is, and where it is not

Script 360 uses artificial intelligence in two places: reading a screenplay, and reading a logline. It does not write your script and it never changes a word of it. Everything it produces arrives beside your work as a suggestion — to take, to edit, or to ignore.

Nothing runs by itself, either. Every one of the features below is something you click, after a box has told you exactly what it will cost.

Your screenplay is not training data

When you run one of these features, the text is sent over an encrypted connection to Anthropic, whose Claude models do the reading. Under the commercial terms we use, what we send is not used to train their models. It is not published, not shared with other members, and not sold or passed to anyone else. It is held for as long as answering takes, plus a short window kept for abuse monitoring, and is then deleted.

What stays is on our side: the analysis or the loglines that came back, saved against your script so you can look at them again without paying twice for the same answer, and a line in your credit history recording what the request cost. Both belong to you, and both are visible on your AI Credits page.

No member's script is ever read by another member unless you invited them to read it, and that is as true of the AI features as of everything else on the site.

What we use it for today

Six things, and they build on each other — the first one is the expensive one, and the rest are cheap because it has already been done.

• Analyse the script — reads the whole screenplay and returns a structured reading of it: protagonist, want, need, conflict, stakes, tone, the beats it found, and the things it could not settle. This is the heavy lifting, and everything below is cheaper once it exists.
• Lay out the scene board — takes that reading and places every scene of your script into the acts and beats of a structure you choose, whether that is Three-Act, Save the Cat, the Hero's Journey or Eight Sequences.
• Generate alternate loglines — three loglines, each written to a different angle, with the reasoning behind each one. Where your script already has a logline, you also get a verdict on that.
• Refine loglines — another set, steered by which of the last ones you liked, what you said about them, and any standing note you have left for us.
• Critique the script's active logline — an analysis of the one logline you have written: whether it would earn the script a look, your own sentence rebuilt, and a version pushed further. This one does not read your screenplay; it judges the logline on its own.
• Critique an idea's logline — the same read for an idea you have not written yet, asking the earlier question: is this premise worth writing?

What it will not do (at least not yet!)

It does not write your screenplay, it does not rewrite your scenes, and it does not score your script or rank it against anybody else's. It reads, and it tells you what it found. Nothing it writes ends up in your script unless you put it there yourself.