How TSR works
A great adapter reads the book twice, finds the film inside it, meets the author with a plan, and then writes — scene by scene, in passes. TSR is built to work the same way.
TSR adapts your novel the way a screenwriter would, and shows you every choice before a page is written.
Before we write, you’ll see the adaptation plan: the structure, what’s cut, what’s combined, and any scene the film needs that your book doesn’t have. You approve it, or change anything in your own words.
What you must keep, and the meaning of your ending, never change without your yes.
Scene by scene — not one giant AI prompt.
No step writes the whole film at once. Each stage does one job, writes down what it did, and hands that record to the next. Code counts, traces and checks; the writing stages write one scene at a time, from your own passages and the scenes around it. Then the draft is read again from three professional chairs — the director’s, the actor’s and the producer’s — and checked against your novel once more.
The read, through four lenses
The showrunner’s lens
The spine: whose film it is, what they want and need, the question the audience waits to have answered, and the ending as you wrote it.
The director’s lens
The look and sound: light, weather, the recurring images of your book, the set pieces, the opening and the final image.
The actor’s lens
The people: each character’s want, fear and voice, taken from their own lines in your book.
The producer’s lens
The makeable film: locations, speaking roles, period and scale, stated honestly.
The fifteen stages, in plain words
- S1
Extraction
We count your chapters, words and every line of dialogue, by code.
- S2
The first read
We read the book once as an audience would, before the ending is known.
- S3
The mechanic’s read
We record every event, character, place, date and object, with page anchors.
- S4
The Adaptation Bible
We answer the four lenses from your pages and make the adapter’s choices, each with its reason and its cost.
- S5
Compression
We decide, with reasons, what is kept, combined or cut, and what each cut costs your book.
- S6
The step outline and the Adaptation Plan
We lay out the film as story beats, each anchored to your chapters, and set the whole plan out in plain words.
- Gate A
Author Gate A
You approve the Adaptation Plan, or change or veto any choice in your own words. Nothing is written before this.
- S7
Scene writing
We write one scene at a time, inside the plan you approved, from your own passages and the scenes around it.
- S8
The director’s pass
Action lines only: the images, the motifs, the sound that carries one scene into the next.
- S9
The actor’s pass
A table read of each character’s lines; your own dialogue is never altered.
- S10
The producer’s pass
A plain report of what the film would take to make; it flags, it never cuts.
- S11
The fidelity check
Every scene traced to your pages; nothing invented outside the plan you approved.
- S12
Format and length
The screenplay rendered to PDF and .docx, and its script pages counted on the PDF.
- S13
Continuity
The screenplay checked against your novel for any contradiction your book does not have.
- S14
The coverage read
The draft read as a film, for the Screen Brief and the Development Package.
- S15
The delivery check
The four documents checked against each other before you see them.
Nothing is written before Author Gate A. In the actor’s pass, your own dialogue is never altered: lines are trimmed for speech only where the record logs it. Before you see anything, the four documents are checked against each other.
Author Gate A: your Adaptation Plan
Before we write, you see the Adaptation Plan in plain words: the story as we read it, the structure with its act and sequence breaks, the film beat by beat, every cut, combination and reorder, every scene the film needs that your book doesn’t have — with a page or two showing how it would play — the first and last images, and what you told us must remain.
- Approve
- Change
- Veto
- Reopen
You approve the plan as a whole, or change or veto any single choice in your own words. Nothing is written before Author Gate A. After it, TSR writes with an adapter’s full authority inside the plan, and every line or scene it invents is flagged in the Adaptation Record.
The pause at Author Gate A, while you read and rule on your Adaptation Plan, counts as your time, not the room’s.