A series maker built for more than one storyline

What a multi-storyline series looks like on the loom

Open a series and you see a grid. Down the left are your threads: an amber row for thread A, a cyan row for thread B, a magenta row for thread C. Across the top are your episodes, numbered left to right. Every cell holds the scenes where that storyline shows up in that episode. A cell can be empty, and that emptiness is information: it tells you a thread has been resting and the audience may be losing hold of it.

Each thread carries two private things the planner reads every time it drafts: a cast subset (which library characters belong to this storyline) and arc notes (where you want it to go, what it must not do yet, the secret that lands in the finale). None of that is visible on your public series page. It exists so the drafts stay consistent with the story you are actually telling.

From braid to takes

When you ask for the next braid, the planner reads the series premise, every thread’s arc notes, and the synopses and cliffhangers of the episodes so far. It proposes which threads advance in the next episode and why, which ones rest and why, and writes a single scene for each advancing thread: a short shot description with one location, at most three of that thread’s cast, and one spoken line. You accept it as an episode column, then edit anything you like before a frame is rendered.

Each scene becomes a take. The take studio picks up the beat’s prompt and the thread’s cast, lets you choose a set, outfits and props from your library, and renders a 4 to 15 second vertical clip with reference images so the people stay recognisable from one episode to the next. When the takes in a column are finished, you weave them into one episode file in braid order.

Why rows and columns beat a flat outline

A flat list of scenes hides the shape of a season. A grid exposes it. If thread C has no scenes for four columns in a row, you can see it before a viewer feels it. If every episode opens on thread A, the pattern is obvious and you can swap an opener. If two threads are about to collide, you can plan the crossing episode where their rows meet.

The grid also keeps continuity cheap. The planner never recasts: a character belongs to a thread, and the drafts use the names you gave them. If you rename a thread or move a character between threads, the grid reflects it everywhere at once.

• Up to three threads per series, each with its own cast and arc notes
• Up to 60 episodes per series and 12 scenes per episode
• Braid drafts cost 2 credits, a single scene draft costs 1
• Each take is priced per second according to its quality tier and resolution, and the number is on screen before you shoot
• Weaving an episode together costs 2 credits

A fair way to start

Begin with a title, a one-line premise and three thread names. That is enough for the first braid. If you already have a cast in mind, pick characters from the preset ensemble or generate your own portraits in the library; the characters are what make a series feel like a series rather than a set of unrelated clips. From there, each episode is a column you fill, shoot and weave.