Script free with an account·render in about a minute·no watermark on any plan
Storytime Video Generator
The storytime shape — a confession, four beats and a turn — narrated with nobody on camera.
Start free — no credit card, and the script and the shot list cost no credits.
01Give it the incident. One sentence about what happened. A story with a turn in it beats a story with a lesson in it.
02Hook, four beats, turn. The script opens mid-situation and escalates, with the reveal held for the last scene.
03Voiced over generated frames. A soft, unhurried read over cinematic frames, with bold captions timed to the voice.
Voice:
Elli
Captions:
Bold
Music:
Lo-fi
Format:
Vertical 9:16
What comes out
The settings this page ships with, and the shape they produce
Every example on this page is labelled with the exact configuration behind it, including the one that says it is a drawing.
Layout mock-up
The job interview where I realised halfway through I was i…
Style: Cinematic
Voice: Elli
Captions: Bold
Ratio: 9:16
A mock-up of the frame and caption layout at this page’s settings — TikTok, Reels and Shorts, lo-fi music bed. It is a drawing, not a rendered video: we have no published render library to show you yet, and a stock clip dressed up as our output would be worth less than saying so.
Your input
“The job interview where I realised halfway through I was in the wrong building”
Plus this page’s brief, verbatim
Write this as a storytime: first person, past tense, one incident. Open mid-situation with the most surprising fact of the story rather than with context. Four beats in the middle that escalate, each one a scene. The last beat is the turn — the thing the opening line did not tell them. Keep the language spoken and unpolished; no moral at the end.
That string is not marketing copy — it is the instruction the script writer is given before it reads a word of yours, and it is the only thing separating this page from the other forty-seven.
The shape that comes back
Scene 1 — the hook
One line that works with no context, because the viewer arrived mid-scroll.
Scenes 2–6 — the body
One idea each, one or two spoken sentences, each with its own image prompt and its own duration.
Final scene — the close
A line that lands the point rather than asking for a follow.
Per scene — the shot
The exact image prompt the model would receive, with this page’s style suffix already appended.
This is the structure, not a saved example. The box at the top of the page writes the real one — with your wording, in about ten seconds, free once you sign in.
5–8 scenes
each with its own line, its own frame and its own length
Under 60s
cut to the narration, not to a fixed per-scene timer
Word-timed
captions burned from the voice model’s own alignment
1080-class
vertical, square or landscape — no watermark on any plan
01
Storytime is a retention format pretending to be a genre
What makes storytime work is not the story. It is that the first line contains a fact that cannot be resolved without watching — “I was forty minutes into the interview before I realised” — and the resolution is withheld until the last beat. Everything between the two is escalation.
That is why so many storytimes fail at the second scene: they back up and explain. The brief here explicitly forbids that. It opens mid-situation, keeps the context to whatever a single clause can carry, and spends the middle raising the stakes instead of establishing them.
02
Faceless storytime, and what that costs you
The genre grew up on a face and a front camera, and there is no getting around the fact that a face is doing real work there. What replaces it here is pacing and specificity: a soft voice, cinematic frames that suggest the place rather than illustrate the sentence, and a script written for the ear.
That trade is worth making if you do not want to be on camera, and it is not worth pretending is a straight swap. If your storytime depends on your reaction, film your reaction. If it depends on what happened, this shape carries it fine.
03
Writing a true story with a model in the loop
Give it the facts and it will shape them. Give it a premise and it will invent the facts, which is fine for fiction and a problem if you are telling people something happened to you. The box is the place to be specific: names of places, times of day, what was said.
The script that comes back is editable before anything is rendered, and every scene’s line is editable after. If a beat is not true, rewrite it and regenerate that one scene — which costs nothing — rather than accepting a plausible sentence you did not write.
Who this is for
Four people this was built for
Anonymous story channels
The whole genre, minus the requirement to have a face and a ring light.
Writers testing material
A story rendered in a minute is a much better test of whether it lands than reading it back to yourself.
Podcasters
The one anecdote from this week’s episode, cut out and given a vertical shape.
Brand accounts with a founder story
The origin anecdote, told once, properly, without booking a shoot for it.
Compared
What this replaces
Six things somebody has to arrange to make one short, and who arranges them.
Input
The usual way: Write it, memorise it, film four takes, cut the ums out.
With Veedio: One line about what happened. The shape comes back with it.
Visuals
The usual way: Your face, a wall, and whatever the lighting is doing today.
With Veedio: Cinematic frames per beat, generated from the beat’s own line.
Voiceover
The usual way: Your voice, re-recorded every time you change a word.
With Veedio: A soft storytelling voice, re-read free whenever the line changes.
Captions
The usual way: Auto-captions that drift, then an hour nudging keyframes.
With Veedio: Burned in from the voice model’s own word alignment, so they land on the syllable.
Turnaround
The usual way: Days, and most of it waiting on someone else.
With Veedio: About a minute, and you watch it fill in scene by scene.
Changing it
The usual way: Re-record the line, re-cut the timeline, re-export, re-upload.
With Veedio: Edit the line and regenerate that one scene. Regenerating a scene is free.
The usual way
With Veedio
Input
Write it, memorise it, film four takes, cut the ums out.
One line about what happened. The shape comes back with it.
Visuals
Your face, a wall, and whatever the lighting is doing today.
Cinematic frames per beat, generated from the beat’s own line.
Voiceover
Your voice, re-recorded every time you change a word.
A soft storytelling voice, re-read free whenever the line changes.
Captions
Auto-captions that drift, then an hour nudging keyframes.
Burned in from the voice model’s own word alignment, so they land on the syllable.
Turnaround
Days, and most of it waiting on someone else.
About a minute, and you watch it fill in scene by scene.
Changing it
Re-record the line, re-cut the timeline, re-export, re-upload.
Edit the line and regenerate that one scene. Regenerating a scene is free.
Related tools
Same engine, different preset
Twenty more pages over the same pipeline. Each one is a different brief, a different look and a different page — and each one prints its brief the way this one does.
It will fill in whatever you leave out. If the story is true and the details matter, put them in the box — names of places, what was said, the time of day. Anything invented can be rewritten scene by scene before you render.
Can it do a fictional storytime?
Yes, and it is better at that. Give it a premise and it will write the beats and the turn. For horror specifically there is a dedicated preset with a colder voice and a different brief.
Why is there nobody on camera?
Because no video and no audio can be uploaded, so there is no footage of you to cut to — a photo can open the video, and the rest of the frames are generated. On Pro and Studio a presenter can read the story to camera instead, but that is one of our faces, not yours. It is a real trade against the face-to-camera version of this genre, and it is the trade the whole faceless format makes.
How long is the finished video?
Six or seven scenes, forty to fifty-five seconds spoken. That is where a storytime holds; past a minute the middle sags and the turn arrives too late.
Which voice suits it?
Elli is the default — soft and unhurried, which suits a story being told rather than announced. Rachel is warmer and more conversational if the story is funny rather than tense.
Do I need an account to try it?
Yes, a free one. The box at the top writes the whole story, split into scenes, for no credits. Rendering it is what spends them, and the account starts with 60 free credits and needs no card.
Do I have to sign up to try this?
Yes, a free one. Signup takes a moment and needs no card. Once you are signed in, the box at the top writes the script and the shot list for no credits — that is the part that decides whether the video is worth making — and rendering it into a file uses the 60 free credits the account starts with, about four videos.
What does it cost after the free credits?
Starter is $19 a month, Pro $49, Studio $149. A credit is a unit of pipeline cost rather than a video, so a five-scene short costs less than a nine-scene one, and you see the estimate before you spend anything.
Do I own the videos, and is there a watermark?
You own them, on every plan including the free credits, and there is no watermark on any plan, no resolution cap and no platform withheld. Four things do follow the plan, because they are what a video costs to make: AI motion and sound effects need Starter, a presenter avatar and the choice of video model need Pro, and a free account tops out at a minute where paid plans go to three. Everything else — every voice, every language, every caption style, every aspect ratio — is the same on all of them.