AI Hook Generator

A hook is a structural decision, not a caption

Most “hook generators” write you a line of text to paste over the first frame. That is the last five percent of the job. The thing that actually decides whether someone watches episode two is where the episode stops — and that is a decision made while the script is being divided into episodes, long before any video exists.

So hooks here are not a separate tool. They are a constraint the episode breakdown has to satisfy: every episode ends on an unresolved beat, and the kind of unresolved beat rotates so the series does not feel like the same trick eight times.

The three kinds, and why they rotate

Rotation matters more than any single hook's strength. Three “feeling suspended” endings in a row train the viewer to expect a non-answer, and the fourth one stops working. The breakdown is told to alternate for exactly this reason.

The opening seconds, done as craft rather than text

The first shot of an episode carries the same weight as the last, and the shot list treats it as a distinct problem: it establishes the frame, who is in it, and what is wrong — in that order, in one shot, without a line of exposition. Concretely, what the list is made to avoid:

• Establishing shots that establish nothing. A wide of a building tells the audience where they are and nothing about why they should stay. The opening shot starts on the problem.
• Text on screen. No burned-in hook copy, ever — not a stylistic choice but a technical one: video models cannot spell reliably. You add caption text after export, per platform, without re-rendering.
• A cold open that contradicts the previous ending. Each episode's opening state has to be consistent with where the last one stopped; when a long segment is split, the second half carries an explicit continuation marker so the first frame is written as a real static frame rather than copied from the wrong moment.

Where you can see and change it

The episode list after analysis gives you each episode's outline — three to five sentences including how it ends. That is the cheapest place in the whole pipeline to change a hook: it is text, editing it is free, and nothing has been rendered yet. Rewrite the ending of an outline and the shot list generated from it follows.

Once a shot list exists you can still edit the script text directly, and the editor keeps the machine-readable structure in sync as you type. What you cannot do is bolt a hook onto finished video — that means regenerating the segment, which costs what a segment costs.

What it will not do

• Write you ten interchangeable hook lines. There is no hook-copy generator, because copy is not where retention comes from and the platform is where copy belongs.
• Promise a retention number. Nobody can. The structure is the part that is under your control; the performance is not.
• Burn text into the frame. By design — see above.
• Restructure an episode you have already shot. Moving the break point means re-rendering the segments after it.

What it costs

Hooks cost nothing extra: the episode breakdown that produces them is part of the analysis pass, billed by script length at 4 credits per thousand characters (3,333 characters per unit for alphabetic scripts). Per-episode shot lists are 1 credit per hundred characters of that episode's share, and editing outlines or script text is free. Only rendering costs money: from 10 credits per second of output. New accounts get 50 credits and one free preview of up to 5 seconds. See the episode generator page for how episodes are divided, and the pricing page for full rates.

Frequently asked questions

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