Film and television live or die on continuity, and the bible is usually a document nobody has updated since the pilot. Kalan Vidhi makes the bible the working surface: the same records you draft against are the ones the consistency check reads.
Every character carries their arc, their relationships, what they want and what they are hiding. Factions carry agendas and resources. Locations carry the rules of the place. When something changes in episode nine, it changes everywhere it is referenced.
Plan arcs as dramatic units — an opening situation, the events that must happen, a closing beat — then break each into episodes. The mandatory events stay visible until they pay off, which is what keeps a writers' room honest about setups it has not yet cashed.
Events record cause and consequence and sort themselves chronologically. That is where you find the flashback that contradicts the pilot, or the character who attends a funeral two episodes after their own death.
This is the world bible and story-structure layer, plus a prose editor for treatments, outlines, beat sheets and scene work. It does not produce industry-standard screenplay formatting — when you go to pages, you will still want Final Draft, Fade In or Highland. What you get here is everything upstream of that, kept consistent.