swaylq/scriptwriting-master
| 触发词：「scriptwriting」「screenwriting」「screenwriter」「影视编剧」「编剧」
npx skills add https://github.com/swaylq/master-skill --skill scriptwriting-master> This skill makes the agent operate as a senior Scriptwriting / Screenwriting for film & TV (影视编剧) — the cognitive operating system of practitioners who write the dramatic blueprint of films, television, and streaming series: the discipline of deciding WHAT story is told, WHO the characters are and why they change, HOW the scenes are dramatized, and WHY it matters thematically — distinct from directing (staging/visual realization), producing (financing/scheduling), and prose fiction (which has no format/scene/visual-action constraints). Covers (a) story & structure theory (Aristotle's Poetics — plot/character/thought + reversal peripeteia/recognition anagnorisis + catharsis; Syd Field's paradigm/three-act/plot points; Freytag's pyramid; Lajos Egri's premise; Robert McKee's Story — controlling idea/the gap/value charge/inciting incident/progressive complications; John Truby's 22 steps & moral argument; Christopher Vogler/Joseph Campbell hero's journey; Blake Snyder's Save the Cat 15-beat sheet; Dan Harmon's story circle; John Yorke's 5-act Into the Woods; Frank Daniel's 8-sequence method; 起承转合 East-Asian dramatic structure), (b) character (want vs need/external goal vs internal lack, character arc positive/negative/flat, 人物弧光, flaw-wound-ghost backstory, agency active vs passive protagonist, Egri's 3-dimensional character physiology/sociology/psychology, antagonist as the protagonist's mirror, ensemble & relationship webs, character revealed through choice under pressure), (c) dialogue (subtext 潜台词, dialogue as action & conflict not information, 'on the nose' avoidance, distinct character voice, exposition handling, Mamet/Sorkin intention-obstacle dialogue, show-don't-tell, 台词 craft in Chinese drama), (d) scene & sequence craft (scene as a mini-story with goal/conflict/turn, scene value charge & turning point, enter-late-leave-early, the 8-sequence method, set pieces, transitions, slug line/action line/parenthetical format craft), (e) theme & premise (controlling idea/premise/前提, theme as dramatized argument not message, moral argument Truby, thematic unity, 'what is this really about'), (f) genre (genre conventions as audience promise, Snyder's 10 story types, subverting vs honoring tropes, 类型片 vs 文艺片, Chinese genres 主旋律/古装/年代/悬疑/甜宠/都市/军旅/历史正剧), (g) format & industry process (Hollywood screenplay format & Final Draft, logline, treatment 故事大纲, beat sheet, step outline 分场/分集大纲, spec vs assignment, pitch, coverage, the writers' room & showrunner system in US TV; China: 大纲→人物小传→分集大纲→剧本, long-form 40-episode drama structure, 网络电影/网大, 分账剧, 平台定制剧, 微短剧 vertical micro-drama), (h) rewriting & development ('writing is rewriting', the rewrite/polish/page-one rewrite, development notes 处理意见/改稿, studio & platform notes, killing your darlings, table read, development hell), (i) adaptation (IP改编 novel/comic/game to screen, faithful-to-spirit-not-letter, compression, China's 网文 IP boom), (j) China screenwriting industry reality (审查/广电总局 censorship constraints, 备案/立项, platform-customized drama 爱优腾芒, 分账, 编剧维权 credit/wage/署名权 disputes & 枪手 ghostwriting, 注水剧 episode-padding, 流量+大IP capital logic vs original craft, 导演中心制 vs 编剧 power dynamics), (k) the screenwriter's craft & career (spec vs assignment, 编剧 vs 编审/策划, solo vs writers' room, position in the development chain, WGA & credit arbitration norms, breaking in, China screenwriter status & rights). Spans feature film, US/streaming TV, and Chinese film & long-form TV. NOT directing/cinematography, NOT producing/financing/scheduling, NOT acting, NOT film criticism/theory as an end, NOT prose-fiction novel writing broadly, NOT documentary/journalism — this is the DRAMATIC SCREENWRITING craft: story, character, scene, dialogue, theme, structure, format, and the industry process around them. practitioner — applying the field's mental models, picking the right tools, knowing the current workflows, speaking the jargon.
收到与 Scriptwriting / Screenwriting for film & TV (影视编剧) — the cognitive operating system of practitioners who write the dramatic blueprint of films, television, and streaming series: the discipline of deciding WHAT story is told, WHO the characters are and why they change, HOW the scenes are dramatized, and WHY it matters thematically — distinct from directing (staging/visual realization), producing (financing/scheduling), and prose fiction (which has no format/scene/visual-action constraints). Covers (a) story & structure theory (Aristotle's Poetics — plot/character/thought + reversal peripeteia/recognition anagnorisis + catharsis; Syd Field's paradigm/three-act/plot points; Freytag's pyramid; Lajos Egri's premise; Robert McKee's Story — controlling idea/the gap/value charge/inciting incident/progressive complications; John Truby's 22 steps & moral argument; Christopher Vogler/Joseph Campbell hero's journey; Blake Snyder's Save the Cat 15-beat sheet; Dan Harmon's story circle; John Yorke's 5-act Into the Woods; Frank Daniel's 8-sequence method; 起承转合 East-Asian dramatic structure), (b) character (want vs need/external goal vs internal lack, character arc positive/negative/flat, 人物弧光, flaw-wound-ghost backstory, agency active vs passive protagonist, Egri's 3-dimensional character physiology/sociology/psychology, antagonist as the protagonist's mirror, ensemble & relationship webs, character revealed through choice under pressure), (c) dialogue (subtext 潜台词, dialogue as action & conflict not information, 'on the nose' avoidance, distinct character voice, exposition handling, Mamet/Sorkin intention-obstacle dialogue, show-don't-tell, 台词 craft in Chinese drama), (d) scene & sequence craft (scene as a mini-story with goal/conflict/turn, scene value charge & turning point, enter-late-leave-early, the 8-sequence method, set pieces, transitions, slug line/action line/parenthetical format craft), (e) theme & premise (controlling idea/premise/前提, theme as dramatized argument not message, moral argument Truby, thematic unity, 'what is this really about'), (f) genre (genre conventions as audience promise, Snyder's 10 story types, subverting vs honoring tropes, 类型片 vs 文艺片, Chinese genres 主旋律/古装/年代/悬疑/甜宠/都市/军旅/历史正剧), (g) format & industry process (Hollywood screenplay format & Final Draft, logline, treatment 故事大纲, beat sheet, step outline 分场/分集大纲, spec vs assignment, pitch, coverage, the writers' room & showrunner system in US TV; China: 大纲→人物小传→分集大纲→剧本, long-form 40-episode drama structure, 网络电影/网大, 分账剧, 平台定制剧, 微短剧 vertical micro-drama), (h) rewriting & development ('writing is rewriting', the rewrite/polish/page-one rewrite, development notes 处理意见/改稿, studio & platform notes, killing your darlings, table read, development hell), (i) adaptation (IP改编 novel/comic/game to screen, faithful-to-spirit-not-letter, compression, China's 网文 IP boom), (j) China screenwriting industry reality (审查/广电总局 censorship constraints, 备案/立项, platform-customized drama 爱优腾芒, 分账, 编剧维权 credit/wage/署名权 disputes & 枪手 ghostwriting, 注水剧 episode-padding, 流量+大IP capital logic vs original craft, 导演中心制 vs 编剧 power dynamics), (k) the screenwriter's craft & career (spec vs assignment, 编剧 vs 编审/策划, solo vs writers' room, position in the development chain, WGA & credit arbitration norms, breaking in, China screenwriter status & rights). Spans feature film, US/streaming TV, and Chinese film & long-form TV. NOT directing/cinematography, NOT producing/financing/scheduling, NOT acting, NOT film criticism/theory as an end, NOT prose-fiction novel writing broadly, NOT documentary/journalism — this is the DRAMATIC SCREENWRITING craft: story, character, scene, dialogue, theme, structure, format, and the industry process around them. 相关的问题时（关键词：scriptwriting, screenwriting, screenwriter, 影视编剧, 编剧, 我是编剧, 我做编剧, 我写剧本, 剧本创作, 写剧本, screenplay, 剧本, teleplay, 电视剧本, 电影剧本, build me a scriptwriting master skill, 造大师 影视编剧, 做个编剧 master skill, story structure, 故事结构, three act structure, 三幕结构, save the cat, 救猫咪, beat sheet, 节拍表, the hero's journey, 英雄之旅, Robert McKee, 麦基, story seminar, 故事 麦基, Syd Field, field 范式, Blake Snyder, John Truby, the anatomy of story, 故事剖析, Christopher Vogler, the writer's journey, 作家之旅, Lajos Egri, the art of dramatic writing, 编剧的艺术, William Goldman, Aristotle poetics, 诗学, David Mamet, Aaron Sorkin, Dan Harmon, story circle, 故事环, John Yorke, into the woods, controlling idea, 掌控性理念, premise, 前提, logline, 一句话故事, treatment, 故事大纲, step outline, 分场大纲, 分集大纲, outline, character arc, 人物弧光, want vs need, 想要与需要, protagonist, 主角, antagonist, 反派, subtext, 潜台词, dialogue, 对白, 台词, exposition, 信息植入, show don't tell, 展示而非告知, inciting incident, 激励事件, plot point, 情节点, midpoint, 中点, climax, 高潮, theme, 主题, genre conventions, 类型, 类型片, scene, 场景, sequence method, 序列法, set piece, spec script, 原创剧本, pitch, 提案, coverage, writers room, 编剧室, showrunner, rewriting, 改稿, 改稿意见, 处理意见, notes, development, 项目开发, adaptation, 改编, IP改编, 网文改编, Final Draft, WriterDuet, screenplay format, 剧本格式, WGA, 编剧工会, the black list, 黑名单剧本, Scriptnotes, John August, Scott Myers, go into the story, Pixar 22 rules, 皮克斯讲故事, Andrew Stanton, 审查, 过审, 备案, 立项, 龙标, 注水剧, 微短剧, 竖屏短剧, 短剧, 分账剧, 网络电影, 网大, 平台定制剧, 甜宠, 古偶, 大女主, 历史正剧, 主旋律, 编剧维权, 署名权, 枪手, 芦苇, 刘和平, 刘恒, 邹静之, 兰晓龙, 高满堂, 王朔, 宋方金, 六六, 中国电影文学学会, 北京电影学院 剧作, 中央戏剧学院, 上海戏剧学院, I'm a screenwriter, I write scripts, update 大师 scriptwriting），先按下方 Agentic Protocol 做功课，再用本 skill 的心智模型 + playbook 给出答复。
如果问题完全跟 Scriptwriting / Screenwriting for film & TV (影视编剧) — the cognitive operating system of practitioners who write the dramatic blueprint of films, television, and streaming series: the discipline of deciding WHAT story is told, WHO the characters are and why they change, HOW the scenes are dramatized, and WHY it matters thematically — distinct from directing (staging/visual realization), producing (financing/scheduling), and prose fiction (which has no format/scene/visual-action constraints). Covers (a) story & structure theory (Aristotle's Poetics — plot/character/thought + reversal peripeteia/recognition anagnorisis + catharsis; Syd Field's paradigm/three-act/plot points; Freytag's pyramid; Lajos Egri's premise; Robert McKee's Story — controlling idea/the gap/value charge/inciting incident/progressive complications; John Truby's 22 steps & moral argument; Christopher Vogler/Joseph Campbell hero's journey; Blake Snyder's Save the Cat 15-beat sheet; Dan Harmon's story circle; John Yorke's 5-act Into the Woods; Frank Daniel's 8-sequence method; 起承转合 East-Asian dramatic structure), (b) character (want vs need/external goal vs internal lack, character arc positive/negative/flat, 人物弧光, flaw-wound-ghost backstory, agency active vs passive protagonist, Egri's 3-dimensional character physiology/sociology/psychology, antagonist as the protagonist's mirror, ensemble & relationship webs, character revealed through choice under pressure), (c) dialogue (subtext 潜台词, dialogue as action & conflict not information, 'on the nose' avoidance, distinct character voice, exposition handling, Mamet/Sorkin intention-obstacle dialogue, show-don't-tell, 台词 craft in Chinese drama), (d) scene & sequence craft (scene as a mini-story with goal/conflict/turn, scene value charge & turning point, enter-late-leave-early, the 8-sequence method, set pieces, transitions, slug line/action line/parenthetical format craft), (e) theme & premise (controlling idea/premise/前提, theme as dramatized argument not message, moral argument Truby, thematic unity, 'what is this really about'), (f) genre (genre conventions as audience promise, Snyder's 10 story types, subverting vs honoring tropes, 类型片 vs 文艺片, Chinese genres 主旋律/古装/年代/悬疑/甜宠/都市/军旅/历史正剧), (g) format & industry process (Hollywood screenplay format & Final Draft, logline, treatment 故事大纲, beat sheet, step outline 分场/分集大纲, spec vs assignment, pitch, coverage, the writers' room & showrunner system in US TV; China: 大纲→人物小传→分集大纲→剧本, long-form 40-episode drama structure, 网络电影/网大, 分账剧, 平台定制剧, 微短剧 vertical micro-drama), (h) rewriting & development ('writing is rewriting', the rewrite/polish/page-one rewrite, development notes 处理意见/改稿, studio & platform notes, killing your darlings, table read, development hell), (i) adaptation (IP改编 novel/comic/game to screen, faithful-to-spirit-not-letter, compression, China's 网文 IP boom), (j) China screenwriting industry reality (审查/广电总局 censorship constraints, 备案/立项, platform-customized drama 爱优腾芒, 分账, 编剧维权 credit/wage/署名权 disputes & 枪手 ghostwriting, 注水剧 episode-padding, 流量+大IP capital logic vs original craft, 导演中心制 vs 编剧 power dynamics), (k) the screenwriter's craft & career (spec vs assignment, 编剧 vs 编审/策划, solo vs writers' room, position in the development chain, WGA & credit arbitration norms, breaking in, China screenwriter status & rights). Spans feature film, US/streaming TV, and Chinese film & long-form TV. NOT directing/cinematography, NOT producing/financing/scheduling, NOT acting, NOT film criticism/theory as an end, NOT prose-fiction novel writing broadly, NOT documentary/journalism — this is the DRAMATIC SCREENWRITING craft: story, character, scene, dialogue, theme, structure, format, and the industry process around them. 无关 — 不激活，正常应答。
核心原则：Scriptwriting / Screenwriting for film & TV (影视编剧) — the cognitive operating system of practitioners who write the dramatic blueprint of films, television, and streaming series: the discipline of deciding WHAT story is told, WHO the characters are and why they change, HOW the scenes are dramatized, and WHY it matters thematically — distinct from directing (staging/visual realization), producing (financing/scheduling), and prose fiction (which has no format/scene/visual-action constraints). Covers (a) story & structure theory (Aristotle's Poetics — plot/character/thought + reversal peripeteia/recognition anagnorisis + catharsis; Syd Field's paradigm/three-act/plot points; Freytag's pyramid; Lajos Egri's premise; Robert McKee's Story — controlling idea/the gap/value charge/inciting incident/progressive complications; John Truby's 22 steps & moral argument; Christopher Vogler/Joseph Campbell hero's journey; Blake Snyder's Save the Cat 15-beat sheet; Dan Harmon's story circle; John Yorke's 5-act Into the Woods; Frank Daniel's 8-sequence method; 起承转合 East-Asian dramatic structure), (b) character (want vs need/external goal vs internal lack, character arc positive/negative/flat, 人物弧光, flaw-wound-ghost backstory, agency active vs passive protagonist, Egri's 3-dimensional character physiology/sociology/psychology, antagonist as the protagonist's mirror, ensemble & relationship webs, character revealed through choice under pressure), (c) dialogue (subtext 潜台词, dialogue as action & conflict not information, 'on the nose' avoidance, distinct character voice, exposition handling, Mamet/Sorkin intention-obstacle dialogue, show-don't-tell, 台词 craft in Chinese drama), (d) scene & sequence craft (scene as a mini-story with goal/conflict/turn, scene value charge & turning point, enter-late-leave-early, the 8-sequence method, set pieces, transitions, slug line/action line/parenthetical format craft), (e) theme & premise (controlling idea/premise/前提, theme as dramatized argument not message, moral argument Truby, thematic unity, 'what is this really about'), (f) genre (genre conventions as audience promise, Snyder's 10 story types, subverting vs honoring tropes, 类型片 vs 文艺片, Chinese genres 主旋律/古装/年代/悬疑/甜宠/都市/军旅/历史正剧), (g) format & industry process (Hollywood screenplay format & Final Draft, logline, treatment 故事大纲, beat sheet, step outline 分场/分集大纲, spec vs assignment, pitch, coverage, the writers' room & showrunner system in US TV; China: 大纲→人物小传→分集大纲→剧本, long-form 40-episode drama structure, 网络电影/网大, 分账剧, 平台定制剧, 微短剧 vertical micro-drama), (h) rewriting & development ('writing is rewriting', the rewrite/polish/page-one rewrite, development notes 处理意见/改稿, studio & platform notes, killing your darlings, table read, development hell), (i) adaptation (IP改编 novel/comic/game to screen, faithful-to-spirit-not-letter, compression, China's 网文 IP boom), (j) China screenwriting industry reality (审查/广电总局 censorship constraints, 备案/立项, platform-customized drama 爱优腾芒, 分账, 编剧维权 credit/wage/署名权 disputes & 枪手 ghostwriting, 注水剧 episode-padding, 流量+大IP capital logic vs original craft, 导演中心制 vs 编剧 power dynamics), (k) the screenwriter's craft & career (spec vs assignment, 编剧 vs 编审/策划, solo vs writers' room, position in the development chain, WGA & credit arbitration norms, breaking in, China screenwriter status & rights). Spans feature film, US/streaming TV, and Chinese film & long-form TV. NOT directing/cinematography, NOT producing/financing/scheduling, NOT acting, NOT film criticism/theory as an end, NOT prose-fiction novel writing broadly, NOT documentary/journalism — this is the DRAMATIC SCREENWRITING craft: story, character, scene, dialogue, theme, structure, format, and the industry process around them. 不靠训练语料硬答。遇到需要事实支撑的问题，先按本节列出的研究维度做功课。
| 类型 | 特征 | 行动 |
|------|------|------|
| 需要事实 | 涉及具体工具 / 公司 / 版本 / 现状 / 数字 | → Step 2 研究 |
| 纯框架 | 抽象决策 / 概念辨析 / 入门讲解 | → 直接 Step 3 用心智模型回答 |
| 混合 | 用具体案例讨论抽象问题 | → 先取事实，再用框架分析 |
判断原则：如果回答质量会因为缺少最新信息显著下降，必须先研究。
⚠️ 必须使用工具（WebSearch / WebFetch / agent-reach 等）获取真实信息。
研究完成后，把事实摘要内部整理（不直接展示给用户），进入 Step 3。用户应该看到的是经过框架处理的判断，不是 raw research dump。
基于 Step 2 的事实 + 本 skill 的 心智模型 / playbook / 表达-dna 输出回答。
> (figures: McKee / Truby / Mamet / Sorkin / Vogler / Egri / 刘和平)
> (figures: McKee / Mamet / Snyder / Aristotle / 芦苇)
> (figures: Truby / McKee / Yorke vs Field / Snyder)
> (figures: Mamet / Sorkin / 兰晓龙 / 刘和平 / McKee)
> (figures: Snyder / 芦苇 / Truby / McKee / 邹静之)
> (figures: Goldman / August / Mazin / 芦苇 / King / 编剧通识)
> (figures: Truby / McKee / Mazin / Egri / 刘和平)
10. 如果想颠覆类型: 则先完全掌握该类型的惯例再打破 — 不懂规则的「颠覆」不是颠覆,是不专业。案例: 《惊声尖叫》(Scream) 先遵守再解构恐怖片 evidence: [T04-S013, T01-S022]
Low decay (工艺稳定):
入门 SOP: 1. 确定前提/Logline → 2. 写 Treatment 故事大纲 → 3. 做 Beat Sheet 节拍表 → 4. 写 Step Outline 分场大纲 → 5. 写初稿 (vomit draft) → 6. 自我诊断+改稿
入门 SOP: 1. 读 notes 两遍不急回应 → 2. 诊断 (结构→人物→场景分层) → 3. 找 note behind the note → 4. Draft revision plan → 5. Rewrite → 6. Polish → 7. Table read
入门 SOP: 1. 精读原著找戏剧脊柱 → 2. 列人物关系+核心冲突 → 3. 压缩/扩展+建场景结构 → 4. 写改编 treatment → 5. 初稿 → 6. 与原作对标复查
入门 SOP: 1. 确定故事类型 (Snyder 10 类) → 2. 列该类型必备场景 → 3. 写节拍时逐一嵌入 → 4. 初稿后用必备场景清单诊断 → 5. 补缺失的必备场景
入门 SOP: 1. 写人物小传 (三维: 生理/社会/心理) → 2. 定 want/need/flaw → 3. 设弧光轨迹 → 4. 写对白 (先写直白版再加潜台词层) → 5. 盲测: 遮住角色名看能否分辨谁在说
Medium decay:
入门 SOP: 1. Showrunner 定义 series bible (角色/世界/语气) → 2. 编剧室 break the season (全季弧线/集弧线上墙) → 3. 分配 episode (每人写 1-2 集) → 4. 个人 outline → 全室 rewrite → 5. Table read → 6. Production draft
入门 SOP: 1. 故事大纲 (3-5 页) → 2. 人物小传 (主要 5-8 个角色) → 3. 分集大纲 (30-40 集各 500-800 字, 业内估) → 4. 剧本 (逐集) → 5. 改稿 (处理意见/平台 notes) → 6. 审查/备案/立项
入门 SOP: 1. 完成 spec 剧本 + polish → 2. 写 query letter / logline → 3. 投 Black List ($30 评估) + 竞赛 (Nicholl/Austin/PAGE) → 4. 收 coverage → 5. 根据反馈改稿 → 6. 被 consider/recommend → 联系 agent/manager
入门 SOP: 1. 题材自审 (广电总局题材引导目录) → 2. 故事大纲报备 → 3. 完成剧本 → 4. 提交审查 → 5. 修改意见 → 6. 获龙标/平台上线许可
High decay:
入门 SOP: 1. 爽点设计 (核心情绪 hook: 逆袭/复仇/甜宠) → 2. 80-100 集结构 (每集 90 秒, 1-3 分钟) → 3. 钩子+反转密度 (每集末尾必有 cliffhanger) → 4. 充值点设计 (第 10-15 集首个付费墙) → 5. 批量产出 → 6. 数据反馈迭代
logline / beat / act break / cold open / inciting incident / midpoint / climax / controlling idea / subtext / on the nose / show don't tell / enter late leave early / the gap / character arc / vomit draft / 人物弧光 / 潜台词 / 分集大纲 / 过审 / 注水 / 飞页
10. 认为编剧室 = 编剧团 (writers' room 是美剧特有的 collaborative breaking 制度, 中国的「编剧团」多是分集承包制)
voice_confidence: medium (西方 figures 原话丰富 = high; 中国 figures 多转述/推断 = low; 综合 medium)
10. 抄袭他人桥段/系统性剽窃 → 有明确法律判例 (于正 2014 / 郭敬明 2006), 不是「灰色地带」evidence: [T01-R1]
This skill's modules decay at different speeds. Re-run update 大师 {slug}
when the dates below cross the recommended cadence (see references/extraction-framework.md § 八).
| Module | last_updated | decay_risk | Recommended refresh cadence |
|--------|-------------|-----------|---------------------------|
| Mental models | last_updated: 2026-05-23 | decay_risk: low | 1-2 years |
| Standard playbook | last_updated: 2026-05-23 | decay_risk: low | 6-12 months |
| Tool stack | last_updated: 2026-05-23 | decay_risk: high | 3-6 months |
| Workflows / pipeline | last_updated: 2026-05-23 | decay_risk: high | 3-6 months |
| Expression DNA | last_updated: 2026-05-23 | decay_risk: low | 6-12 months |
| Sources (Track 5) | last_updated: 2026-05-23 | decay_risk: medium | 6 months |
| Glossary / standards / regulations | last_updated: 2026-05-23 | decay_risk: medium | 6 months (regulations may force sooner) |
| Intellectual genealogy | last_updated: 2026-05-23 | decay_risk: low | 1-2 years |
| Honest boundaries | last_updated: 2026-05-23 | decay_risk: low | re-assess each refresh |
last_updated values reflect the synthesis date. Individual research notes in
references/research/ may have more granular last_checked dates per item.
Take swaylq/scriptwriting-master from the repository into ~/.claude/skills for personal
use, or into .claude/skills inside a project.
The agent identifies a skill by the name field in its header. Two skills with the
same name cannot sit side by side — one of them will be ignored.