screenwriting

Plugin screenwriting from marketplace screenwriting-skills in jtydhr88/screenwriting-skills. Commands read from the repo's manifest — 1 month ago.

Skills (26)

• chekhov-dramaturgy

  Writing plays and screenplays in the Chekhovian mode (契诃夫戏剧法) — distilled from the complete plays (没有父亲的人/普拉东诺夫, 伊凡诺夫, 林妖→万尼亚舅舅, 海鸥, 三姊妹, 樱桃园, nine one-acts) plus Chekhov's own letters, Stanislavsky's and Nemirovich-Danchenko's rehearsal notes and 焦菊隐/童道明 criticism. Covers the four-act mood-based st

• ozu-screenplay-style

  Writing screenplays in the style of Ozu Yasujiro and Noda Kogo (小津安二郎・野田高梧) — distilled from six complete screenplays (晚春 Late Spring, 麦秋 Early Summer, 东京物语 Tokyo Story, 浮草 Floating Weeds, 秋日和 Late Autumn, 秋刀鱼之味 An Autumn Afternoon). Covers the "family member leaves" master plot, off-screen events /

• succession-series-writing

  Writing a Succession-style ensemble series (继承之战群像剧写法) — distilled from Jesse Armstrong's complete shooting scripts for all four seasons, 39 episodes (Faber 2023), with his introductions and footnotes, plus Frank Rich's and Lucy Prebble's essays on the writers' room. Covers the invisible-act three-t

• sw-american-case-studies

  Case studies of American screenwriting (美国电影剧作案例) — Mei Feng's readings of the Hollywood Western (value pairs, four oppositions), screwball comedy (strong heroine, buddy vs adversary two-hander), Billy Wilder (disguise, Lubitsch touch, meet-cute), Hitchcock and his writers, Adaptation, Mildred Pierc

• sw-character-conflict

  Character creation, protagonist/antagonist design and dramatic conflict for scripts (人物/对手/冲突) — merged from Lajos Egri (three-dimensional character, orchestration, unity of opposites, pivotal character, rising vs static vs jumping conflict, transition), William Indick's Psychology for Screenwriters

• sw-chinese-opera-banqiang-cases

  Worked full-length scripts of banqiang-system Chinese opera with their creation records (板腔体全本语料库). Primary texts; 翁偶虹《锁麟囊》 (the revised score edition, 65 arias, 15 self-account-vs-score checks), 汪曾祺等《沙家浜》 (the 1965 text, not the 1970 one; 36 arias, a 12-row two-version diff), 田汉《白蛇传》 (the 1955 book

• sw-chinese-opera-banqiang

  Playwriting for banqiang-system Chinese opera (板腔体：京剧、豫剧、越剧、秦腔、评剧、沪剧、淮剧、川剧弹戏), where sung passages are paired seven- or ten-character lines varied by metre (板式) rather than filled into fixed tune patterns. Covers genre (唱工戏／做工戏／武戏), the main line, technical structure and 排场, how 行当 and a named star

• sw-chinese-opera-qupai-cases

  Worked qupai-system (曲牌体) opera scripts, act by act. Guan Hanqing's three surviving zaju (窦娥冤／救风尘／金线池 — twelve acts, 126 tunes, one mode and one rhyme per act, sung/spoken ratios); Tang Xianzu's 牡丹亭 (55 scenes, ~420 tunes, 集唐 closing quatrains, the 圆驾 south-north composite suite); Kong Shangren's 桃花

• sw-chinese-opera-qupai

  Chinese opera playwriting for the qupai (曲牌体) system — 元杂剧, 明清传奇, 昆曲, 川剧高腔, where sung text is filled into fixed tune patterns (填词) rather than built from paired lines varied by metre. Covers stage vs study (李渔 vs 吴梅/王季烈), the 清曲/剧曲 switch, the zaju branch (四折一楔子, one 宫调 and one rhyme per act, 一人主唱,

• sw-chinese-series-practice

  Mainland-Chinese TV-series craft, documents and production chain (国产剧创作体系与制片链) — the China layer parallel to the Japanese and Korean/French skills. Distilled from Yao Kougen 姚扣根《电视剧写作概论》(2016; series taxonomy, four Chinese script formats, the 3-minute/15-minute/episode-end suspense law, 36 situation

• sw-dialogue

  Dialogue writing and revision for screen and stage (对白/台词/潜台词) — merged from Robert McKee's Dialogue (dialogue as action, said/unsaid/unsayable, exposition as ammunition, beat = action/reaction gerunds, flaws of credibility/language/content/design, character-specific vocabulary and grammar, seven sc

• sw-format-adaptation

  Screenplay format, page craft, the writing process and adaptation (剧本格式/写作流程/改编) — merged from Wendy Henson (spec format rules), Richard Walter (page craft, revision), Neill Hicks (selling vs shooting script, draft chain), Syd Field (master shot, card method, adaptation as original work), Robert McK

• sw-genre-anatomy

  Genre anatomy from John Truby's The Anatomy of Genres (类型解剖 / 类型节拍 / 混合类型 / 超越类型) — genres as beat systems with a life philosophy underneath; three rules (hit every beat of your genre, mix three or four genres, transcend the primary genre), the ladder and families of twelve genres (Horror 恐怖, Action

• sw-industry-business

  The screenwriting business and career (编剧行业与生意经) — merged from Diamond & Weissman's Bulletproof (buyer's-eye workflow, three Cs, one-page nine-step, set pieces, submission, notes, resilience), Eric Bork's The Idea (PROBLEM seven-element idea test, 60/30/10, television differences), Neill Hicks (mark

• sw-japanese-screenwriting

  Japanese (and other non-Hollywood) screenwriting methods (日本编剧方法/原创剧本实战) — distilled from ten Japanese directors and writers in ゼロからの脚本術; Kosawa Ryota (three acts as 起承转合, speed by jumping), Uchida Kenji (beautiful structure, time-axis tricks), Miki Satoshi (small-material notebook, theme emerges la

• sw-korean-french-screenwriting

  Korean and French screenwriting practice (韩国/法国编剧方法) — from the international masterclass; Oh Seung-uk (Christmas in August, The Shameless; field research in disguise, "write the emotion", first act and last act first, spaces as skeleton, reading to hostile listeners, surviving producers), Choi Seok

• sw-premise-theme

  Premise, theme, controlling idea, subject selection and logline for scripts (前提/主题/立意/选材/戏核) — merged from Lajos Egri's premise-as-tyrant and dialectic, Robert McKee's controlling idea (value + cause) and idea/counter-idea, Neill Hicks' five premise questions, Lisa Cron's "third rail" (desire vs mis

• sw-scene-craft

  Scene and sequence craft (场景/段落/细节/道具/悬念/情趣) — merged from Robert McKee's scene design and five-step scene analysis (value turn, beats, text/subtext, turning points, pacing, image systems), McKee's Dialogue scene types (balanced, comic, asymmetric, indirect, reflexive, minimal), Syd Field's sequence

• sw-series-case-studies

  Case studies of television series writing (剧集案例库) from primary texts; Sorkin's six West Wing teleplays (act-page tables, eight act-out types); Chase's five Sopranos scripts (the 35-beat A/B/C/D recipe, what a pilot refuses to explain); Fellowes's annotated Downton Abbey season two (19 storylines, 41

• sw-series-engine-bible

  From an idea to a sellable series design; series engine / franchise, story pattern, character webs that keep generating conflict, pilot types, and the documents that sell them (剧集引擎/franchise/故事模式/人物网/试播集类型/剧集圣经/跳板/提案). Merged from Rabkin's four-element franchise and story landmines, Landau's tacit

• sw-series-structure

  Episode and season structure for TV series (剧集单集与季的结构) — teasers and cold opens, broadcast four/five/six-act grids with page anchors, three tests for finding the invisible acts in streaming scripts, act-out and cliffhanger taxonomies, Oberg's four information tools, A/B/C/runner weaving and scene-co

• sw-sitcom-comedy

  Half-hour television comedy craft (半小时情景喜剧/笑点力学/困境机器/多机位单机位格式) — merged from Evan S. Smith's Writing Television Sitcoms (premise-driven comedy in three levels, nine predicaments, six character mixes, setup/punchline mechanics, toppers, running gags, ten comedic nuances, format rules), Neil Landau's

• sw-story-structure

  Story structure for screenplays and stage plays (故事结构) — merged from Syd Field's paradigm and plot points, Blake Snyder's Save the Cat beat sheet and board, Robert McKee's Story (event/scene/sequence/act, inciting incident, progressive complications, crisis-climax-resolution, subplots, story triangl

• sw-truby-anatomy

  Organic story anatomy from John Truby's The Anatomy of Story (有机结构/设计原则/22步骤/道德议题/四角对立/幽灵/场景编排) — the designing principle (story process plus original execution), the seven key steps as the organic spine, all twenty-two steps with the middle-act machinery the beat sheets lack (ghost, fake-ally oppon

• sw-workflow

  Project orchestrator for the screenwriting skill set (剧本项目主线调度 / 状态存档 / story bible) — a meta-skill that adds no new craft knowledge but routes a screenplay or stage-play project through stages (premise → structure → character → scenes → draft → revision → submission) and a TV / streaming series pro

• sw-writers-room

  How episodic television actually gets made by a group (编剧室与制作现实) — merged from Goldberg & Rabkin (pitch as audition, leave-behind, cracking the story, beat sheet, notes discipline, production rewrites), Pamela Douglas (John Wells's room, staff-from-hell mistakes, the seven-rung ladder, step deal, th

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