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Found 5 Skills
Designed for Codex, Claude Code, WorkBuddy, and other Agent Skills clients, it turns one-sentence ideas, story outlines, novels, copywriting, scripts, storyboards, or existing materials into understandable, coherent, publishable AI short dramas and AI short videos. Suitable for landscape or portrait content on platforms like Douyin, Hongguo Short Dramas, WeChat Channels, Kuaishou, Bilibili, YouTube, etc.; supports live-action, independent short films, anthology series, serial dramas, pets, anthropomorphic fantasy, animation/comic dramas, UGC, and brand stories. Used for story diagnosis, screenwriting, storyboarding, character/repeated prop consistency, model routing for Wan 3, Seedance 2.5/2.0/Fast, MiniMax H3, etc., 15–30 second long segments, native dialogue, reference audio, dubbing, paid budget management, continuity editing, physical quality inspection, and cold audience acceptance. It is especially used to avoid fragmented stitching, random cuts, static dialogue, identity/clothing/prop drift, text distortion, incorrect movement directions, mesh penetration, plain observational shots, mismatched lip-sync/voice, music restart, and incomprehensible plots.
Guides organizational and business storytelling—narrative structure (setup, tension, resolution), audience-tailored stories for executives, customers, boards, and teams, honest data and metrics framing, product and strategy narratives, incident and postmortem storytelling, and actuarial or insurance risk narratives for non-technical audiences. Covers story spine, key messages, and visual or slide narrative outlines. Use when the user says "tell the story", "storytelling", "narrative for executives", "data story", "board presentation narrative", "explain with a story", "story arc", "key message", "compelling narrative", "pitch story", or "incident story"—not cross-department reframing only (cross-department-translation), company-wide comms cadence and crisis wording packs (communication-lead), long-form creative fiction or screenwriting, brand copy without strategy context, or technical documentation and API reference (tech-writer-researcher).
Write scripts for AI short dramas: convert the episode synopses from novel-outline into structured scenes + beat flows (alternating action beats and dialogue lines), with each line of dialogue including the speaker and delivery, and the duration of each episode deterministically calculated based on speech rate. Outputs include script.json, Markdown, and a single-page review report (duration dashboard / episode scripts / scene summary table / character-aggregated dialogue script, with JSON export). The script handles the drama, storyboarding handles the filming — this skill does not perform shot breakdowns, has no shot numbers, and does not write generation prompts; those are the responsibility of the next-level storyboarding skill. All 10 quality gates are deterministically checked via scripts (episode duration within ±15% of target, single line ≤35 characters, valid speakers, hook and cliffhanger documented, hook concretization delivered within the first 3 beats (hookBeat claims the cold open), at least one action beat per scene, payoff claim, reconciliation of characters/scenes/lighting/props with upstream assets...). If outline.json is available, use seed to pre-fill the skeleton of each episode; if the --art flag is provided, reconcile lighting states as well. Zero dependencies, zero API keys required, uses current session quota. Use when asked to write scripts, generate scripts, create dialogue, plan scenes, write drama, or do screenwriting for AI short drama.
Generates Chinese script content based on narrative pacing and dialogue mechanisms common in Jiang Wen films. Use when the user asks to generate script, write script, create scenes, output dialogue draft, revise script or similar. Outputs story synopsis, character bios, scene outlines, scene scripts (with dialogue, action, staging), and can adjust era, character relations, conflict pacing, and endings per user request.
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 triangle), Julian Hoxter's nine-beat model, Neill Hicks's three acts as attraction/anticipation/satisfaction, and Lu Jun's Chinese short-play structure (凤头猪肚豹尾, 起承转合, eight openings, eight endings, 入戏要快/脉络要清/高潮要高/转变要顺/变化要多). Use when outlining a script, placing plot points and the midpoint, fixing a sagging second act, designing an opening or ending, diagnosing “nothing happens,” choosing between linear and non-linear designs, or converting a premise into beats and cards.