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Found 9 Skills
Premise, theme, controlling idea, subject selection, and logline for scripts — synthesized from Lajos Egri's premise-as-tyrant and dialectic, Robert McKee's controlling idea (value + cause) and idea/counter-idea, Neill Hicks's five premise questions, Lisa Cron's “third rail” (desire vs. misbelief, origin scene, and what-if question), Julian Hoxter's logline and theme–attitude rule, Blake Snyder's logline, genre, and title tests, and Lu Jun's Chinese craft chapters on strict subject selection, deep development, a fresh perspective, a strong dramatic core, and a surprising plot. Use when turning a vague idea into a premise, determining what a story is truly about, choosing a subject and angle, testing a logline, deriving the ending from the theme, or diagnosing a script that “has events but no story.”
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.
Character creation, protagonist/antagonist design, and dramatic conflict for scripts (characters/opponents/conflict) — 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 (Freud, Erikson, Jung archetypes, Campbell/Murdock hero journeys, Adler, Rollo May), Robert McKee (characterization vs. true character, dimensions, gap, antagonism principle), Neill Hicks (character invocation, self-concept, cognitive dissonance, five conflict focuses, Maslow), Lisa Cron (desire vs. misbelief), and Lu Jun (the eight requirements for making a character “alive,” a strong opponent, “give the opponent a knife,” “the strongest opponent is oneself,” and “never summon auspicious clouds”). Use when building a protagonist, an antagonist, or a cast; when a character feels flat or acts out of character; when conflict stalls or jumps; when a villain is too weak; when designing an arc or motive; or when diagnosing melodrama.
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 and scene elements, Neill Hicks (less is more, enter late leave early, energy), Richard Walter (action over talk, small gestures, avoid phones/cars/restaurants, list twelve alternative locations), Wendy Henson (action paragraphs, transitions, story-doing), Julian Hoxter (scene beats, objectives and tactics), Mei Feng's value test, and Lu Jun's chapters 意趣要足 (suspense, delay, wit), 细节要妙, 道具要精, 场景要当. Use when writing or fixing a single scene, choosing a location, building a sequence, planting a prop or detail, designing suspense and delay, cutting a scene that "nothing happens" in, or turning talk into action.
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' 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 midpoint, fixing a saggy 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.
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).
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.
Transform creative ideas into professional, production-ready screenplays optimized for AI video generation pipelines. Converts raw concepts into structured scene-by-scene narratives with rich visual descriptions, proper screenplay formatting, and XML-tagged output for seamless integration with image/video generation tools (imagine, arch-v). USE WHEN: Converting story ideas into screenplay format, preparing content for AI video pipelines, structuring narratives for 5-10 minute short films, generating visual-rich scene descriptions for image generation. WORKFLOW: Raw idea → Scene breakdown → Visual enhancement → Professional formatting → XML-tagged markdown output OUTPUT: Markdown document with XML-wrapped scenes, rich visual descriptions, proper screenplay elements (sluglines, action, dialogue), and metadata for pipeline processing.