執筆・創作のスキル

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 / on-screen reactions, lie-driven plots, minimal-syllable confessions, go-between characters, faceless suitors, pillow-shot scene breaks, echoing objects, mirror characters, children's subplots as metaphor, displaced quarrels, the single-monologue rule, diminishing endings, Ozu's script format and stage-direction vocabulary. Use when the user wants to write a quiet family drama, a 小津风 / 侘寂 / 日常系 script, a story about marrying off a daughter, aging parents, or wants dialogue that says less and means more.

日本語の概要は準備中です。原文の説明を表示しています。

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 opponent, plan, opponent's drive, ally's attack, fake defeat, three revelation-and-decision pairs, audience revelation, visit to death, moral decision), four-corner opposition, the moral-argument chain with the hero-opponent power-balance rule, scene weave with structure-step tags and storyline numbers, and the accordion rule (never fewer than seven steps). Kept side by side with the Field/Snyder page maps. Use when the middle act sags into unconnected episodes, when the premise works but the story feels mechanical, when one antagonist cannot carry the theme, when the theme stays stated instead of acted, or when a BS2 board needs an organic second pass.

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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 later), Sono Sion, Omiya Ellie (dialogue from inner monologue), Kakei Masaya ("if + moreover"), Fukuda Yuichi (character = actor + flaw, audience as tsukkomi), Yokohama Satoko, Takahashi Izumi ("pain"), Yukisada Isao (situation-born originals); plus Arai Haruhiko (IP adaptation, "write what you're ashamed of"). Neighbours; sw-korean-french-screenwriting, ozu-screenplay-style. Use when writing an original Japanese-style script or TV drama, working from small material and fragments, choosing between structure-first and character-first methods, building a Japanese 企画書, designing comedy tsukkomi systems, or when Hollywood models feel wrong for a quiet, daily-life, non-goal-driven story.

日本語の概要は準備中です。原文の説明を表示しています。

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-hwan (King and the Clown; genre as promise to the audience, "story = deepening crisis + intensifying desire", two reversals and bittersweet endings, the producer/director/writer trio), and Frédéric Auburtin (Paris je t'aime; dialogue last, Italian-style table reads, "12 lines not 13", dignity for characters, originals born from commissions, editing by emotion). Use when working in a Korean-style commercial drama or genre film, a French auteur/commission context, when planning field research, when a producer relationship is the problem, or when you need the Korean "three live together" development model or the French "emotion first, structure second" editing approach.

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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 contract and pitch recipe, Oberg's series types and bible specs, Douglas's franchise-plus-springboard and bible tiers, Goldberg & Rabkin's 100-episode test, Blum's concept/presentation/bible ladder, Miller's ten-component treatment, Calvisi's Compelling Crisis, Smith's series format, plus engines read off Sopranos, Fleabag and Succession. Use when turning an idea into a series, testing whether a premise has legs, choosing premise vs typical-episode pilot, designing a sustainable character web, writing a logline, pitch document, bible or treatment, picking a series type, adapting IP into a series, or diagnosing a project that feels "more like a movie than a series".

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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.

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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 动作, Myth 神话, Memoir and Coming-of-Age 回忆录与成长, Science Fiction 科幻, Crime 犯罪, Comedy 喜剧, Western 西部, Gangster 黑帮, Fantasy 奇幻, Detective and Thriller 侦探与惊悚, Love 爱情), each with its hero/opponent/world/plot-shape template, beat list, hard rules with failure conditions, subgenres and transcendent paths, plus a genre-mixing worksheet and a diagnostic. Kept beside sw-truby-anatomy and the Field/Snyder page maps. Use when choosing or confirming a script's genre, when a genre story feels generic or misses the beats its audience expects, when mixing genres, when a horror lacks pressure, an action lacks plot, a love story lacks opposition or a detective story lacks reveals.

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微信公众号排版。Use when the user asks to turn an article, Markdown draft, longform post, essay, newsletter, review, or Chinese article into a WeChat Official Account-ready HTML layout with local preview, selectable Claude/OpenAI/Google-inspired styles, and a button to copy rich HTML for pasting into the WeChat editor.

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Create a well-formed git commit from current changes using session history for rationale and summary; use when asked to commit, prepare a commit message, or finalize staged work.

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Run Chain-of-Verification (CoVe) on a draft or a block of text with factual claims. Spawns the `claim-verifier` agent in a fresh context (never a conversation fork) so it never sees the draft — then reports which claims are supported, contradicted, or unverifiable. Use when user says "verify these citations", "check the claims in X", "did I hallucinate anything", "fact-check this draft", "run CoVe on this", or after any text generation that asserts facts about papers, datasets, or numerical results. NOT for style/grammar review (use `/proofread`) or substance review (use `/review-paper`).

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Read-only proofreading pass over lecture `.tex` or `.qmd` files. Checks grammar, typos, overflow, terminology consistency, and academic writing quality; produces a report without editing. Use when user says "proofread", "check for typos", "look for grammar issues", "copy-edit this", "any writing errors?", or before a lecture release.

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Create Ian Xiaohei-style HTML/SVG motion illustrations for Chinese articles, scripts, storyboard scenes, workflow explanations, concept metaphors, and short video visual aids. Use when the user asks for 小黑 SVG、漫画感 HTML、分层 SVG 动效、把小黑生图做成 HTML/SVG、可编辑矢量动效、口播流程动画、手绘漫画动效、正文配图动画, or wants a Xiaohei illustration style adapted into controllable HTML/SVG/GSAP output instead of raster image generation.

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Chinese AI/tech writing de-AI editor for posts, X/Twitter threads, technical essays, product notes, model reviews, and public-writing drafts. Use when the user asks to 去AI味, 改得像本人, 写推特post, 精修中文AI技术文章, or complains about AI-flavored shells such as 不是A而是B, 真正/其实/本质上, 更重要的是, 冒号讲义腔, 空泛总结, 顺滑但没作者判断的稿子.

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从用户提供的小说章节中提炼适合短视频的关键事件，核对情节依据，比较候选场面并转译成分镜与视频制作简报。适用于小说高光、角色宣传和小说预告片策划。

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Decide which single journalist at one publication to approach first with a pitch. Fit-checks each candidate through journalist-fit-check, then ranks the survivors on the comparative signals that separate colleagues at the same masthead (topic ownership, format match, staff vs. contributor, publishing cadence, recent story types, source-type match), and returns one first pick with tailoring notes plus a held fallback order.

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Turn a company update into 3-7 structurally distinct, journalist-shaped story angles. Runs the fact through proven newsroom lenses (perspective, abstraction, news values, data, contrarian, news peg) and refuses rephrasings, invented facts, named-journalist guesses, and AI-marketing slop.

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Consolidate freshness-gated newsjack signals and route them by client standing before angle generation. Collapses any remaining same-story duplicates, decides strong/partial/none standing with a journalist-shape sanity check, and sorts each story into pitch_ready, big_story (always-surfaced suggestion), or watch. Never writes angles or pitches, and never drops a fresh big story.

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Cheap, high-recall first-pass filter that removes obvious junk from a detector candidate pool before expensive story-origin research and PR judgment. Decides keep, monitor_only, or reject — never ranks, writes angles, verifies dates, or decides whether to pitch.

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Generate headline candidates from a story's raw facts: news-style headlines, press-release headlines, and pitch subject lines. A pure generation skill — it finds the charge in the facts, then runs ten proven moves (consequence, picture, number-as-hero, two-beat turn, naming, reader's-own-story, open question, voice, sound, sized claim), each calibrated by real, verified headlines that made history.

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Recover the first public timestamp and canonical major coverage for a newsjacking signal, then decide whether newer coverage is the same story, a different story, or a materially new development.

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Audit, question, suggest, or fact-preservingly revise a press release, blog post, contributed article, or expert explainer so AI answer systems can more easily retrieve, understand, quote, and cite its useful information. Use when someone asks for AI visibility, AI search, answer-engine, AEO, GEO, AI Overview, or ChatGPT citation optimization of supplied writing; when they want an evidence-aware pre-publication audit; or when another Newsjack workflow needs a prose-level AI-discoverability pass. Do not use as a technical SEO audit, rank tracker, publishing system, or promise of rankings, mentions, citations, traffic, or coverage.

日本語の概要は準備中です。原文の説明を表示しています。

Extract conversation turns from AI session history files (.jsonl)

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Health-check your meeting knowledge for contradictions, stale commitments, and decision conflicts. Use when the user asks "any conflicts in my meetings", "check for stale action items", "lint my meetings", "consistency check", "are there contradictions", or wants to audit their decision history.

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List recent meetings and voice memos. Use when the user asks "what meetings did I have", "show my recent recordings", "any meetings today", "list my voice memos", or wants an overview of their meeting history. Also use when they need to find a specific meeting by browsing rather than searching.

日本語の概要は準備中です。原文の説明を表示しています。