Writing & Fiction skills

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 McKee (step outline → treatment → screenplay), Julian Hoxter (format elements, adaptation four questions), Diamond & Weissman (one-page nine-step) and Eric Bork — plus an exact typographic grid, element conventions (V.O./O.S., MORE/CONT'D, dual dialogue), a machine-writable output contract (Fountain, with forced markers for Chinese), and Asian industry formats (Chinese 场号制 影视剧本格式, Japanese 柱・ト書き・セリフ / 決定稿). Use when formatting a spec script, choosing the output file format, deciding what goes in action lines, planning drafts and outlines, cutting pages, adapting a novel, play or true story, writing a Chinese TV/film or Japanese-style script page, or preparing a submission-ready draft.

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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 misbelief, origin scene, what-if), Julian Hoxter's logline and theme-attitude rule, Blake Snyder's logline/genre/title tests, and Lu Jun's Chinese craft chapters on 选材要严/开掘要深/视角要新/戏核要好/情节要奇. Use when turning a vague idea into a premise, finding what a story is really about, choosing a subject and angle, testing a logline, deciding the ending from the theme, or diagnosing a script that "has events but no story".

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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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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-test for scripts with no ACT marks, container episodes built on a ceremony's running order, pressure chambers, one core question per episode, finales with fewer and longer scenes, the absent protagonist at the climax, humiliation passed downward, stage directions carrying subtext and "maybe", reversals turned on one word, writing long, alts, the mega-chart, and engineering an ending once the plot engine loses pressure. Use when the user wants a dynastic family drama, a media-power ensemble, a wedding/funeral/summit set piece, a streaming hour with no act breaks, a finale that redraws alliances, or asks how to "Succession-ize" a script or kill a lead mid-season.

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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 situations), Zhang Wei 张巍《电视剧改编教程》(2014; five source types, sell-point migration, six case studies), Zhang Mingzhi & Song Peiyi《电视剧出品人与制片人教程》(2016; running-time rules, two-stage censorship, scene-breakdown sheet, contracts), Zhao Binbin《影视剧片段改编教程》(2016; film to stage fragment), plus official Chinese renderings of US TV terms from the translated Douglas and Blum textbooks. Use when writing or judging a 国产剧, turning a novel or IP into a 30–50 episode drama, writing a 策划书 / 分集梗概 / 人物小传, formatting a Chinese teleplay, sizing episode count and word count, checking content red lines and the 立项/备案/审查 chain, reading a Chinese screenwriter contract, or mapping US series vocabulary onto Chinese usage.

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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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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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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.

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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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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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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.

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

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Search past meeting transcripts and voice memos for specific topics, people, decisions, or ideas. Use this whenever the user asks "what did we discuss about X", "find that meeting where we talked about Y", "what did Alex say", "did we decide on", "what was that idea about", or any question that could be answered by searching their meeting history. Also use for "do I have any notes about" or "check my meetings for".

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