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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, the 14-day draft), Neil Landau's showrunner interviews (Lindelof, Mazzara, Katims, Bays), Evan Smith on sitcom staffing and roundtables, Richard Blum (dated), Kam Miller, and first-hand accounts by David Chase, Jesse Armstrong, Lucy Prebble, Aaron Sorkin, Julian Fellowes and Phoebe Waller-Bridge. Use when joining or running a writers' room, breaking an episode with a group, writing a leave-behind, beat sheet or outline on deadline, pitching episode ideas to an existing series, writing a spec episode, taking or giving notes, rewriting because of money, actors or locations, choosing between a staffed room and a single-author process, or asking 什么是 showrunner／编剧室怎么运作／怎么接 note.

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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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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.

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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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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 structure without central climax, off-stage events, "correct answer stated in Act 1 and refused", the announced event that never happens, three-layer endings (hope monologue + nihilist line + household action), no-villain conflict with environment, every character's object and catchphrase, one-way love chains, half-step-off dialogue, philosophy cut by thirst, the shortest words for the deepest pain, stage-direction and sound discipline, and how Chekhov revised The Wood Demon into Uncle Vanya. Use when the user wants an ensemble drama, a "nothing happens" play, subtext-heavy dialogue, a family estate / provincial story, an anti-climactic structure, or asks how to "Chekhov-ize" a script.

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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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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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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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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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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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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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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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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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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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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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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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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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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.

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