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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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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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Case studies of American screenwriting (美国电影剧作案例) — Mei Feng's readings of the Hollywood Western (value pairs, four oppositions), screwball comedy (strong heroine, buddy vs adversary two-hander), Billy Wilder (disguise, Lubitsch touch, meet-cute), Hitchcock and his writers, Adaptation, Mildred Pierce (eight drafts, woman's film + noir), Thelma & Louise ("but" method, mirror pair), Fargo (Coen method), Good Will Hunting (five-part structure), American Beauty (POV strategy, genre mix), Eternal Sunshine (1:5:1, image motifs); Walter's American Graffiti; the Hollywood masterclass films (Bourne, Guardians, Zootopia, Thor); Hoxter's Winter's Bone and Jojo Rabbit; Snyder's Miss Congeniality; Field's Chinatown. Use when you want a worked example of how a specific American film's script is built, when analysing a film for structure, character or theme, or when looking for a model to imitate for a Western, screwball, noir, buddy, coming-of-age, black comedy or non-linear romance.

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Character creation, protagonist/antagonist design and dramatic conflict for scripts (人物/对手/冲突) — 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 (人物要活八要, 对手要强, 给对手一把刀, 最强的对手是自己, 不许请祥云). 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.

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Playwriting for banqiang-system Chinese opera (板腔体：京剧、豫剧、越剧、秦腔、评剧、沪剧、淮剧、川剧弹戏), where sung passages are paired seven- or ten-character lines varied by metre (板式) rather than filled into fixed tune patterns. Covers genre (唱工戏／做工戏／武戏), the main line, technical structure and 排场, how 行当 and a named star decide the writing, 程式, lyric craft (唱词：上下句、重点句、垛句、辙口), 宾白 and the sung/spoken seam, duets, what the writer marks on the page (Peking-opera vs Yue-opera style), the interface with actors and musicians, restoring old plays, and three contemporary routes including 现代戏. Sources; 范钧宏、翁偶虹、刘吉典、樊尚林、张庚郭汉城、罗怀臻、陆军, plus full scripts (锁麟囊／沙家浜／白蛇传／朝阳沟／潘金莲). Use when writing or revising 唱词, choosing 板式, writing for a performer or role-type, adapting a traditional play, writing a 现代戏, judging a project's genre, marking 锣鼓, or drawing the boundary before general dramaturgy skills apply. Not for 元杂剧/传奇/昆曲, which are the qupai system; see sw-chinese-opera-qupai.

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Worked qupai-system (曲牌体) opera scripts, act by act. Guan Hanqing's three surviving zaju (窦娥冤／救风尘／金线池 — twelve acts, 126 tunes, one mode and one rhyme per act, sung/spoken ratios); Tang Xianzu's 牡丹亭 (55 scenes, ~420 tunes, 集唐 closing quatrains, the 圆驾 south-north composite suite); Kong Shangren's 桃花扇 (44 scenes plus four unnumbered, the 副末 frame line, upper/lower halves, a fan's seven transformations, his sixteen 凡例); 长生殿 (Wang Jilie's fifty-scene staging table); Wei Minglun's 巴山秀才 (1983 Sichuan 高腔, 43 tunes, nine 帮腔 passages). Every case states its edition and collation status, then structure, tunes, stage conventions and transferable devices. Method is in sw-chinese-opera-qupai; this skill holds the worked scripts. Use when you want a real example of how a 传奇 or 杂剧 is assembled, need actual scene counts and tune counts to imitate, are judging where a famous script breaks prosody, or need models for 副末开场, 集唐下场诗, 南北合套 or 帮腔 (曲牌体全本／牡丹亭／桃花扇／窦娥冤／救风尘／长生殿／巴山秀才／唱段表／结构表).

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Chinese opera playwriting for the qupai (曲牌体) system — 元杂剧, 明清传奇, 昆曲, 川剧高腔, where sung text is filled into fixed tune patterns (填词) rather than built from paired lines varied by metre. Covers stage vs study (李渔 vs 吴梅/王季烈), the 清曲/剧曲 switch, the zaju branch (四折一楔子, one 宫调 and one rhyme per act, 一人主唱, 题目正名), the chuanqi branch (出, 副末开场, 南北合套, 集唐下场诗), tune-filling (格律, 前腔/换头/幺, 衬字, 务头, 尾声, 四十禁), the seventeen 宫调 and their affects, 套数, 排场 alternation, the spoken-to-sung cue, 帮腔, adaptation, and modern practice. From 李渔《闲情偶寄》, 吴梅《顾曲麈谈》《曲学通论》, 王季烈《螾庐曲谈》, 孔尚任's 凡例, 关汉卿, 汤显祖, 魏明伦. Use when writing or revising a 曲牌体 script, choosing a 宫调 for an emotion, laying out a 套数, filling one tune pattern, writing a zaju act or a chuanqi scene, cutting an old 传奇 into a playable version, writing a modern qupai opera, or judging whether a famous script's prosody may be copied. Not for 京剧/豫剧/越剧, which are the banqiang system; see sw-chinese-opera-banqiang.

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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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Dialogue writing and revision for screen and stage (对白/台词/潜台词) — merged from Robert McKee's Dialogue (dialogue as action, said/unsaid/unsayable, exposition as ammunition, beat = action/reaction gerunds, flaws of credibility/language/content/design, character-specific vocabulary and grammar, seven scene analyses), Richard Walter (economy, subtext, argument, no small talk, no parentheticals, silence), Neill Hicks (listening, on-the-nose exceptions, energy, five-step exercise), Lu Jun (语言要美; 典雅美/通俗美, 对话三要求 动作性/性格化/潜台词), Lajos Egri (dialogue born of three-dimensional character, escalation), Blake Snyder (cover-the-names test), and screwball-comedy dialogue conventions. Use when writing or polishing dialogue, fixing on-the-nose or expository lines, giving each character a distinct voice, converting a two-hander into a trialogue, writing comedy exchanges, or cutting speeches. Chinese-opera lyrics (戏曲唱词) are in sw-chinese-opera-banqiang, not here.

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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.

The screenwriting business and career (编剧行业与生意经) — merged from Diamond & Weissman's Bulletproof (buyer's-eye workflow, three Cs, one-page nine-step, set pieces, submission, notes, resilience), Eric Bork's The Idea (PROBLEM seven-element idea test, 60/30/10, television differences), Neill Hicks (market four entities, six criteria, WGA, agents, option, credit arbitration, gross vs net, step deals), Richard Walter (query letter, agents, package, option, spec, release, copyright, guild, gatekeepers, professionalism, 66 principles), Wendy Henson (breaking in), Blake Snyder (logline pitch, genre, agents), Julian Hoxter (industry terms), Mei Feng's Oscar analyses, and the Hollywood masterclass (pitching, notes, credits, TV vs film). Use when evaluating whether an idea is sellable, writing a logline/query/pitch, preparing a submission, handling notes and rewrites, understanding options/credits/WGA/agents/net profit, choosing between film and TV, or building a career strategy.

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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.

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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Case studies of television series writing (剧集案例库) from primary texts; Sorkin's six West Wing teleplays (act-page tables, eight act-out types); Chase's five Sopranos scripts (the 35-beat A/B/C/D recipe, what a pilot refuses to explain); Fellowes's annotated Downton Abbey season two (19 storylines, 419 footnotes); Waller-Bridge's Fleabag Scriptures (the six-episode half-hour template); Calvisi's eight minute-by-minute pilot beat sheets (Breaking Bad, Mad Men, Game of Thrones and more); Landau's 47-series structure appendix; Miller's Hannibal and HTGAWM breakdowns; Goldberg & Rabkin's beat sheets; Sakamoto Yuji's We Made a Beautiful Bouquet (a feature) and Noh Hee-kyung's The Most Beautiful Goodbye. Use when you want a worked example of how an episode or pilot is built, need real act lengths, scene counts or storyline grids to imitate, are breaking a multi-thread ensemble episode, designing a bottle episode or a finale, writing a relationship or family drama, or ask 某一集是怎么写的 / 这部剧的结构表.

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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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Episode and season structure for TV series (剧集单集与季的结构) — teasers and cold opens, broadcast four/five/six-act grids with page anchors, three tests for finding the invisible acts in streaming scripts, act-out and cliffhanger taxonomies, Oberg's four information tools, A/B/C/runner weaving and scene-count ratios, the Calvisi pilot beat sheet, five-part scene structure, and season shape (tentpoles, bottle and container episodes, two-parters, finales). Merged from Calvisi, Douglas, Oberg, Landau, Goldberg & Rabkin, Miller, Rabkin and Blum, plus act lengths measured from published West Wing, Succession, Sopranos, Downton and Fleabag scripts. Use when breaking an episode into acts, deciding how many acts a script needs, placing act outs and cliffhangers, designing a teaser, weaving A/B/C stories and runners, beating out a one-hour pilot, auditing an episode that has no shape, reverse-engineering a show's structure, or planning a season's episode order (分幕、出幕、悬念结局、季弧、瓶子集).

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Half-hour television comedy craft (半小时情景喜剧/笑点力学/困境机器/多机位单机位格式) — merged from Evan S. Smith's Writing Television Sitcoms (premise-driven comedy in three levels, nine predicaments, six character mixes, setup/punchline mechanics, toppers, running gags, ten comedic nuances, format rules), Neil Landau's sitcom seven-step formula and comedy-room models, Richard Blum's act-length and set-count parameters, Phoebe Waller-Bridge's Fleabag scripts (direct address as a season-long device, six-episode skeleton), Pamela Douglas on dramedy, Kam Miller on complementary comic traits, and Jesse Armstrong on jokes carrying tragedy. Use when writing or fixing a sitcom episode or spec, raising joke density per page, designing a comic predicament that generates stories, choosing between multi-camera and single-camera format and page counts, structuring cold open/acts/tag, writing a half-hour pilot, running a comedy punch-up, or making a drama funny without shifting genre.

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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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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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Project orchestrator for the screenwriting skill set (剧本项目主线调度 / 状态存档 / story bible) — a meta-skill that adds no new craft knowledge but routes a screenplay or stage-play project through stages (premise → structure → character → scenes → draft → revision → submission) and a TV / streaming series project (电视剧 / 剧集 / pilot / 一季) through a separate series stage table (engine → character network & season arc → documents/bible → pilot structure → break story & outline → draft → submission), names which sw-* skill to invoke at each stage, defines each stage's deliverable and advisory exit check, and keeps all project state in a story-bible.md file so work can resume across sessions. Use when starting a new script project, resuming one ("continue my screenplay", "where were we"), when the user asks "what should I do next" on a script, when converting a vague idea into a full development pipeline, or when the other sw-* skills are firing individually and the overall process needs sequencing.

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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.

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Worked full-length scripts of banqiang-system Chinese opera with their creation records (板腔体全本语料库). Primary texts; 翁偶虹《锁麟囊》 (the revised score edition, 65 arias, 15 self-account-vs-score checks), 汪曾祺等《沙家浜》 (the 1965 text, not the 1970 one; 36 arias, a 12-row two-version diff), 田汉《白蛇传》 (the 1955 book, not the web revision; 16 scenes, 王瑶卿说腔五条), 杨兰春《朝阳沟》 (1978 revival, 50 arias, 口语入唱, per-scene sung/spoken ratios), 魏明伦《潘金莲》 (跨时空, missing pages), 罗怀臻's 越剧《李清照》《真假驸马》, 淮剧《金龙与蜉蝣》, 甬剧《典妻》; plus index tables of 翁偶虹's 60 创作记 and 范钧宏's seven 改编札记. Use when you want to see how a 唱工戏 lays out its 板式, need real scene counts, aria counts and 辙口 to imitate, want the road from raw material to 审腔, are writing a 现代戏 or colloquial lyrics, or compare one author across two声腔 systems. Method is in sw-chinese-opera-banqiang; this skill holds the worked scripts and their creation records.

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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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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.

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。