「merge」の検索結果

Detect keyword cannibalization across blog posts by extracting primary keywords from titles and headings, clustering semantically similar targets, and flagging posts competing for the same search intent. Supports a free local mode (file analysis) and a paid DataForSEO API mode that runs only after the user approves the call count. Outputs a severity-scored report with merge or differentiate recommendations. Use when the user says "cannibalization", "keyword overlap", "competing pages". Not a site audit (blog-audit) or cluster planning (blog-cluster); it changes no files or redirects.

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Force unrelated concepts together to discover emergent properties - "What if we treated X like Y?"

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Train and run models on Tinker (Thinking Machines) — LoRA and full fine-tuning, SFT with correct loss masking, RL/RFT with group-relative advantages and importance sampling, agentic RL over multi-turn tool-using agents, inference via the SamplingClient or the OpenAI-compatible endpoint, checkpoint management and export, every hyperparameter, and cost estimation from the live price table. Use this skill whenever the user mentions Tinker, tinker://, TINKER_API_KEY, console.tinker.ai, or the tinker CLI; wants to fine-tune, SFT, RFT, or RL a model on Tinker; asks about Tinker models, context windows, LoRA rank, sampling params, loss functions (cross_entropy, importance_sampling, ppo, cispo, dro), Datum construction, forward_backward or optim_step; wants to sample from, download, resume, merge, or export a Tinker checkpoint; or asks what a Tinker run will cost. Whenever Tinker work is initialized in a project, this skill also creates a TINKER_PRICING.md there so prices sit next to the training code. Reach for it even on vague asks like "train a model on this data" or "get inference working" when Tinker is the platform in play.

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Create, read, edit, review, redline, comment on, merge, audit, render, and verify .docx Word documents, including layout-sensitive and OOXML-level work.

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Splits work across multiple agents or sessions running at once, keeping their surfaces disjoint so results merge cleanly. Use this when facing several independent tasks with no shared state, when a plan has parallelizable steps, when a broad search or audit would be faster fanned out, or when deciding whether work can safely be split at all.

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Runs corporate development — deal thesis, target screening, valuation framing, diligence, and integration planning. Use this when considering an acquisition or being approached about one, when evaluating build-versus-buy at company scale, when running or reviewing diligence, or when planning how an acquired business will actually be integrated.

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Watch an open PR — fix failing CI, handle the straightforward review comments, and drive it to a mergeable state. Claude Code analog of Cursor's built-in /babysit. Use after opening a PR when the user wants the agent to shepherd it without re-prompting.

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Use when correcting batch effects in merged bulk expression matrices with sample-level batch metadata while preserving biological group structure and generating before-and-after QC plots. NOT for: single-cell integration, raw FASTQ processing, differential expression without batch labels, or datasets without biological groups.

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List all active skill-bus subscriptions across global and project scopes, showing merge status, insert-level and subscription-level conditions, effective condition stacking, and what would fire for each skill.

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Use when evaluating Joel Greenblatt-style special situations: spinoffs, restructurings, merger securities, forced selling, magic formula quality/value screens, and event-driven mispricing.

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Combine multiple segment detection results into a unified list. Use when you need to merge segments from different detectors, prepare removal lists for video processing, or consolidate detection outputs.

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Read Microsoft Excel (.xlsx) files robustly with `openpyxl` (or `pandas`). Covers multi-sheet workbooks, header rows, empty cells, merged cells, comma-separated list cells, and converting a sheet to a list-of-dicts the rest of your code can consume. Use when a task input or reference document is an `.xlsx` file rather than JSON/CSV.

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PDF manipulation toolkit. Extract text/tables, create PDFs, merge/split, fill forms, for programmatic document processing and analysis.

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Manages stacked PRs and splits multi-part work into reviewable branches with gh-stack. Use for stack creation, viewing, edits, push, submit, sync, rebase, merge, or checkout; when asked to split or isolate work for review; whenever a user mentions a stack, branch layers, dependent PRs, or gh stack; or when a stack is checked out.

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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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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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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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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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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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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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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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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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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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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.

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。