name: screenwriting-story-craft description: 影视剧作工具：开发可拍摄的故事前提、人物弧光、日志线、节拍表、场景大纲、对白、冲突、赌注、反转与结尾。用于短片、广告、AI视频故事和剧本创作。 veRSIon: 1.0.0

Screenwriting Story Craft

Bottom-Layer Reasoning

APPly the think-one-step-further mechanism as a Lightweight check:

• Confirm this Skill is solving the user's real intent, not only the surface request.

• Make the ouTPUt immediately usable and name any unavoidable next ACTion.

• Extract the reusable structure and, when aligned, propagate it to adjacent Prompts, skills, checklists, or workflows.

• Add one guardrail for the most likely next failure while preserving this skill's primary workflow.

Purpose

This skill owns local writing execution: one logline, micro-story, beat chain, scene, dialogue pass, or bounded rewrite. It does not own a full film/series project architecture. For 全剧骨架、故事圣经、分集接力、小说改短剧、全剧反转、时间/知识台账 or project-wide restructuring, start with $develop-screenplay-project and return here with its scene handoff package.

Use this skill to make visual ideas nARRatively sharp before writing shots or prompts. A good AI video idea should not only look cool; it should contain a visible desire, obstacle, choice, consequence, and change.

For video prompts, use video-structure-design first when the user needs duration, hook, retention, segment order, or platform structure. Then use this skill for character/conflict/DRAMa, and use cinematic-audiovisual-language for shot grammar.

When the user asks for 剧本会诊、剧本医生、多评委诊断、投资/观众/编剧多视角评估, route first to $script-doctor-roundtable. After the user chooses a diagnosis direction, return here for concrete rewriting.

Temporal Hinge Principle

Use time words to make EMOtion and behavior evolve naturally instead of commanding a static feeling. Build the character state with a three-part hinge:

刚刚发生了什么 -> 此刻正在做什么 -> 即将发生什么

Good temporal hinges create emotional pressure:

• 刚刚 / 刚从 / 才经历: leaves a visible residue such as joy, exhaustion, guilt, relief, makeup, dust, wet hair, a half-finished smile, or a relaxed body.

• 正在 / 此刻 / 一边...一边...: gives the actor a playable present action.

• 即将 / 下一秒 / 还不知道 / 马上会: creates anticipation, dread, irony, or a coming reversal.

Example: "他刚刚结束一个美好的假期，正拖着行李笑着回家，还不知道手机里即将弹出一条会让他崩溃的消息." This is stronger than "他从开心变崩溃" because it gives the performance a cause, a present action, and future pressure.

Reference Routing

Read only the files needed for the task:

• references/story-engine.md: use for loglines, premise, theme, central Dramatic question, structure, and story diagnosis.

• references/character-conflict-stakes.md: use for character design, motive, want/need, flaw, antagonist force, stakes, and emotional arc.

• references/scene-beat-dialogue.md: use for scene writing, beat structure, action lines, dialogue, subtext, and scene compression.

• references/short-form-video-story.md: use for 5s, 8s, 15s, 30s, trailer, teaser, TikTok/Reels/Douyin, AI video, or micro-short scripts.

• references/script-format-output.md: use when the user wants script pages, scene headings, treatment, outline, beat sheet, or prompt-ready story blocks.

• references/source-map.md: source links and research notes.

If the request is primarily about 视频结构, 留存, hook/payoff, 起承转合, 预告片结构, 广告片结构, MV结构, or platform timing, route to video-structure-design instead of using this skill alone.

Workflow

1. For substantial, unfamiliar, historical, Professional, cultural, scientific, or current-world premises, use $creative-research-first before plotting so the conflict and visible behavior are grounded.

2. Extract the story seed:

• protagonist, world, problem, desire, obstacle, stakes, tone, and ending impression.

3. DeFine the temporal hinge when emotion or behavior needs to change:

• what just happened, what is happening now, and what is about to happen.

4. Write the dramatic engine:

• Someone wants X, but Y blocks them, so they do Z, which costs/reveals W.

5. Define the change:

• What is different at the end: Information, status, relationship, identity, danger, emotion, or world state?

6. Build beats:

• setup, trigger, pursuit, complication, choice, consequence, image/end button.

7. Test every scene or beat:

• does it reveal character, create conflict, move the plot, raise stakes, or change emotional temperature?

8. Compress for screen:

• replace explanation with visible action, object behavior, spatial choice, reaction, or silence.

9. Hand off to shot design:

• convert story beats into audiovisual functions before writing camera language.

Micro-Story Rule

For 5-15 SECond AI videos, do not write lore. Design one visible irreversible change:

start state -> pressure/obstacle -> character choice -> cost/reveal -> ending image

The choice must be visible as an action: crossing a line, using a forbidden object, refusing a command, breaking formation, hiding evidence, saving someone, stealing power, revealing identity, or abandoning safety.

When the CLIp needs an emotional turn, encode it as a temporal hinge: past residue -> present action -> incoming pressure. Avoid abstract labels like "sad", "angry", or "broken" unless they are supported by a visible before/after cause.

If a clip is only a mood/action showcase, still add one micro-story function: enter, test, fail, adapt, win, escape, reveal, or be marked.

Output Shapes

For a quick story:

一句话故事：
时间铰链：
人物：
冲突：
转折：
结尾画面：

For a 15-second AI video:

故事核：
时间铰链：
角色欲望：
阻力：
15秒节拍：
0-3s ...
3-6s ...
6-9s ...
9-12s ...
12-15s ...
可转分镜的动作：

For scene/script work:

场景目标：
场景冲突：
人物策略：
反转点：
场景结果：
剧本草稿：

For diagnosis:

问题诊断：
- 主角欲望是否清楚：
- 阻力是否具体：
- 代价是否可见：
- 变化是否发生：
- 可删/可强化的段落：

Quality Gate

Before finalizing, check:

• Can the story be expressed in one sentence without explaining lore?

• Does the protagonist actively want something?

• If emotion changes, is there a temporal hinge rather than a naked emotion label?

• Is the obstacle visible, specific, and stronger than convenience?

• Does the protagonist make a choice, not just experience cool visuals?

• Does the ending change the beginning?

• Can each beat be shown as action, image, object, reaction, or sound?

• Is the emotional hook clear before style and camera language are added?

Avoid

• Do not write lore instead of drama.

• Do not make the protagonist passive unless passivity is the point and has consequences.

• Do not rely on vague stakes like "the fate of the world" unless the viewer can feel a specific Personal cost.

• Do not add twists that only explain information but do not change character behavior.

• Do not make dialogue say exactly what the image already shows.

• Do not write unfilmable internal states without external behavior.