screenwriting-skills README

The project's README from github.com/jtydhr88/screenwriting-skills. As one markdown file: README.md.

screenwriting-skills

中文版

13 Claude Code skills for screenwriting and dramaturgy, distilled from 19 books (Chinese, American and Japanese) plus two complete master-work corpora: Chekhov's plays and Ozu Yasujiro's screenplays.

Skill bodies are written in Chinese (the sources and quotations are Chinese translations); frontmatter descriptions are in English with Chinese keywords so both languages trigger them.

Install

/plugin marketplace add jtydhr88/screenwriting-skills
/plugin install screenwriting@screenwriting-skills

Skills

Skill What it covers Main sources
sw-workflow Project orchestrator: stage map (premise → structure → character → scenes → draft → revision → submission) naming which skill to call, per-stage deliverables and advisory exit checks, entry paths (from scratch / existing draft / adaptation / short form / series), and a story-bible.md convention that keeps all project state in one file so work resumes across sessions (meta-skill, no new sources; see issue #1)
sw-story-structure Paradigm & plot points, Save the Cat beats and board, McKee's event/scene/sequence/act, inciting incident, progressive complications, crisis-climax-resolution, subplots, Hoxter's nine beats, Hicks' attraction/anticipation/satisfaction, Lu Jun's 起承转合, eight openings, eight endings Field, Snyder, McKee Story, Hoxter, Hicks, Lu Jun
sw-premise-theme Premise as tyrant, controlling idea (value + cause), the "third rail" (desire vs misbelief), five premise questions, logline tests, 选材/开掘/视角/戏核/冲突要真/情节要奇 Egri, McKee, Cron, Hicks, Hoxter, Snyder, Lu Jun
sw-character-conflict Three-dimensional character, orchestration, unity of opposites, pivotal character, rising vs static vs jumping conflict, transition; Freud/Erikson/Jung/Campbell/Murdock/Adler/May for motive; 人物要活八要, 对手要强, 给对手一把刀 Egri, Indick, McKee, Hicks, Cron, Snyder, Lu Jun
sw-dialogue Dialogue as action, said/unsaid/unsayable, exposition as ammunition, beats as gerunds, credibility/language/content/design flaws, character-specific vocabulary, seven scene analyses; 语言要美 (典雅/通俗, 动作性/性格化/潜台词, 戏曲唱词三好) McKee Dialogue, Walter, Hicks, Lu Jun, Egri, Snyder, Mei Feng
sw-scene-craft Scene as value turn, five-step scene analysis, enter late leave early, pacing and transitions, action over talk, alternative locations; 意趣要足 (suspense, delay, wit), 细节要妙, 道具要精, 场景要当 McKee, Field, Hicks, Walter, Henson, Hoxter, Mei Feng, Lu Jun
sw-format-adaptation Spec format hard rules, exact typographic grid, element conventions (V.O./O.S., MORE/CONT'D, dual dialogue, montage), Fountain output contract with forced markers for Chinese and PDF/.fdx render paths, Chinese 场号制 and Japanese 柱・ト書き formats, action-paragraph craft, drafts and outlines (step outline → treatment → script), revision, adaptation principles Henson, Walter, Hicks, Field, McKee, Hoxter, Diamond & Weissman, Bork; typographic grid, Fountain and Asian formats are industry conventions (issue #2), not from the books
sw-american-case-studies Worked examples: Westerns, screwball, Wilder, Hitchcock, Adaptation, Mildred Pierce, Thelma & Louise, Fargo, Good Will Hunting, American Beauty, Eternal Sunshine, American Graffiti, Bourne, Guardians, Zootopia, Thor Mei Feng, Walter, masterclass, Hoxter, Snyder, Field
sw-japanese-screenwriting Ten Japanese directors/writers: structure-first vs fragment-first methods, small-material notebooks, "if + moreover", character = actor + flaw, tsukkomi systems, theme-emerges-later, originals born from constraints; Arai Haruhiko 泊贵洋 ed., masterclass (international)
sw-korean-french-screenwriting Korean and French methods from the international masterclass: Oh Seung-uk (write the emotion, research before writing, structure as space, find your own angle), Choi Seok-hwan (genre as a promise, make the audience wait, two reversals, desire and crisis), Obitan (French system, write dialogue last, viewpoint and hidden motive, writer on set, collective writing) masterclass (international)
sw-industry-business Buyer's-eye workflow, PROBLEM idea test, logline/query/pitch, agents, options, credits, WGA, gross vs net, notes and rewrites, film vs TV, Oscar logic, career resilience Diamond & Weissman, Bork, Hicks, Walter, Henson, Snyder, Hoxter, Mei Feng, masterclass
chekhov-dramaturgy Chekhov's seven full-length plays and one-acts as a working method: structure, character, dialogue, sound and stage directions, revision (Wood Demon → Uncle Vanya), with act-by-act tables and excerpts 契诃夫戏剧全集 (焦菊隐/童道明/李健吾译)
ozu-screenplay-style Ozu Yasujiro's six screenplays as a working method: shared skeleton, marriage-of-a-daughter structure, dialogue register, format, theme sentences, with scene tables and excerpts 小津安二郎剧本集

Each skill has a SKILL.md (principles, checklists, workflow) and most have a reference.md (tables, worked analyses, excerpts).

Source books (19)

Conventions

Sister project, same idea applied to Japanese composition and arranging: japanese-composition-skills.

screenwriting-skills (jtydhr88/screenwriting-skills)

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1.7K ·GitHub
Screenwriting-skills
这是什么？一套 13 个 Claude Code 技能，教 AI agent 编剧、电视剧写作和戏剧创作的手艺，提炼自 19 本中美日编剧书籍，加上契诃夫和小津安二郎的全部剧作。
这是 Claude Code 技能包，而不是独立的写作应用，对吧？对——13 个主题各是一个文件夹，内含 SKILL.md（原则、清单、工作流），通常还有 reference.md（表格、摘录）；你不需要运行任何东西，Claude Code 加载它们来指导自己的写作过程。
这些技能怎么开始用？仓库除了 Install 标题之外没有写明安装命令；按照它说明的约定，Claude Code 扫描的是各技能文件夹的 SKILL.md frontmatter（与文件夹同名的 kebab-case 名称），所以只要把技能文件夹放到你的 Claude Code 配置查找技能的位置，剩下交给 sw-workflow 统筹即可。
用这些技能必须有 Claude Code 吗？必须——这些是为 Claude Code 写的技能，不是独立程序；没有能读取 SKILL.md 文件的 agent 环境，这些中文 markdown 就只是一堆参考资料。
不懂中文还能读懂技能内容吗？只有 SKILL.md 的 frontmatter 描述是英文的；每个技能内部的原则、清单、表格和引用摘录都是中文写的，因为 19 本源书籍和契诃夫/小津的文集用的都是中文译本。
这里的许可证有什么特别之处？尽管 GitHub 上标的是 MIT，README 本身却说许可证仅限个人学习使用，且引用内容仍归原作者和译者所有——所以提取出来的书籍内容未必受标准 MIT 授权覆盖。
这 13 个技能是怎么组织的？sw-workflow 负责统筹其余技能，涵盖故事结构、前提/主题、人物/冲突、对白、场景功力、格式/改编、美国与日/韩/法案例研究、行业/商业，另有取材自契诃夫戏剧和小津剧本的两个专门技能。
这些技能真能输出行业标准格式的剧本文件吗？sw-format-adaptation 定义了 Fountain 输出契约，为中文文本提供强制标记，还有 PDF/.fdx 渲染路径，并遵循规范格式的排版网格和 V.O./O.S.、双栏对白这类元素约定。
为什么契诃夫和小津要和技法书类技能分开处理？chekhov-dramaturgy 和 ozu-screenplay-style 是从完整的大师作品全集（契诃夫的七部多幕剧、小津的六部电影剧本）而不是理论书里提炼的，提供逐幕表格和摘录，是一种直接取自作品的实用方法。
有没有面向编剧之外创作方向的相关项目？作者提到一个姊妹项目 japanese-composition-skills，把同样的书籍提炼方法用在日本的作曲与编曲上。
What are similar projects?human-writing, asd-ste100-skill, Humanizer-zh, linkedin-agent-skill, humanizer, lieflat-gongwen, sun-style-writing, AI-drama-pound
Which topics is it in?creative-writing, writing-tools, writing, chinese-language, claude-code-skill, book, skills, claude, agent-skills, claude-code, terminal, chinese
Creator
jtydhr88
Size
2.1 MB
Stars
1.7K
Updated
CommitOct 03
Age
1mo
Commits · 90 Days