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)

creative-writing
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What is this?A collection of 13 Claude Code skills that teach an AI agent the craft of screenwriting, television writing and dramaturgy, distilled from 19 Chinese, American and Japanese screenwriting books plus the complete works of Chekhov and Ozu Yasujiro.
Is this a Claude Code skill package rather than a standalone writing app?Yes — each of the 13 topics is a folder with a SKILL.md (principles, checklists, workflow) and usually a reference.md (tables, excerpts); there's nothing to run yourself, Claude Code loads these to guide its own writing process.
How do I start using these skills?The repo doesn't spell out install commands beyond its Install heading; based on the stated conventions, each skill folder's SKILL.md frontmatter (kebab-case name matching the folder) is what Claude Code scans, so you drop the skill folders where your Claude Code setup looks for skills and let sw-workflow orchestrate the rest.
Do I need Claude Code to use these skills?Yes — these are skills written for Claude Code, not a standalone program; without an agent environment that reads SKILL.md files, the Chinese-language markdown is just reference notes.
Will I be able to read the skill content if I don't know Chinese?Only the SKILL.md frontmatter descriptions are in English; the actual principles, checklists, tables and quoted excerpts inside every skill are written in Chinese, since the 19 source books and the Chekhov/Ozu corpora are Chinese translations.
What's unusual about the license here?Despite GitHub listing MIT, the README itself says the license is for personal study use only, and that quotations remain the property of their original authors and translators — so the extracted book content isn't necessarily covered by a standard MIT grant.
How are the 13 skills organized?sw-workflow orchestrates the rest, which cover story structure, premise/theme, character/conflict, dialogue, scene craft, format/adaptation, American and Japanese/Korean/French case studies, industry/business, plus two dedicated skills built from Chekhov's plays and Ozu's screenplays.
Can these skills actually output an industry-standard script file?sw-format-adaptation defines a Fountain output contract with forced markers for Chinese text, plus PDF/.fdx render paths, alongside the exact spec-format typographic grid and element conventions like V.O./O.S. and dual dialogue.
Why are Chekhov and Ozu handled separately from the craft-book skills?chekhov-dramaturgy and ozu-screenplay-style are distilled from complete master-work corpora (Chekhov's seven full-length plays and Ozu's six screenplays) rather than theory books, giving act-by-act tables and excerpts as a working method pulled straight from the works.
Is there a related project for non-screenwriting creative work?The author mentions a sister project, japanese-composition-skills, which applies the same book-distillation approach to Japanese music composition and arranging.
Creator
jtydhr88
Size
2.1 MB
Stars
1.7K
Updated
CommitOct 03
Age
1mo
Commits · 90 Days