Terry Jia

The pre-delivery AI-tell audit for lyrics (歌词 AI 味诊断). Run this on every draft before it ships. The eight enumerable symptoms that make AI-written lyrics recognisable in one listen, which are machine-countable and which need a person, the diagnostic path from symptom to owning skill, why a draft that passes every check can still be lifeless, and the remediation list. Use when a lyric draft is about to be delivered, when a draft reads fine but feels generic, when deciding whether to accept a version, or when a lyric passed LYR-LINT but still sounds machine-written. AI 味、歌词诊断、验收、太泛、像 AI 写的、交稿前检查。

The Cantonese layer for lyric writing (粤语填词的协音层). Cantonese has nine tones plus a tenth, and a syllable sung against its own tone is heard as a different word, so tone-melody agreement is a hard constraint, not a risk score. Gives the worked system: the nine tone values and their singing names 「三九四〇五二一八六」, the four class-scales 「〇二四三」 grouping the tones by tone-tail, the truth table of natural intervals between adjacent characters, true values versus approximations and best approximation, the three-eighths and three-sixteenths laws, the elasticity of natural intervals (outward-stretching versus inward-drawn classes, the ring diagram, crossing the boundary means a wrong tone), the six-tone same-rhyme test, and when a title line may deliberately be sung off. Also covers melody-first order, rhyme, the entering tone, register, and style periods. Use when writing or checking Cantonese lyrics, or when a sung line comes out as the wrong word. 粤语、协音、九声、类音阶、声调唱名、真值表、自然音距、最佳逼近、八分三定律、六调试音法、粤语歌填词、旋律先定、入声。

The case layer - how to take a finished lyric apart and what three working lyricists say about their own habits (案例与拆解). A fixed twelve-row worksheet for dissecting any song, keyed to the library's own fields so every finding lands in a skill instead of staying an impression; the rule that a real lyric is read from the middle outward, not from the theme down; what Yao Qian, Zhang Li and Hong Yuan each say about opening lines, restraint, revision, rhyme width, colloquial versus literary diction and how much to leave the composer, plus the four places they openly disagree and how to pick a side; worked dissections of songs the sources analyse in full, including one song two of them discuss independently; and the failure patterns they name - flat, scattered, overlong, bland, blunt, bare, stuffed. Use when studying a lyric you admire, when you need a real example of a technique, when a draft feels wrong and you want a model to compare against, or when asked to critique a song. 案例、拆解、词评、作品分析、词人自述、改稿对照。

The Chinese-style layer for lyric writing (中国风歌词). What makes a lyric read as 中国风 rather than merely decorated - the vocabulary families it draws on (place, dynasty, object, craft, plant), the sixteen rhetorical devices Fang Wen-shan catalogues inside his own lyrics, each with a book example and a failure condition, why every image must belong to one material world and how one out-of-period object breaks it, the four grades of borrowing from classical verse and where borrowing becomes copying, what to do when the listener will not catch the allusion, what the words promise the arrangement when they name an instrument, and the three ways this style usually dies - ornament with no event, images unrelated to what the song says, and archaism for its own sake. Use when writing or auditing a 中国风 or 古风 lyric, when a draft is full of beautiful old words but says nothing, when checking an allusion, when images from different eras collide, or when the words name an instrument. 中国风、古风、典故、化用、文字游戏、修辞、意象成套、方文山、穿帮。

The English language layer for lyric writing (英文词的重音与节拍对齐). Word stress is fixed inside a polysyllabic word, so the melody bends to the word and never the reverse; stressed syllables belong on stressed notes, which keeps the natural shape of the language; line length is counted in stressed syllables, not total syllables; common meter and its 4-3 stress lines; long syllables want long notes and the contour should track the sentence's intonation; where the breath falls, how phrase length accelerates a section, what enjambment costs; what gonna, wanna and 'em do to the count; why the, of and and must not land on a downbeat; and the mistakes a Chinese-speaking writer makes in English. Use when writing or checking English lyrics, fitting English words to a melody, when a sung line sounds mispronounced, when counting syllables, or when a line will not fit the bar. 英文作词、英文歌词、重音、节拍对齐、音节数、prosody、phrasing、气口、重音落错、唱不进小节。

The imagery layer - how to find concrete nouns and make them a system (意象与具体名词). Object writing and the seven senses, the ten-minute timed practice, why abstract nouns are the most direct AI fingerprint and how to build the forbidden list, how to check that a lyric is not all sight, why a set of images must belong to one physical world instead of being piled up at random, simile versus metaphor and how to spot and replace a dead one, and how one object recurs with a shifting meaning. Use when a lyric feels vague or generic but the words look fine, when every noun in a draft is a concept, when you cannot find images, when images are pretty but unrelated, when a metaphor sounds borrowed, or when LYR-LINT check 2 fails. 意象、具体名词、抽象词、object writing、物体写作、五感、七感、比喻、明喻、暗喻、通感、陈词、死喻、词太泛、找不到意象。

The Japanese language layer for lyric writing (日文词的モーラ与符割り). The counting unit is the mora, not the kana or the syllable - the small tsu, the moraic n and the long vowel each take a beat, a palatalized pair takes one; one kana per note is the default, and the same melody remaps itself when the words change; every word carries a pitch-accent contour, and a melody that fights it gets the line heard as a different sentence; fuwari, the mapping of kana to notes; bunsetsu segmentation and where a line may break; ji-amari and ji-tarazu as deliberate mismatch; the four ways to fix a melody when the counts do not fit; why Japanese rhyme is weak and how shichigo-cho slips in unnoticed; the lyrics-first and music-first routes; and the iron rule for English words inside a Japanese song. Use when writing or checking Japanese lyrics, fitting kana to an existing melody, counting morae, when a sung line is misheard as another word, or when the words will not sit on the notes. 日文作词、日语歌词、モーラ、拍数、符割り、字余り、字足らず、音高重音、七五調。

The Korean language layer for lyric writing (韩文词的音节与받침). One hangul block is one syllable is one note by default - unlike Japanese, a final consonant takes no beat of its own. The batchim (받침, syllable-final consonant) is the subject here: single and double batchim, the seven representative finals, and why a syllable closing on a stop is the wrong place for a long note, a phrase-end hold or a section peak. Liaison (연음) moves a batchim onto the next block, so the sung syllable boundary is not the written one, which moves every breath, caesura and rhyme landing. Plus the sound changes that rewrite a line between paper and voice (nasalization, tensification, aspiration, palatalization, elision, insertion, vowel harmony); why Korean has no tone and no word stress; how Korean rhyme differs from the Mandarin che. Use when writing or checking Korean lyrics, fitting hangul to a melody, counting syllables, or picking a word for a held note. 韩文作词、韩语歌词、받침、收音、连音、音变、音节数、K-pop 填词。

The Mandarin language layer for lyric writing (普通话作词的语言层). What Chinese as a language adds to the job: tone is phonemic, so the melody that enters a syllable can change which word is heard; one character is one syllable, so syllable count is character count; the thirteen rhyme families (十三辙) with their finals, example characters, wide-versus-narrow reach and loudness grades; how to pick a rhyme family, when to switch, and which families borrow from each other; level-and-oblique (平仄) and how much looser a lyric is than classical verse; the two- and three-character feet that make a Chinese line scan; and what makes a line easy or hard to sing. Use when writing or checking Mandarin lyrics, when choosing or changing a rhyme family, when a line is a tongue-twister or a high note lands on a closed vowel, when someone asks what 十三辙 is, or when LYR-LINT check 8 says the song sits on one or two wide families. 普通话、中文作词、十三辙、辙口、韵部、平仄、字调、易唱、绕口、开口音闭口音、什么是十三辙。

Theatre and musical-theatre lyric writing (剧场与音乐剧唱词). How a song becomes an action instead of a pause, how to make the words sound like the character rather than the lyricist, and what Sondheim's three principles - Content Dictates Form, Less Is More, God Is in the Details, all in the service of clarity - actually change in a draft. Covers character diction by vocabulary, syntax, schooling and period; first-person versus narrator; the price of repetition and the function of perfect rhyme on a stage; the seam between song and dialogue; Sondheim's catalogue of his own faults; and a transfer table for which rules a pop lyric should also obey. Use when writing a song for a character in a play or musical, when a song feels like a pause in the story, when two characters sound alike, when turning a scene into a song, or when deciding whether a theatre rule applies to a pop lyric. 音乐剧、剧场、角色唱词、戏剧、推进剧情、Sondheim、唱词与对白。

Who is speaking, when they are speaking, and how much they are allowed to know (歌词的叙事层). The three narrative fields every lyric must fill - point of view, tense anchor, and the one thing deliberately left unsaid - with the cost of each person, the risk of mixing pronouns mid-song and the few shifts that actually work, how present/past/future change the listener's distance, why a fixed moment limits what the speaker can know (write the symptom, not the conclusion), why a completed emotional arc (hurt - peace - blessing) is a machine fingerprint, and how a story lyric advances through scene, turn and cost. Use when a draft has no speaker, when you cannot tell who is being addressed, when pronouns drift between sections, when the timeline is half memory and half now, when a lyric resolves everything and leaves nothing hanging, when writing a story song, or when LYR-LINT check 5 or 6 fails. 视角、人称、时间、时态、留白、不解决、叙事、故事型歌词、没有说话人、谁在说话、情绪走完整。

Writing the words of a rap (说唱的词本身), not how the vocal sits in the beat. Rhyme density - how many rhymed syllables per bar and what it costs in intelligibility; multisyllable and compound rhymes, assonance, consonance, bent words, internal rhyme; rhyme schemes from couplet to whole-verse and where the rhyme lands; content forms (braggadocio, battle, concept, story, abstract, humorous) and line-level tools (punchline, wordplay, double meaning, simile, extended analogy); vocabulary, slang and its shelf life, rhyme-driven versus meaning-driven writing; the writing order MCs actually use (flow first or words first, freestyle, editing); and a transfer table for Mandarin rap, where one character is one syllable and every syllable carries a tone. Use when writing a rap verse or hook, turning an existing lyric into rap, when rhymes feel thin or predictable, when a verse rhymes well but says nothing, or when adapting English rap technique to Chinese. 说唱、rap、押韵密度、多音节韵、内韵、punchline、flow、中文说唱、改成说唱、韵脚、battle、叙事说唱。

Rhyme as a structural tool, not decoration (押韵与韵式). The full stability scale from perfect rhyme through family, additive, subtractive, assonance, consonance and partial rhyme - what each type does to closure - how to place stable and unstable types in the pushing and resolving positions of a scheme, the characters of AABB, ABAB, ABCB and xaxa, the three closure types, internal and multisyllabic rhyme, how to widen a candidate list past the first word that comes to mind, and when to deliberately break the rhyme. Use when choosing rhyme words, when a section closes too hard or refuses to close, when every rhyme sounds like the obvious one, when picking a rhyme scheme for a verse or a chorus, or when the surprise check on rhyme words comes back low. 押韵、韵脚、家族韵、内韵、韵式、押韵太顺、破韵、故意不押、押不上、韵脚太熟。

The gate you must pass before writing a single line (动笔前必填). Five questions that force an actual choice - which kind of song this is (attitudinal, situational, narrative, or expository, and why the default is not narrative), the one thing it says, who it is said to, at what moment, and the one photographable object that runs through it - with the failure mode each question catches, the downstream choices the song type fixes (person, voice, repetition budget), how to tell a real answer from a filled-in one, and why this gate exists at all (AI-written lyrics are not bad at words, they are written by nobody). Use when starting any lyric, when a draft feels generic but you cannot say why, when every song comes out as a story, when a song is trying to say two things, or when LYR-LINT check 1 fails. 立意、动笔前必填、歌的类型、态度型、情境型、叙事型、说理型、只说一件事、对谁说、锚定物件、重复预算、写不出来、太泛。

The structural layer of a lyric (词的结构层) - what each section is for and what it must not say, which song form to pick, where the title lands and how often it comes back, and how line counts, line lengths and rhyme placement make a section feel finished or still owing something. Covers verse / pre-chorus / chorus / bridge / refrain functions, central versus developmental sections, AABA and verse-chorus and verse-refrain forms, the five structural parameters (balance, pace, flow, closure, closure type), the five hook-placement strategies, and the deliberate asymmetry that keeps a lyric from sounding machine-made. Use when laying out sections before writing a line, when a chorus does not feel like an arrival, when a bridge sounds like one more verse, when every section came out the same length, when deciding where the title goes, or when LYR-LINT check 3, 4 or 10 fails. 段落结构、曲式、副歌、bridge、hook、标题位置、句式、不对称、段落功能、AABA。

Compiling a finished lyric into generation-backend input (词稿 → 后端). Section tags and how they map, why line breaks inside a section are read as phrase boundaries rather than layout, what the backend does with punctuation and parentheses, the division of labour with the arrangement library's compiler, the backends that accept lyrics at all and what each does with them, and the checks that catch a lyric which will be sung wrong. Use when handing a finished lyric to Suno, YuE2 or MiniMax, when a generated vocal phrases the words wrongly, when sections come out in the wrong order, or when deciding what belongs in the lyric field versus the style prompt. 歌词、Suno、YuE2、段落标签、编译、交给模型、断句。

The tone-melody conflict detector and how to read it (倒字检测器). The one objective, computable criterion this library has - Mandarin dao-zi, where a syllable is heard as a different word because the melody enters it against its tone contour. Covers the correct model (incoming interval versus the syllable's own contour, not previous-end versus next-start), how to run it, how to read a risk score, the three boundaries that make it a risk indicator rather than a verdict, and the five ways to fix a flagged syllable. Use when fitting Mandarin words to a melody, when a sung line is misheard as different words, when checking a draft before delivery, or when a melody must be adjusted to fit words already written. 倒字、依字行腔、字调、声调、检测器、唱出来听成了别的字、唱成别的字、字唱错了、tone_check。

Entry point and router for the lyric writing library (作词工作流与路由). The two workflows that fork at the very first question - music-first versus lyrics-first - and their different stage tables, which skill to load for which task, the full-library boundary table, the LYR-SPEC gate rules, the bidirectional interface with the arrangement library, and the three testing devices. Load this FIRST for any lyric writing request, before deciding which other skill to read. Use when starting a lyric, when fitting words to an existing melody or a melody to existing words, when unsure which skill owns a question, when a draft fails lint, or when handing work to another library. 作词、歌词、填词、工作流、路由、该读哪个 skill、LYR-SPEC、先曲后词、先词后曲。

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.

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.

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.

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.

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.

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.

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.

Korean and French screenwriting practice (韩国/法国编剧方法) — from the international masterclass: Oh Seung-uk (Christmas in August, The Shameless: field research in disguise, "write the emotion", first act and last act first, spaces as skeleton, reading to hostile listeners, surviving producers), Choi Seok-hwan (King and the Clown: genre as promise to the audience, "story = deepening crisis + intensifying desire", two reversals and bittersweet endings, the producer/director/writer trio), and Frédéric Auburtin (Paris je t'aime: dialogue last, Italian-style table reads, "12 lines not 13", dignity for characters, originals born from commissions, editing by emotion). Use when working in a Korean-style commercial drama or genre film, a French auteur/commission context, when planning field research, when a producer relationship is the problem, or when you need the Korean "three live together" development model or the French "emotion first, structure second" editing approach.

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".

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.

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.

ComfyUI advanced node patterns - MatchType, Autogrow, DynamicCombo, node expansion, MultiType, wildcard inputs. Use when building complex nodes with dynamic inputs, type matching, or node expansion.

ComfyUI custom node fundamentals - V3 node structure, Schema, inputs/outputs, registration. Use when creating new ComfyUI custom nodes, defining node classes, or setting up a custom node project.

ComfyUI data types - IMAGE, LATENT, MASK, CONDITIONING, MODEL, CLIP, VAE, AUDIO, VIDEO, 3D types, widget types, and custom types. Use when working with ComfyUI tensors, model types, or defining input/output data types.

ComfyUI frontend JavaScript extensions - hooks, widgets, sidebar tabs, commands, settings, toasts, dialogs. Use when adding UI features to custom nodes, creating custom widgets, or extending the ComfyUI frontend.

ComfyUI node input types - INT, FLOAT, STRING, BOOLEAN, COMBO widgets, hidden inputs, optional inputs, lazy inputs, force_input. Use when configuring node inputs, adding widgets, or customizing input behavior.

ComfyUI node execution lifecycle - caching, fingerprint_inputs/IS_CHANGED, validate_inputs/VALIDATE_INPUTS, check_lazy_status, execution order. Use when debugging execution, implementing caching control, input validation, or understanding execution flow.

ComfyUI V1 to V3 node migration - converting legacy nodes to the V3 API. Use when migrating existing custom nodes from V1 to V3, understanding differences between API versions, or modernizing node code.

ComfyUI node output types - NodeOutput, UI outputs, PreviewImage, PreviewMask, SavedImages, PreviewAudio, PreviewText, PreviewVideo. Use when returning results from nodes, displaying previews, or saving output files.

ComfyUI custom node project structure - directory layout, __init__.py, registration, requirements.txt, publishing, WEB_DIRECTORY. Use when setting up a new custom node project, packaging nodes, or publishing to the registry.