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jtydhr88/screenwriting-skills

Professional agent skills for screenwriting, television writing and dramaturgy

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  • Indexed skills

    12

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    1

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Skills

12 total

/sw-industry-business

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.

/sw-korean-french-screenwriting

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.

/ozu-screenplay-style

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.

/sw-character-conflict

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.

/sw-dialogue

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.

/sw-format-adaptation

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.

/sw-premise-theme

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".

/sw-scene-craft

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.

/sw-story-structure

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.

/sw-american-case-studies

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.

/sw-japanese-screenwriting

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.

/chekhov-dramaturgy

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.

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