| name | script-analysis-dramaturgical |
| description | Comprehensive dramaturgical analysis of screenplays and scripts. Use when asked to analyze, break down, map, or provide feedback on a script. Triggers on requests involving beat mapping, act structure analysis, scene-by-scene breakdown, first-reader reports, production notes, or any comprehensive script coverage. Claude assumes combined roles of aesthete, dramaturgist, narratologist, art historian, cinephile, rhetorician, producer, academic, and first-reader. |
| license | MIT |
Script Analysis & Dramaturgical Coverage
Comprehensive protocol for ingesting, analyzing, and documenting screenplays and scripts with exhaustive coverage from multiple critical perspectives.
0. Analyst Role Synthesis
Claude operates as a synthesis of eight distinct analytical perspectives:
ROLE_MATRIX:
┌─────────────────────────────────────────────────────────────────────────────────┐
│ ANALYST ROLE CONFIGURATION │
├─────────────────┬───────────────────────────────────────────────────────────────┤
│ AESTHETE │ Evaluates beauty, form, style; identifies sensory and │
│ │ formal patterns; assesses visual/sonic imagination │
├─────────────────┼───────────────────────────────────────────────────────────────┤
│ DRAMATURGIST │ Analyzes structure, rhythm, dramatic tension; identifies │
│ │ dramaturgical problems; suggests structural solutions │
├─────────────────┼───────────────────────────────────────────────────────────────┤
│ NARRATOLOGIST │ Maps narrative mechanisms; applies formal theory (McKee, │
│ │ Aristotle, etc.); diagnoses causal binding, gap dynamics │
├─────────────────┼───────────────────────────────────────────────────────────────┤
│ ART HISTORIAN │ Contextualizes within film/art history; identifies │
│ │ influences, movements, lineages; notes intertextuality │
├─────────────────┼───────────────────────────────────────────────────────────────┤
│ CINEPHILE │ References comparable works; identifies genre conventions; │
│ │ assesses audience expectations and satisfactions │
├─────────────────┼───────────────────────────────────────────────────────────────┤
│ RHETORICIAN │ Analyzes argument structure, persuasion, theme articulation; │
│ │ evaluates dialogue craft, linguistic patterns │
├─────────────────┼───────────────────────────────────────────────────────────────┤
│ PRODUCER │ Assesses practical feasibility; identifies budget/casting │
│ │ implications; evaluates market positioning │
├─────────────────┼───────────────────────────────────────────────────────────────┤
│ ACADEMIC │ Applies theoretical frameworks rigorously; maintains │
│ │ citation discipline; produces scholarship-grade analysis │
├─────────────────┼───────────────────────────────────────────────────────────────┤
│ FIRST-READER │ Provides emotional response; identifies engagement points │
│ │ and failures; reports subjective experience honestly │
└─────────────────┴───────────────────────────────────────────────────────────────┘
Role Activation
All roles remain active throughout analysis. Role-specific observations are tagged:
[AESTHETE]: Observation about form/beauty
[DRAMATURGIST]: Structural intervention
[NARRATOLOGIST]: Mechanism diagnosis
[ART_HIST]: Historical/intertextual note
[CINEPHILE]: Comparable work reference
[RHETORICIAN]: Language/argument analysis
[PRODUCER]: Practical consideration
[ACADEMIC]: Theoretical application
[FIRST-READER]: Emotional/engagement response
1. Ingestion Protocol
1.1 Complete Reading Requirement
CRITICAL: The entire script must be read and held in working context before any analysis documents are produced.
INGESTION_SEQUENCE:
PHASE 1: INITIAL READ
├── Read script completely without annotation
├── Note immediate emotional/engagement responses
└── Capture [FIRST-READER] reactions
PHASE 2: STRUCTURAL READ
├── Identify act breaks (even if unconventional)
├── Mark turning points and structural nodes
└── Note temporal structure and time span
PHASE 3: ANALYTICAL READ
├── Annotate scene-by-scene
├── Tag every beat with function
└── Map character arcs and transformations
PHASE 4: SYNTHESIS
├── Cross-reference observations
├── Identify patterns across readings
└── Formulate diagnostic assessments
1.2 Metadata Extraction
Extract and document at ingestion:
| Field | Description |
|---|
| Title | Script title |
| Draft | Version/date if available |
| Format | Feature / Pilot / Limited Series / Short |
| Page Count | Total pages |
| Line Count | Total lines (if available) |
| Scene Count | Total number of scenes |
| Time Span | Diegetic duration |
| Primary Genre | Main genre classification |
| Tone | Dominant tonal register |
| Camera Grammar | If specified (e.g., found footage, surveillance, traditional) |
2. Deliverable Documents
The complete analysis package consists of eight core documents plus optional supplements.
2.1 Document Overview
DELIVERABLE_STRUCTURE:
┌─────────────────────────────────────────────────────────────────┐
│ CORE DOCUMENTS (8) │
├─────────────────────────────────────────────────────────────────┤
│ 1. COVERAGE REPORT Executive summary + recommendation│
│ 2. BEAT MAP Exhaustive scene-by-scene mapping │
│ 3. STRUCTURAL ANALYSIS Act/movement architecture │
│ 4. CHARACTER ATLAS All characters + arcs │
│ 5. THEMATIC ARCHITECTURE Theme layers + motif tracking │
│ 6. DIAGNOSTIC REPORT Structural problems + solutions │
│ 7. THEORETICAL CORRESPONDENCE Framework mapping │
│ 8. REVISION ROADMAP Prioritized action items │
└─────────────────────────────────────────────────────────────────┘
┌─────────────────────────────────────────────────────────────────┐
│ OPTIONAL SUPPLEMENTS │
├─────────────────────────────────────────────────────────────────┤
│ A. PRODUCTION NOTES Budget/casting/feasibility │
│ B. COMPARATIVE ANALYSIS Genre comps and influences │
│ C. DIALOGUE ANALYSIS Language patterns and voice │
│ D. VISUAL GRAMMAR Camera/staging/spectacle │
│ E. MARKET POSITIONING Audience + commercial assessment │
└─────────────────────────────────────────────────────────────────┘
3. Document Templates
3.1 COVERAGE REPORT
# [TITLE] — Coverage Report
**Draft:** [version/date]
**Analyst:** Claude (script-analysis-dramaturgical)
**Date:** [analysis date]
---
## Logline
[1-2 sentence distillation of central dramatic premise]
## Synopsis
[300-500 word plot summary covering all major beats]
## Assessment Matrix
| Category | Rating | Notes |
|----------|--------|-------|
| Concept/Premise | ○○○○○ | |
| Structure | ○○○○○ | |
| Character | ○○○○○ | |
| Dialogue | ○○○○○ | |
| Theme | ○○○○○ | |
| Market Potential | ○○○○○ | |
Rating key: ●●●●● (5) = Exceptional | ●●●●○ (4) = Strong | ●●●○○ (3) = Competent | ●●○○○ (2) = Needs Work | ●○○○○ (1) = Significant Issues
## Recommendation
[ ] RECOMMEND — Ready for production consideration
[ ] CONSIDER — Strong elements, development needed
[ ] PASS — Fundamental issues
## Executive Summary
[2-3 paragraphs synthesizing strengths and concerns]
## Strengths
1. [Specific strength with textual evidence]
2. [Specific strength with textual evidence]
3. [Specific strength with textual evidence]
## Areas for Development
1. [Specific concern with textual evidence and suggested approach]
2. [Specific concern with textual evidence and suggested approach]
3. [Specific concern with textual evidence and suggested approach]
## Comparable Works
- [Title (Year)] — [specific point of comparison]
- [Title (Year)] — [specific point of comparison]
- [Title (Year)] — [specific point of comparison]
---
*Coverage prepared by dramaturgical analysis protocol v1.0*
3.2 BEAT MAP
The beat map is the exhaustive document. Every scene receives an entry.
# [TITLE] — Complete Beat Map
**Total Scenes:** [N]
**Total Beats:** [N]
**Line/Page Coverage:** [first] to [last]
---
## Beat Map Key
| Field | Description |
|-------|-------------|
| **#** | Beat number (sequential) |
| **Lines/Pages** | Script location |
| **Setting** | Location + time |
| **Characters** | Present in scene |
| **Action** | What happens (objective) |
| **Function** | Structural purpose |
| **Tension** | Intensity level (1-10) |
| **Connector** | Causal relationship to prior beat |
### Connector Key
- **BUT** — Reversal/complication from prior beat
- **THEREFORE** — Consequence of prior beat
- **MEANWHILE** — Parallel action (use sparingly)
- **AND THEN** — Weak/episodic connection (flag for revision)
---
## Beat Map
### ACT [N] — [Act Title]
| # | Lines/Pages | Setting | Characters | Action | Function | Tension | Connector |
|---|-------------|---------|------------|--------|----------|---------|-----------|
| 1 | 1-15 | [location] | [chars] | [what happens] | [why it matters] | 3 | — |
| 2 | 16-42 | [location] | [chars] | [what happens] | [why it matters] | 4 | BUT |
| ... | ... | ... | ... | ... | ... | ... | ... |
### Tension Graph
TENSION
10 │ ▓▓▓
│ ▓▓▓▓▓ ▓
8 │ ▓▓▓▓▓ ▓
│ ▓▓▓▓▓ ▓
6 │ ▓▓▓▓▓ ▓
│ ▓▓▓▓▓ ▓
4 │ ▓▓▓▓▓ ▓
│ ▓▓▓▓ ▓
2 │▓▓ ▓
└────────────────────────────────────────────────►
ACT I ACT II ACT III BEATS
---
## Beat Statistics
| Metric | Value |
|--------|-------|
| Total beats | [N] |
| Average tension | [N.N] |
| BUT connectors | [N] ([%]) |
| THEREFORE connectors | [N] ([%]) |
| MEANWHILE connectors | [N] ([%]) |
| AND THEN connectors | [N] ([%]) — **Flag if >10%** |
---
*Beat map generated with complete coverage*
3.3 STRUCTURAL ANALYSIS
# [TITLE] — Structural Analysis
---
## I. Macro-Structure Overview
┌────────────────────────────────────────────────────────────────────────────────┐
│ [TITLE] — STRUCTURAL OVERVIEW │
├────────────────────────────────────────────────────────────────────────────────┤
│ │
│ [ACT/MOVEMENT 1] [ACT/MOVEMENT 2] [ACT/MOVEMENT 3] [ETC] │
│ [Subtitle] [Subtitle] [Subtitle] │
│ │
│ Lines X-Y Lines Y-Z Lines Z-W │
│ N lines N lines N lines │
│ ~N% ~N% ~N% │
│ │
│ Key Image: Key Image: Key Image: │
│ [description] [description] [description] │
│ │
└────────────────────────────────────────────────────────────────────────────────┘
## II. Structural Model
Identify which structural model(s) apply:
| Model | Fit | Notes |
|-------|-----|-------|
| Classical Three-Act | ○○○○○ | |
| Five-Act (Shakespearean) | ○○○○○ | |
| Episodic/Picaresque | ○○○○○ | |
| European Art Cinema | ○○○○○ | |
| Circular/Cyclical | ○○○○○ | |
| Parallel/Braided | ○○○○○ | |
| Reverse Chronology | ○○○○○ | |
| Other: [specify] | ○○○○○ | |
## III. Dramatic Spine
THESIS STATEMENT:
[If articulated explicitly in script, quote with line reference]
CONTROLLING IDEA:
[1-2 sentence distillation of the script's core argument/meaning]
CENTRAL DRAMATIC QUESTION:
[The question the audience carries through the narrative]
PROTAGONIST:
[Identification + relationship to dramatic question]
ANTAGONIST:
[Identification + relationship to dramatic question]
## IV. Movement/Act Breakdown
For each major structural division:
### [Movement/Act N]: [Title]
**Lines:** X-Y
**Pages:** X-Y
**Duration:** ~N% of script
**Opening Image:** [description]
**Closing Image:** [description]
**Function:** [What this section accomplishes structurally]
**Internal Structure:**
[ASCII diagram of internal beats/sequences]
**Key Turning Points:**
| Beat | Line | Event | Function |
|------|------|-------|----------|
| [name] | [N] | [what happens] | [structural function] |
## V. Turning Points / Structural Nodes
Complete table of all major turning points:
| Node | Line/Page | Event | Structural Function |
|------|-----------|-------|---------------------|
| Hook | | | |
| Inciting Incident | | | |
| Lock-In / Point of No Return | | | |
| First Major Reversal | | | |
| Midpoint | | | |
| Second Major Reversal | | | |
| Dark Night / Crisis | | | |
| Climax | | | |
| Resolution | | | |
## VI. Intensity Mapping
INTENSITY
▲
│ [climax]
│ ▓▓▓▓▓
│ ▓▓▓▓▓ ▓▓▓▓
│ ▓▓▓▓▓ ▓▓▓
│ ▓▓▓▓▓ ▓▓
│ ▓▓▓▓▓ ▓
│ ▓▓▓▓▓ ▓
│ ▓▓▓▓▓ ▓
│ ▓▓▓▓▓ ▓
│ ▓▓▓▓▓ ▓
│ ▓▓▓▓ ▓
│▓▓▓
├────────┬─────────────────┬──────────────────┬──────────────────────►
I II III TIME
[MOVEMENT LABELS]
## VII. Proportional Analysis
| Section | Current % | Classical % | Assessment |
|---------|-----------|-------------|------------|
| Setup/Act I | | ~25% | |
| Confrontation/Act II | | ~50% | |
| Resolution/Act III | | ~25% | |
---
*Structural analysis complete*
3.4 CHARACTER ATLAS
# [TITLE] — Character Atlas
---
## I. Character Hierarchy
CHARACTER_HIERARCHY:
PROTAGONIST(S)
└── [Character Name]
└── [Character Name]
ANTAGONIST(S)
└── [Character Name]
MAJOR SUPPORTING
├── [Character Name]
├── [Character Name]
└── [Character Name]
MINOR SUPPORTING
├── [Character Name]
└── [Character Name]
FUNCTIONAL / BACKGROUND
└── [Listed without detail]
## II. Character Profiles
### [CHARACTER NAME]
**Role:** Protagonist / Antagonist / Supporting
**First Appearance:** Line/Page [N]
**Scene Count:** [N] scenes
**Arc Type:**
- [ ] Transformational (internal change)
- [ ] Static (reveals rather than changes)
- [ ] Flat (functional only)
**Opening State:**
[Description of character at script open]
**Closing State:**
[Description of character at script close]
**Want vs. Need:**
- **Want (conscious goal):** [what they pursue]
- **Need (unconscious necessity):** [what they actually need]
**Transformation Summary:**
[OPENING STATE] → [CRISIS/CATALYST] → [CLOSING STATE]
**Key Scenes:**
| Scene | Line/Page | Function in Arc |
|-------|-----------|-----------------|
| [description] | [N] | [arc function] |
**Relationships:**
| Character | Relationship | Dynamic |
|-----------|--------------|---------|
| [name] | [type] | [how it evolves] |
**Diagnostic Questions:**
1. Does this character have a clearly defined want?
2. Does this character have a clearly defined need (distinct from want)?
3. Does the character make meaningful choices?
4. Does the character change (or meaningfully reveal)?
5. Is the character necessary to the narrative?
---
## III. Ensemble Dynamics
### Relationship Web
[ASCII diagram of character relationships]
### Power Dynamics Table
| Character | Power Position (Open) | Power Position (Close) | Shift |
|-----------|----------------------|------------------------|-------|
| [name] | High / Mid / Low | High / Mid / Low | ↑ ↓ — |
---
## IV. Character Statistics
| Metric | Value |
|--------|-------|
| Total named characters | [N] |
| Characters with arcs | [N] |
| Characters with dialogue | [N] |
| Female characters | [N] |
| Male characters | [N] |
| Other/unspecified | [N] |
| Protagonist scene presence | [N]% |
---
*Character atlas complete*
3.5 THEMATIC ARCHITECTURE
# [TITLE] — Thematic Architecture
---
## I. Thematic Layers
┌─────────────────────────────────────────────────────────────────────────────┐
│ THEMATIC LAYERS │
├─────────────────────────────────────────────────────────────────────────────┤
│ │
│ LAYER 1: [PRIMARY THEME] │
│ ├── [Evidence point 1] │
│ ├── [Evidence point 2] │
│ └── [Evidence point 3] │
│ │
│ LAYER 2: [SECONDARY THEME] │
│ ├── [Evidence point 1] │
│ ├── [Evidence point 2] │
│ └── [Evidence point 3] │
│ │
│ LAYER 3: [TERTIARY THEME] │
│ └── [Evidence points] │
│ │
│ [Additional layers as warranted] │
│ │
└─────────────────────────────────────────────────────────────────────────────┘
## II. Controlling Idea Analysis
**Thesis (as statement):**
[Distilled 1-sentence argument of the script]
**Antithesis (as represented in script):**
[The counter-argument the script engages]
**Synthesis (resolution):**
[How the script resolves the dialectic, if at all]
## III. Motif Tracking
| Motif | First Instance | Recurrences | Function |
|-------|----------------|-------------|----------|
| [visual/verbal motif] | Line [N] | Lines [N, N, N] | [what it does] |
## IV. Symbol Glossary
| Symbol | Meaning(s) | Key Instances |
|--------|-----------|---------------|
| [symbol] | [interpretation] | Lines [N, N] |
## V. Thematic Articulation Points
Moments where theme is articulated directly (dialogue, image, action):
| Line/Page | Type | Content | Assessment |
|-----------|------|---------|------------|
| [N] | Dialogue / Image / Action | [quote or description] | Effective / Heavy-handed / Subtle |
---
*Thematic architecture complete*
3.6 DIAGNOSTIC REPORT
# [TITLE] — Diagnostic Report
---
## I. Structural Diagnostics
### Causal Binding Test
Apply the But/Therefore test to major beat transitions:
| Transition | Connector | Assessment |
|------------|-----------|------------|
| Beat 1 → Beat 2 | BUT / THEREFORE / AND THEN | ✓ Strong / ✗ Weak |
**Causal Binding Score:** [N]% of transitions are causally bound
### Narrative Momentum Assessment
| Question | Answer | Evidence |
|----------|--------|----------|
| Can beats be reordered without consequence? | Yes / No | [explanation] |
| Does each scene create new information? | Yes / No | [explanation] |
| Are there redundant scenes? | Yes / No | [list if yes] |
## II. Character Diagnostics
### Protagonist Validation
| Question | Answer |
|----------|--------|
| Is the protagonist the most active agent? | |
| Does the protagonist make choices that drive plot? | |
| Does the protagonist face escalating obstacles? | |
| Is the protagonist's transformation earned? | |
### Antagonist Validation
| Question | Answer |
|----------|--------|
| Does the antagonist provide genuine opposition? | |
| Does the antagonist have comprehensible motivation? | |
| Is the antagonist's pressure continuous? | |
## III. Attention Mechanics Diagnostics
From the Attention Mechanics meta-framework:
| Mechanism | Present | Assessment |
|-----------|---------|------------|
| Involuntary response triggers | Yes / No | [which type: comedy, horror, pathos] |
| Anticipation-satisfaction cycles | Yes / No | [where] |
| Prediction-failure-recalibration (jazz mode) | Yes / No | [where] |
| Causal binding | Strong / Moderate / Weak | |
| Density compensation | Adequate / Inadequate | |
## IV. Identified Issues
### Critical (Structural)
Issues that affect the narrative's fundamental coherence:
1. **[Issue Title]**
- **Location:** Lines/Pages [N-N]
- **Description:** [what's wrong]
- **Impact:** [why it matters]
- **Suggested Approach:** [how to address]
### Important (Character/Theme)
Issues that affect depth without breaking structure:
1. **[Issue Title]**
- **Location:** [N-N]
- **Description:** [what's wrong]
- **Suggested Approach:** [how to address]
### Polish (Craft)
Line-level or scene-level refinements:
1. **[Issue Title]**
- **Location:** [N]
- **Note:** [observation]
## V. Proportional Issues
| Section | Current | Target | Action |
|---------|---------|--------|--------|
| [section] | [N] lines | [N] lines | Expand / Compress |
---
*Diagnostic report complete*
3.7 THEORETICAL CORRESPONDENCE
# [TITLE] — Theoretical Correspondence
---
## I. Framework Application
How this script relates to established narrative frameworks:
### Aristotelian Analysis
| Element | Poetics Requirement | Script Implementation | Assessment |
|---------|--------------------|-----------------------|------------|
| Mimesis | Action over character | | |
| Hamartia | Protagonist error | | |
| Peripeteia | Reversal | | |
| Anagnorisis | Recognition | | |
| Catharsis | Purgation | | |
| Unity of Action | Single through-line | | |
### McKee Framework
| Element | McKee Principle | Script Implementation |
|---------|----------------|-----------------------|
| Controlling Idea | Value + Cause | |
| Inciting Incident | Upset of balance | |
| Progressive Complications | Escalating obstacles | |
| Crisis | Dilemma forcing choice | |
| Climax | Irreversible action | |
| Resolution | New equilibrium | |
### South Park But/Therefore
**Causal Chain Diagram:**
[EVENT A]
↓ THEREFORE
[EVENT B]
↓ BUT
[EVENT C]
↓ THEREFORE
[...]
### Additional Frameworks (as relevant)
- **Phoebe Waller-Bridge (Three Obstacles):** Is each scene operating on multiple obstacle layers?
- **Larry David (Cascading Consequences):** Are minor choices generating major complications?
- **Kubrick (Subconscious Engagement):** Are non-verbal/visual elements carrying meaning?
- **Bharata Muni (Rasa):** Which dominant emotional essence is being cultivated?
## II. Genre Contract
| Genre Element | Contract Expectation | Script Delivery | Assessment |
|---------------|---------------------|-----------------|------------|
| [convention 1] | [what audience expects] | [what script provides] | Met / Subverted / Violated |
---
*Theoretical correspondence complete*
3.8 REVISION ROADMAP
# [TITLE] — Revision Roadmap
---
## Priority Matrix
IMPACT
Low High
┌──────────┬──────────┐
Low │ IGNORE │ POLISH │
EFFORT ├──────────┼──────────┤
High │ DEFER │ CRITICAL │
└──────────┴──────────┘
## I. Critical Priority (High Impact / Address First)
Structural issues that must be resolved before production consideration:
| # | Issue | Location | Action | Effort |
|---|-------|----------|--------|--------|
| 1 | [issue] | [lines] | [specific action] | [estimated scope] |
## II. Important Priority (High Impact / Second Pass)
Character and theme issues that deepen the work:
| # | Issue | Location | Action |
|---|-------|----------|--------|
| 1 | [issue] | [lines] | [specific action] |
## III. Polish Priority (Refinement)
Line-level and craft improvements:
| # | Issue | Location | Action |
|---|-------|----------|--------|
| 1 | [issue] | [lines] | [specific action] |
## IV. Suggested Revision Sequence
1. **Pass 1 — Structure:** Address critical structural issues
2. **Pass 2 — Character:** Deepen arcs and relationships
3. **Pass 3 — Theme:** Strengthen thematic articulation
4. **Pass 4 — Dialogue:** Polish language and voice
5. **Pass 5 — Format:** Clean formatting, typos, continuity
## V. Questions for the Artist
Issues requiring creative decision rather than technical fix:
1. [Question about intention or direction]
2. [Question about interpretation]
3. [Question about scope]
---
*Revision roadmap complete*
4. Workflow Execution
4.1 Standard Workflow
ANALYSIS_WORKFLOW:
STEP 1: INGESTION
├── Read complete script (no partial analysis)
├── Extract metadata
└── Record first-reader responses
STEP 2: BEAT MAPPING
├── Scene-by-scene annotation
├── Assign structural functions
└── Apply causal binding connectors
STEP 3: STRUCTURAL ANALYSIS
├── Identify act/movement breaks
├── Map turning points
└── Generate structural diagrams
STEP 4: CHARACTER ATLAS
├── Profile all named characters
├── Map relationships
└── Track arcs
STEP 5: THEMATIC ARCHITECTURE
├── Identify theme layers
├── Track motifs
└── Note articulation points
STEP 6: DIAGNOSTICS
├── Apply structural tests
├── Identify issues
└── Categorize by severity
STEP 7: THEORETICAL CORRESPONDENCE
├── Apply relevant frameworks
└── Assess genre contract
STEP 8: REVISION ROADMAP
├── Prioritize issues
└── Sequence actions
STEP 9: COVERAGE REPORT
└── Synthesize into executive document
4.2 Delivery Options
Offer artist choice of delivery:
| Option | Contents |
|---|
| Full Package | All 8 core documents |
| Executive | Coverage Report + Revision Roadmap only |
| Structural Focus | Beat Map + Structural Analysis + Diagnostics |
| Character Focus | Character Atlas + relevant diagnostics |
| Custom | Artist-specified selection |
5. Quality Standards
5.1 Completeness Checklist
Before delivery, verify:
5.2 Role-Tag Coverage
Ensure all analyst roles have contributed observations:
5.3 Terminology Standards
Use consistent terminology throughout:
| Term | Definition |
|---|
| Beat | Smallest unit of dramatic action (single exchange of behavior) |
| Scene | Continuous action in single location/time |
| Sequence | Group of scenes forming a unit of rising action |
| Act | Major structural division |
| Movement | Alternative to "act" for non-classical structures |
| Turning Point | Moment of irreversible change |
| Node | Structural landmark (hook, inciting incident, etc.) |
6. Integration Notes
6.1 Narratological Algorithm Integration
This skill draws on established narratological algorithms:
| Algorithm | Application |
|---|
| McKee | Gap analysis, progressive complications |
| Aristotle | Unity, catharsis, recognition/reversal |
| South Park | But/Therefore causal test |
| Phoebe Waller-Bridge | Three-obstacle layering |
| Larry David | Cascading consequences |
| Attention Mechanics | Engagement diagnosis |
6.2 Output Format
All documents should be delivered as markdown files with:
- ASCII diagrams for visual structures
- Tables for data-dense sections
- Code blocks for formulas and tests
- Consistent heading hierarchy
Reference Files
Skill: script-analysis-dramaturgical v1.0
