| name | scriptwriting-master |
| description | 影视编剧 (Scriptwriting / Screenwriting) — 为电影 / 电视 / 流媒体剧集写戏剧蓝本的从业者认知操作系统: 决定「讲什么故事、人物是谁为何转变、场景如何被戏剧化、主题为何重要」的学科 —— 区别于导演 (调度 / 视觉实现)、制片 (融资 / 排期)、小说 (无格式 / 场景 / 视觉动作约束)。覆盖 (a) 故事与结构理论 (亚里士多德《诗学》情节 / 人物 / 思想 + 突转 peripeteia / 发现 anagnorisis + 净化 catharsis; Syd Field 范式 / 三幕 / 情节点; Freytag 金字塔; Egri 前提; McKee《故事》掌控性理念 / 鸿沟 / 价值正负转变 / 激励事件 / 渐进式复杂化; Truby《故事剖析》22 步 + 道德论证; Vogler/Campbell 英雄之旅; Blake Snyder《救猫咪》15 拍节拍表; Dan Harmon 故事环; John Yorke 五幕《进入森林》; Frank Daniel 八序列法; 起承转合东亚戏剧结构), (b) 人物 (想要 vs 需要 / 外在目标 vs 内在缺失, 人物弧光 正 / 负 / 平, flaw-wound-ghost 创伤背景, 主动 vs 被动主角的能动性, Egri 三维人物 生理 / 社会 / 心理, 反派是主角的镜子, 群像与关系网, 人物在压力下的选择中显形), (c) 对白 (潜台词 subtext, 对白即动作与冲突而非信息, 避免太直白 on the nose, 人物独特声口, 信息植入 exposition, Mamet/Sorkin 意图-阻碍式对白, 展示而非告知, 中文剧台词工艺), (d) 场景与序列工艺 (场景是有目标 / 冲突 / 转折的微型故事, 场景价值充能与转折点, 晚进早出, 八序列法, set piece, 转场, 场景头 / 动作行 / 括号提示 格式工艺), (e) 主题与前提 (掌控性理念 / 前提, 主题是被戏剧化的论证而非说教, 道德论证 Truby, 主题统一性, 这到底在讲什么), (f) 类型 (类型惯例是对观众的承诺, Snyder 10 类故事, 颠覆 vs 尊重套路, 类型片 vs 文艺片, 中国类型 主旋律 / 古装 / 年代 / 悬疑 / 甜宠 / 都市 / 军旅 / 历史正剧), (g) 格式与工业流程 (好莱坞剧本格式与 Final Draft, logline 一句话故事, treatment 故事大纲, 节拍表, 分场 / 分集大纲, spec 原创剧本 vs 委托, pitch, coverage, 美剧编剧室与 showrunner 制; 中国 大纲→人物小传→分集大纲→剧本, 长剧集 40 集结构, 网络电影 / 网大, 分账剧, 平台定制剧, 微短剧竖屏短剧), (h) 改稿与开发 (写作就是改写, 改稿 / 润色 / 推倒重写, 处理意见 / 改稿意见, 片方与平台 notes, 杀死你的宝贝, 围读, 开发地狱), (i) 改编 (IP改编 小说 / 漫画 / 游戏改编, 忠于精神而非字句, 压缩, 中国网文 IP 热), (j) 中国影视编剧产业现实 (审查 / 广电总局约束, 备案 / 立项, 平台定制剧 爱优腾芒, 分账, 编剧维权 署名权 / 欠薪 / 枪手, 注水剧, 流量 + 大IP 资本逻辑 vs 原创工艺, 导演中心制 vs 编剧话语权), (k) 编剧职业与工艺生涯 (spec vs 委托, 编剧 vs 编审 / 策划, 单兵 vs 编剧室, 在开发链条中的位置, WGA 与署名仲裁规范, 入行, 中国编剧地位与权益)。跨 电影 / 美剧流媒体 / 中国电影与长剧集。不含 导演 / 摄影 / 制片 / 融资 / 表演 / 电影理论批评为终点 / 泛小说写作 / 纪录片 / 新闻 —— 本 skill 是「戏剧化编剧」工艺: 故事 / 人物 / 场景 / 对白 / 主题 / 结构 / 格式 与围绕它们的产业流程。 (Scriptwriting / Screenwriting for film & TV (影视编剧) — the cognitive operating system of practitioners who write the dramatic blueprint of films, television, and streaming series: the discipline of deciding WHAT story is told, WHO the characters are and why they change, HOW the scenes are dramatized, and WHY it matters thematically — distinct from directing (staging/visual realization), producing (financing/scheduling), and prose fiction (which has no format/scene/visual-action constraints). Covers (a) story & structure theory (Aristotle's Poetics — plot/character/thought + reversal peripeteia/recognition anagnorisis + catharsis; Syd Field's paradigm/three-act/plot points; Freytag's pyramid; Lajos Egri's premise; Robert McKee's Story — controlling idea/the gap/value charge/inciting incident/progressive complications; John Truby's 22 steps & moral argument; Christopher Vogler/Joseph Campbell hero's journey; Blake Snyder's Save the Cat 15-beat sheet; Dan Harmon's story circle; John Yorke's 5-act Into the Woods; Frank Daniel's 8-sequence method; 起承转合 East-Asian dramatic structure), (b) character (want vs need/external goal vs internal lack, character arc positive/negative/flat, 人物弧光, flaw-wound-ghost backstory, agency active vs passive protagonist, Egri's 3-dimensional character physiology/sociology/psychology, antagonist as the protagonist's mirror, ensemble & relationship webs, character revealed through choice under pressure), (c) dialogue (subtext 潜台词, dialogue as action & conflict not information, 'on the nose' avoidance, distinct character voice, exposition handling, Mamet/Sorkin intention-obstacle dialogue, show-don't-tell, 台词 craft in Chinese drama), (d) scene & sequence craft (scene as a mini-story with goal/conflict/turn, scene value charge & turning point, enter-late-leave-early, the 8-sequence method, set pieces, transitions, slug line/action line/parenthetical format craft), (e) theme & premise (controlling idea/premise/前提, theme as dramatized argument not message, moral argument Truby, thematic unity, 'what is this really about'), (f) genre (genre conventions as audience promise, Snyder's 10 story types, subverting vs honoring tropes, 类型片 vs 文艺片, Chinese genres 主旋律/古装/年代/悬疑/甜宠/都市/军旅/历史正剧), (g) format & industry process (Hollywood screenplay format & Final Draft, logline, treatment 故事大纲, beat sheet, step outline 分场/分集大纲, spec vs assignment, pitch, coverage, the writers' room & showrunner system in US TV; China: 大纲→人物小传→分集大纲→剧本, long-form 40-episode drama structure, 网络电影/网大, 分账剧, 平台定制剧, 微短剧 vertical micro-drama), (h) rewriting & development ('writing is rewriting', the rewrite/polish/page-one rewrite, development notes 处理意见/改稿, studio & platform notes, killing your darlings, table read, development hell), (i) adaptation (IP改编 novel/comic/game to screen, faithful-to-spirit-not-letter, compression, China's 网文 IP boom), (j) China screenwriting industry reality (审查/广电总局 censorship constraints, 备案/立项, platform-customized drama 爱优腾芒, 分账, 编剧维权 credit/wage/署名权 disputes & 枪手 ghostwriting, 注水剧 episode-padding, 流量+大IP capital logic vs original craft, 导演中心制 vs 编剧 power dynamics), (k) the screenwriter's craft & career (spec vs assignment, 编剧 vs 编审/策划, solo vs writers' room, position in the development chain, WGA & credit arbitration norms, breaking in, China screenwriter status & rights). Spans feature film, US/streaming TV, and Chinese film & long-form TV. NOT directing/cinematography, NOT producing/financing/scheduling, NOT acting, NOT film criticism/theory as an end, NOT prose-fiction novel writing broadly, NOT documentary/journalism — this is the DRAMATIC SCREENWRITING craft: story, character, scene, dialogue, theme, structure, format, and the industry process around them.) Master OS — automated mastery of Scriptwriting / Screenwriting for film & TV (影视编剧) — the cognitive operating system of practitioners who write the dramatic blueprint of films, television, and streaming series: the discipline of deciding WHAT story is told, WHO the characters are and why they change, HOW the scenes are dramatized, and WHY it matters thematically — distinct from directing (staging/visual realization), producing (financing/scheduling), and prose fiction (which has no format/scene/visual-action constraints). Covers (a) story & structure theory (Aristotle's Poetics — plot/character/thought + reversal peripeteia/recognition anagnorisis + catharsis; Syd Field's paradigm/three-act/plot points; Freytag's pyramid; Lajos Egri's premise; Robert McKee's Story — controlling idea/the gap/value charge/inciting incident/progressive complications; John Truby's 22 steps & moral argument; Christopher Vogler/Joseph Campbell hero's journey; Blake Snyder's Save the Cat 15-beat sheet; Dan Harmon's story circle; John Yorke's 5-act Into the Woods; Frank Daniel's 8-sequence method; 起承转合 East-Asian dramatic structure), (b) character (want vs need/external goal vs internal lack, character arc positive/negative/flat, 人物弧光, flaw-wound-ghost backstory, agency active vs passive protagonist, Egri's 3-dimensional character physiology/sociology/psychology, antagonist as the protagonist's mirror, ensemble & relationship webs, character revealed through choice under pressure), (c) dialogue (subtext 潜台词, dialogue as action & conflict not information, 'on the nose' avoidance, distinct character voice, exposition handling, Mamet/Sorkin intention-obstacle dialogue, show-don't-tell, 台词 craft in Chinese drama), (d) scene & sequence craft (scene as a mini-story with goal/conflict/turn, scene value charge & turning point, enter-late-leave-early, the 8-sequence method, set pieces, transitions, slug line/action line/parenthetical format craft), (e) theme & premise (controlling idea/premise/前提, theme as dramatized argument not message, moral argument Truby, thematic unity, 'what is this really about'), (f) genre (genre conventions as audience promise, Snyder's 10 story types, subverting vs honoring tropes, 类型片 vs 文艺片, Chinese genres 主旋律/古装/年代/悬疑/甜宠/都市/军旅/历史正剧), (g) format & industry process (Hollywood screenplay format & Final Draft, logline, treatment 故事大纲, beat sheet, step outline 分场/分集大纲, spec vs assignment, pitch, coverage, the writers' room & showrunner system in US TV; China: 大纲→人物小传→分集大纲→剧本, long-form 40-episode drama structure, 网络电影/网大, 分账剧, 平台定制剧, 微短剧 vertical micro-drama), (h) rewriting & development ('writing is rewriting', the rewrite/polish/page-one rewrite, development notes 处理意见/改稿, studio & platform notes, killing your darlings, table read, development hell), (i) adaptation (IP改编 novel/comic/game to screen, faithful-to-spirit-not-letter, compression, China's 网文 IP boom), (j) China screenwriting industry reality (审查/广电总局 censorship constraints, 备案/立项, platform-customized drama 爱优腾芒, 分账, 编剧维权 credit/wage/署名权 disputes & 枪手 ghostwriting, 注水剧 episode-padding, 流量+大IP capital logic vs original craft, 导演中心制 vs 编剧 power dynamics), (k) the screenwriter's craft & career (spec vs assignment, 编剧 vs 编审/策划, solo vs writers' room, position in the development chain, WGA & credit arbitration norms, breaking in, China screenwriter status & rights). Spans feature film, US/streaming TV, and Chinese film & long-form TV. NOT directing/cinematography, NOT producing/financing/scheduling, NOT acting, NOT film criticism/theory as an end, NOT prose-fiction novel writing broadly, NOT documentary/journalism — this is the DRAMATIC SCREENWRITING craft: story, character, scene, dialogue, theme, structure, format, and the industry process around them.: top builders' mental models, tool stack, current workflows, jargon, and where to keep up.
Trigger this skill when the user works on Scriptwriting / Screenwriting for film & TV (影视编剧) — the cognitive operating system of practitioners who write the dramatic blueprint of films, television, and streaming series: the discipline of deciding WHAT story is told, WHO the characters are and why they change, HOW the scenes are dramatized, and WHY it matters thematically — distinct from directing (staging/visual realization), producing (financing/scheduling), and prose fiction (which has no format/scene/visual-action constraints). Covers (a) story & structure theory (Aristotle's Poetics — plot/character/thought + reversal peripeteia/recognition anagnorisis + catharsis; Syd Field's paradigm/three-act/plot points; Freytag's pyramid; Lajos Egri's premise; Robert McKee's Story — controlling idea/the gap/value charge/inciting incident/progressive complications; John Truby's 22 steps & moral argument; Christopher Vogler/Joseph Campbell hero's journey; Blake Snyder's Save the Cat 15-beat sheet; Dan Harmon's story circle; John Yorke's 5-act Into the Woods; Frank Daniel's 8-sequence method; 起承转合 East-Asian dramatic structure), (b) character (want vs need/external goal vs internal lack, character arc positive/negative/flat, 人物弧光, flaw-wound-ghost backstory, agency active vs passive protagonist, Egri's 3-dimensional character physiology/sociology/psychology, antagonist as the protagonist's mirror, ensemble & relationship webs, character revealed through choice under pressure), (c) dialogue (subtext 潜台词, dialogue as action & conflict not information, 'on the nose' avoidance, distinct character voice, exposition handling, Mamet/Sorkin intention-obstacle dialogue, show-don't-tell, 台词 craft in Chinese drama), (d) scene & sequence craft (scene as a mini-story with goal/conflict/turn, scene value charge & turning point, enter-late-leave-early, the 8-sequence method, set pieces, transitions, slug line/action line/parenthetical format craft), (e) theme & premise (controlling idea/premise/前提, theme as dramatized argument not message, moral argument Truby, thematic unity, 'what is this really about'), (f) genre (genre conventions as audience promise, Snyder's 10 story types, subverting vs honoring tropes, 类型片 vs 文艺片, Chinese genres 主旋律/古装/年代/悬疑/甜宠/都市/军旅/历史正剧), (g) format & industry process (Hollywood screenplay format & Final Draft, logline, treatment 故事大纲, beat sheet, step outline 分场/分集大纲, spec vs assignment, pitch, coverage, the writers' room & showrunner system in US TV; China: 大纲→人物小传→分集大纲→剧本, long-form 40-episode drama structure, 网络电影/网大, 分账剧, 平台定制剧, 微短剧 vertical micro-drama), (h) rewriting & development ('writing is rewriting', the rewrite/polish/page-one rewrite, development notes 处理意见/改稿, studio & platform notes, killing your darlings, table read, development hell), (i) adaptation (IP改编 novel/comic/game to screen, faithful-to-spirit-not-letter, compression, China's 网文 IP boom), (j) China screenwriting industry reality (审查/广电总局 censorship constraints, 备案/立项, platform-customized drama 爱优腾芒, 分账, 编剧维权 credit/wage/署名权 disputes & 枪手 ghostwriting, 注水剧 episode-padding, 流量+大IP capital logic vs original craft, 导演中心制 vs 编剧 power dynamics), (k) the screenwriter's craft & career (spec vs assignment, 编剧 vs 编审/策划, solo vs writers' room, position in the development chain, WGA & credit arbitration norms, breaking in, China screenwriter status & rights). Spans feature film, US/streaming TV, and Chinese film & long-form TV. NOT directing/cinematography, NOT producing/financing/scheduling, NOT acting, NOT film criticism/theory as an end, NOT prose-fiction novel writing broadly, NOT documentary/journalism — this is the DRAMATIC SCREENWRITING craft: story, character, scene, dialogue, theme, structure, format, and the industry process around them. problems and wants industry-grade thinking, tool selection, or workflow guidance.
触发词：「scriptwriting」「screenwriting」「screenwriter」「影视编剧」「编剧」
|
| triggers | ["scriptwriting","screenwriting","screenwriter","影视编剧","编剧","我是编剧","我做编剧","我写剧本","剧本创作","写剧本","screenplay","剧本","teleplay","电视剧本","电影剧本","build me a scriptwriting master skill","造大师 影视编剧","做个编剧 master skill","story structure","故事结构","three act structure","三幕结构","save the cat","救猫咪","beat sheet","节拍表","the hero's journey","英雄之旅","Robert McKee","麦基","story seminar","故事 麦基","Syd Field","field 范式","Blake Snyder","John Truby","the anatomy of story","故事剖析","Christopher Vogler","the writer's journey","作家之旅","Lajos Egri","the art of dramatic writing","编剧的艺术","William Goldman","Aristotle poetics","诗学","David Mamet","Aaron Sorkin","Dan Harmon","story circle","故事环","John Yorke","into the woods","controlling idea","掌控性理念","premise","前提","logline","一句话故事","treatment","故事大纲","step outline","分场大纲","分集大纲","outline","character arc","人物弧光","want vs need","想要与需要","protagonist","主角","antagonist","反派","subtext","潜台词","dialogue","对白","台词","exposition","信息植入","show don't tell","展示而非告知","inciting incident","激励事件","plot point","情节点","midpoint","中点","climax","高潮","theme","主题","genre conventions","类型","类型片","scene","场景","sequence method","序列法","set piece","spec script","原创剧本","pitch","提案","coverage","writers room","编剧室","showrunner","rewriting","改稿","改稿意见","处理意见","notes","development","项目开发","adaptation","改编","IP改编","网文改编","Final Draft","WriterDuet","screenplay format","剧本格式","WGA","编剧工会","the black list","黑名单剧本","Scriptnotes","John August","Scott Myers","go into the story","Pixar 22 rules","皮克斯讲故事","Andrew Stanton","审查","过审","备案","立项","龙标","注水剧","微短剧","竖屏短剧","短剧","分账剧","网络电影","网大","平台定制剧","甜宠","古偶","大女主","历史正剧","主旋律","编剧维权","署名权","枪手","芦苇","刘和平","刘恒","邹静之","兰晓龙","高满堂","王朔","宋方金","六六","中国电影文学学会","北京电影学院 剧作","中央戏剧学院","上海戏剧学院","I'm a screenwriter","I write scripts","update 大师 scriptwriting"] |
| industry | Scriptwriting / Screenwriting for film & TV (影视编剧) — the cognitive operating system of practitioners who write the dramatic blueprint of films, television, and streaming series: the discipline of deciding WHAT story is told, WHO the characters are and why they change, HOW the scenes are dramatized, and WHY it matters thematically — distinct from directing (staging/visual realization), producing (financing/scheduling), and prose fiction (which has no format/scene/visual-action constraints). Covers (a) story & structure theory (Aristotle's Poetics — plot/character/thought + reversal peripeteia/recognition anagnorisis + catharsis; Syd Field's paradigm/three-act/plot points; Freytag's pyramid; Lajos Egri's premise; Robert McKee's Story — controlling idea/the gap/value charge/inciting incident/progressive complications; John Truby's 22 steps & moral argument; Christopher Vogler/Joseph Campbell hero's journey; Blake Snyder's Save the Cat 15-beat sheet; Dan Harmon's story circle; John Yorke's 5-act Into the Woods; Frank Daniel's 8-sequence method; 起承转合 East-Asian dramatic structure), (b) character (want vs need/external goal vs internal lack, character arc positive/negative/flat, 人物弧光, flaw-wound-ghost backstory, agency active vs passive protagonist, Egri's 3-dimensional character physiology/sociology/psychology, antagonist as the protagonist's mirror, ensemble & relationship webs, character revealed through choice under pressure), (c) dialogue (subtext 潜台词, dialogue as action & conflict not information, 'on the nose' avoidance, distinct character voice, exposition handling, Mamet/Sorkin intention-obstacle dialogue, show-don't-tell, 台词 craft in Chinese drama), (d) scene & sequence craft (scene as a mini-story with goal/conflict/turn, scene value charge & turning point, enter-late-leave-early, the 8-sequence method, set pieces, transitions, slug line/action line/parenthetical format craft), (e) theme & premise (controlling idea/premise/前提, theme as dramatized argument not message, moral argument Truby, thematic unity, 'what is this really about'), (f) genre (genre conventions as audience promise, Snyder's 10 story types, subverting vs honoring tropes, 类型片 vs 文艺片, Chinese genres 主旋律/古装/年代/悬疑/甜宠/都市/军旅/历史正剧), (g) format & industry process (Hollywood screenplay format & Final Draft, logline, treatment 故事大纲, beat sheet, step outline 分场/分集大纲, spec vs assignment, pitch, coverage, the writers' room & showrunner system in US TV; China: 大纲→人物小传→分集大纲→剧本, long-form 40-episode drama structure, 网络电影/网大, 分账剧, 平台定制剧, 微短剧 vertical micro-drama), (h) rewriting & development ('writing is rewriting', the rewrite/polish/page-one rewrite, development notes 处理意见/改稿, studio & platform notes, killing your darlings, table read, development hell), (i) adaptation (IP改编 novel/comic/game to screen, faithful-to-spirit-not-letter, compression, China's 网文 IP boom), (j) China screenwriting industry reality (审查/广电总局 censorship constraints, 备案/立项, platform-customized drama 爱优腾芒, 分账, 编剧维权 credit/wage/署名权 disputes & 枪手 ghostwriting, 注水剧 episode-padding, 流量+大IP capital logic vs original craft, 导演中心制 vs 编剧 power dynamics), (k) the screenwriter's craft & career (spec vs assignment, 编剧 vs 编审/策划, solo vs writers' room, position in the development chain, WGA & credit arbitration norms, breaking in, China screenwriter status & rights). Spans feature film, US/streaming TV, and Chinese film & long-form TV. NOT directing/cinematography, NOT producing/financing/scheduling, NOT acting, NOT film criticism/theory as an end, NOT prose-fiction novel writing broadly, NOT documentary/journalism — this is the DRAMATIC SCREENWRITING craft: story, character, scene, dialogue, theme, structure, format, and the industry process around them. |
| industry-cn | 影视编剧 (Scriptwriting / Screenwriting) — 为电影 / 电视 / 流媒体剧集写戏剧蓝本的从业者认知操作系统: 决定「讲什么故事、人物是谁为何转变、场景如何被戏剧化、主题为何重要」的学科 —— 区别于导演 (调度 / 视觉实现)、制片 (融资 / 排期)、小说 (无格式 / 场景 / 视觉动作约束)。覆盖 (a) 故事与结构理论 (亚里士多德《诗学》情节 / 人物 / 思想 + 突转 peripeteia / 发现 anagnorisis + 净化 catharsis; Syd Field 范式 / 三幕 / 情节点; Freytag 金字塔; Egri 前提; McKee《故事》掌控性理念 / 鸿沟 / 价值正负转变 / 激励事件 / 渐进式复杂化; Truby《故事剖析》22 步 + 道德论证; Vogler/Campbell 英雄之旅; Blake Snyder《救猫咪》15 拍节拍表; Dan Harmon 故事环; John Yorke 五幕《进入森林》; Frank Daniel 八序列法; 起承转合东亚戏剧结构), (b) 人物 (想要 vs 需要 / 外在目标 vs 内在缺失, 人物弧光 正 / 负 / 平, flaw-wound-ghost 创伤背景, 主动 vs 被动主角的能动性, Egri 三维人物 生理 / 社会 / 心理, 反派是主角的镜子, 群像与关系网, 人物在压力下的选择中显形), (c) 对白 (潜台词 subtext, 对白即动作与冲突而非信息, 避免太直白 on the nose, 人物独特声口, 信息植入 exposition, Mamet/Sorkin 意图-阻碍式对白, 展示而非告知, 中文剧台词工艺), (d) 场景与序列工艺 (场景是有目标 / 冲突 / 转折的微型故事, 场景价值充能与转折点, 晚进早出, 八序列法, set piece, 转场, 场景头 / 动作行 / 括号提示 格式工艺), (e) 主题与前提 (掌控性理念 / 前提, 主题是被戏剧化的论证而非说教, 道德论证 Truby, 主题统一性, 这到底在讲什么), (f) 类型 (类型惯例是对观众的承诺, Snyder 10 类故事, 颠覆 vs 尊重套路, 类型片 vs 文艺片, 中国类型 主旋律 / 古装 / 年代 / 悬疑 / 甜宠 / 都市 / 军旅 / 历史正剧), (g) 格式与工业流程 (好莱坞剧本格式与 Final Draft, logline 一句话故事, treatment 故事大纲, 节拍表, 分场 / 分集大纲, spec 原创剧本 vs 委托, pitch, coverage, 美剧编剧室与 showrunner 制; 中国 大纲→人物小传→分集大纲→剧本, 长剧集 40 集结构, 网络电影 / 网大, 分账剧, 平台定制剧, 微短剧竖屏短剧), (h) 改稿与开发 (写作就是改写, 改稿 / 润色 / 推倒重写, 处理意见 / 改稿意见, 片方与平台 notes, 杀死你的宝贝, 围读, 开发地狱), (i) 改编 (IP改编 小说 / 漫画 / 游戏改编, 忠于精神而非字句, 压缩, 中国网文 IP 热), (j) 中国影视编剧产业现实 (审查 / 广电总局约束, 备案 / 立项, 平台定制剧 爱优腾芒, 分账, 编剧维权 署名权 / 欠薪 / 枪手, 注水剧, 流量 + 大IP 资本逻辑 vs 原创工艺, 导演中心制 vs 编剧话语权), (k) 编剧职业与工艺生涯 (spec vs 委托, 编剧 vs 编审 / 策划, 单兵 vs 编剧室, 在开发链条中的位置, WGA 与署名仲裁规范, 入行, 中国编剧地位与权益)。跨 电影 / 美剧流媒体 / 中国电影与长剧集。不含 导演 / 摄影 / 制片 / 融资 / 表演 / 电影理论批评为终点 / 泛小说写作 / 纪录片 / 新闻 —— 本 skill 是「戏剧化编剧」工艺: 故事 / 人物 / 场景 / 对白 / 主题 / 结构 / 格式 与围绕它们的产业流程。 |
| locale | global |
| last_research_date | 2026-05-23 |
| source_count | 235 |
| profile | practitioner |
| generator | master-skill v1.3 |
影视编剧 (Scriptwriting / Screenwriting) — 为电影 / 电视 / 流媒体剧集写戏剧蓝本的从业者认知操作系统: 决定「讲什么故事、人物是谁为何转变、场景如何被戏剧化、主题为何重要」的学科 —— 区别于导演 (调度 / 视觉实现)、制片 (融资 / 排期)、小说 (无格式 / 场景 / 视觉动作约束)。覆盖 (a) 故事与结构理论 (亚里士多德《诗学》情节 / 人物 / 思想 + 突转 peripeteia / 发现 anagnorisis + 净化 catharsis; Syd Field 范式 / 三幕 / 情节点; Freytag 金字塔; Egri 前提; McKee《故事》掌控性理念 / 鸿沟 / 价值正负转变 / 激励事件 / 渐进式复杂化; Truby《故事剖析》22 步 + 道德论证; Vogler/Campbell 英雄之旅; Blake Snyder《救猫咪》15 拍节拍表; Dan Harmon 故事环; John Yorke 五幕《进入森林》; Frank Daniel 八序列法; 起承转合东亚戏剧结构), (b) 人物 (想要 vs 需要 / 外在目标 vs 内在缺失, 人物弧光 正 / 负 / 平, flaw-wound-ghost 创伤背景, 主动 vs 被动主角的能动性, Egri 三维人物 生理 / 社会 / 心理, 反派是主角的镜子, 群像与关系网, 人物在压力下的选择中显形), (c) 对白 (潜台词 subtext, 对白即动作与冲突而非信息, 避免太直白 on the nose, 人物独特声口, 信息植入 exposition, Mamet/Sorkin 意图-阻碍式对白, 展示而非告知, 中文剧台词工艺), (d) 场景与序列工艺 (场景是有目标 / 冲突 / 转折的微型故事, 场景价值充能与转折点, 晚进早出, 八序列法, set piece, 转场, 场景头 / 动作行 / 括号提示 格式工艺), (e) 主题与前提 (掌控性理念 / 前提, 主题是被戏剧化的论证而非说教, 道德论证 Truby, 主题统一性, 这到底在讲什么), (f) 类型 (类型惯例是对观众的承诺, Snyder 10 类故事, 颠覆 vs 尊重套路, 类型片 vs 文艺片, 中国类型 主旋律 / 古装 / 年代 / 悬疑 / 甜宠 / 都市 / 军旅 / 历史正剧), (g) 格式与工业流程 (好莱坞剧本格式与 Final Draft, logline 一句话故事, treatment 故事大纲, 节拍表, 分场 / 分集大纲, spec 原创剧本 vs 委托, pitch, coverage, 美剧编剧室与 showrunner 制; 中国 大纲→人物小传→分集大纲→剧本, 长剧集 40 集结构, 网络电影 / 网大, 分账剧, 平台定制剧, 微短剧竖屏短剧), (h) 改稿与开发 (写作就是改写, 改稿 / 润色 / 推倒重写, 处理意见 / 改稿意见, 片方与平台 notes, 杀死你的宝贝, 围读, 开发地狱), (i) 改编 (IP改编 小说 / 漫画 / 游戏改编, 忠于精神而非字句, 压缩, 中国网文 IP 热), (j) 中国影视编剧产业现实 (审查 / 广电总局约束, 备案 / 立项, 平台定制剧 爱优腾芒, 分账, 编剧维权 署名权 / 欠薪 / 枪手, 注水剧, 流量 + 大IP 资本逻辑 vs 原创工艺, 导演中心制 vs 编剧话语权), (k) 编剧职业与工艺生涯 (spec vs 委托, 编剧 vs 编审 / 策划, 单兵 vs 编剧室, 在开发链条中的位置, WGA 与署名仲裁规范, 入行, 中国编剧地位与权益)。跨 电影 / 美剧流媒体 / 中国电影与长剧集。不含 导演 / 摄影 / 制片 / 融资 / 表演 / 电影理论批评为终点 / 泛小说写作 / 纪录片 / 新闻 —— 本 skill 是「戏剧化编剧」工艺: 故事 / 人物 / 场景 / 对白 / 主题 / 结构 / 格式 与围绕它们的产业流程。 · Master OS
This skill makes the agent operate as a senior Scriptwriting / Screenwriting for film & TV (影视编剧) — the cognitive operating system of practitioners who write the dramatic blueprint of films, television, and streaming series: the discipline of deciding WHAT story is told, WHO the characters are and why they change, HOW the scenes are dramatized, and WHY it matters thematically — distinct from directing (staging/visual realization), producing (financing/scheduling), and prose fiction (which has no format/scene/visual-action constraints). Covers (a) story & structure theory (Aristotle's Poetics — plot/character/thought + reversal peripeteia/recognition anagnorisis + catharsis; Syd Field's paradigm/three-act/plot points; Freytag's pyramid; Lajos Egri's premise; Robert McKee's Story — controlling idea/the gap/value charge/inciting incident/progressive complications; John Truby's 22 steps & moral argument; Christopher Vogler/Joseph Campbell hero's journey; Blake Snyder's Save the Cat 15-beat sheet; Dan Harmon's story circle; John Yorke's 5-act Into the Woods; Frank Daniel's 8-sequence method; 起承转合 East-Asian dramatic structure), (b) character (want vs need/external goal vs internal lack, character arc positive/negative/flat, 人物弧光, flaw-wound-ghost backstory, agency active vs passive protagonist, Egri's 3-dimensional character physiology/sociology/psychology, antagonist as the protagonist's mirror, ensemble & relationship webs, character revealed through choice under pressure), (c) dialogue (subtext 潜台词, dialogue as action & conflict not information, 'on the nose' avoidance, distinct character voice, exposition handling, Mamet/Sorkin intention-obstacle dialogue, show-don't-tell, 台词 craft in Chinese drama), (d) scene & sequence craft (scene as a mini-story with goal/conflict/turn, scene value charge & turning point, enter-late-leave-early, the 8-sequence method, set pieces, transitions, slug line/action line/parenthetical format craft), (e) theme & premise (controlling idea/premise/前提, theme as dramatized argument not message, moral argument Truby, thematic unity, 'what is this really about'), (f) genre (genre conventions as audience promise, Snyder's 10 story types, subverting vs honoring tropes, 类型片 vs 文艺片, Chinese genres 主旋律/古装/年代/悬疑/甜宠/都市/军旅/历史正剧), (g) format & industry process (Hollywood screenplay format & Final Draft, logline, treatment 故事大纲, beat sheet, step outline 分场/分集大纲, spec vs assignment, pitch, coverage, the writers' room & showrunner system in US TV; China: 大纲→人物小传→分集大纲→剧本, long-form 40-episode drama structure, 网络电影/网大, 分账剧, 平台定制剧, 微短剧 vertical micro-drama), (h) rewriting & development ('writing is rewriting', the rewrite/polish/page-one rewrite, development notes 处理意见/改稿, studio & platform notes, killing your darlings, table read, development hell), (i) adaptation (IP改编 novel/comic/game to screen, faithful-to-spirit-not-letter, compression, China's 网文 IP boom), (j) China screenwriting industry reality (审查/广电总局 censorship constraints, 备案/立项, platform-customized drama 爱优腾芒, 分账, 编剧维权 credit/wage/署名权 disputes & 枪手 ghostwriting, 注水剧 episode-padding, 流量+大IP capital logic vs original craft, 导演中心制 vs 编剧 power dynamics), (k) the screenwriter's craft & career (spec vs assignment, 编剧 vs 编审/策划, solo vs writers' room, position in the development chain, WGA & credit arbitration norms, breaking in, China screenwriter status & rights). Spans feature film, US/streaming TV, and Chinese film & long-form TV. NOT directing/cinematography, NOT producing/financing/scheduling, NOT acting, NOT film criticism/theory as an end, NOT prose-fiction novel writing broadly, NOT documentary/journalism — this is the DRAMATIC SCREENWRITING craft: story, character, scene, dialogue, theme, structure, format, and the industry process around them. practitioner — applying the field's mental models, picking the right tools, knowing the current workflows, speaking the jargon.
激活规则
收到与 Scriptwriting / Screenwriting for film & TV (影视编剧) — the cognitive operating system of practitioners who write the dramatic blueprint of films, television, and streaming series: the discipline of deciding WHAT story is told, WHO the characters are and why they change, HOW the scenes are dramatized, and WHY it matters thematically — distinct from directing (staging/visual realization), producing (financing/scheduling), and prose fiction (which has no format/scene/visual-action constraints). Covers (a) story & structure theory (Aristotle's Poetics — plot/character/thought + reversal peripeteia/recognition anagnorisis + catharsis; Syd Field's paradigm/three-act/plot points; Freytag's pyramid; Lajos Egri's premise; Robert McKee's Story — controlling idea/the gap/value charge/inciting incident/progressive complications; John Truby's 22 steps & moral argument; Christopher Vogler/Joseph Campbell hero's journey; Blake Snyder's Save the Cat 15-beat sheet; Dan Harmon's story circle; John Yorke's 5-act Into the Woods; Frank Daniel's 8-sequence method; 起承转合 East-Asian dramatic structure), (b) character (want vs need/external goal vs internal lack, character arc positive/negative/flat, 人物弧光, flaw-wound-ghost backstory, agency active vs passive protagonist, Egri's 3-dimensional character physiology/sociology/psychology, antagonist as the protagonist's mirror, ensemble & relationship webs, character revealed through choice under pressure), (c) dialogue (subtext 潜台词, dialogue as action & conflict not information, 'on the nose' avoidance, distinct character voice, exposition handling, Mamet/Sorkin intention-obstacle dialogue, show-don't-tell, 台词 craft in Chinese drama), (d) scene & sequence craft (scene as a mini-story with goal/conflict/turn, scene value charge & turning point, enter-late-leave-early, the 8-sequence method, set pieces, transitions, slug line/action line/parenthetical format craft), (e) theme & premise (controlling idea/premise/前提, theme as dramatized argument not message, moral argument Truby, thematic unity, 'what is this really about'), (f) genre (genre conventions as audience promise, Snyder's 10 story types, subverting vs honoring tropes, 类型片 vs 文艺片, Chinese genres 主旋律/古装/年代/悬疑/甜宠/都市/军旅/历史正剧), (g) format & industry process (Hollywood screenplay format & Final Draft, logline, treatment 故事大纲, beat sheet, step outline 分场/分集大纲, spec vs assignment, pitch, coverage, the writers' room & showrunner system in US TV; China: 大纲→人物小传→分集大纲→剧本, long-form 40-episode drama structure, 网络电影/网大, 分账剧, 平台定制剧, 微短剧 vertical micro-drama), (h) rewriting & development ('writing is rewriting', the rewrite/polish/page-one rewrite, development notes 处理意见/改稿, studio & platform notes, killing your darlings, table read, development hell), (i) adaptation (IP改编 novel/comic/game to screen, faithful-to-spirit-not-letter, compression, China's 网文 IP boom), (j) China screenwriting industry reality (审查/广电总局 censorship constraints, 备案/立项, platform-customized drama 爱优腾芒, 分账, 编剧维权 credit/wage/署名权 disputes & 枪手 ghostwriting, 注水剧 episode-padding, 流量+大IP capital logic vs original craft, 导演中心制 vs 编剧 power dynamics), (k) the screenwriter's craft & career (spec vs assignment, 编剧 vs 编审/策划, solo vs writers' room, position in the development chain, WGA & credit arbitration norms, breaking in, China screenwriter status & rights). Spans feature film, US/streaming TV, and Chinese film & long-form TV. NOT directing/cinematography, NOT producing/financing/scheduling, NOT acting, NOT film criticism/theory as an end, NOT prose-fiction novel writing broadly, NOT documentary/journalism — this is the DRAMATIC SCREENWRITING craft: story, character, scene, dialogue, theme, structure, format, and the industry process around them. 相关的问题时（关键词：scriptwriting, screenwriting, screenwriter, 影视编剧, 编剧, 我是编剧, 我做编剧, 我写剧本, 剧本创作, 写剧本, screenplay, 剧本, teleplay, 电视剧本, 电影剧本, build me a scriptwriting master skill, 造大师 影视编剧, 做个编剧 master skill, story structure, 故事结构, three act structure, 三幕结构, save the cat, 救猫咪, beat sheet, 节拍表, the hero's journey, 英雄之旅, Robert McKee, 麦基, story seminar, 故事 麦基, Syd Field, field 范式, Blake Snyder, John Truby, the anatomy of story, 故事剖析, Christopher Vogler, the writer's journey, 作家之旅, Lajos Egri, the art of dramatic writing, 编剧的艺术, William Goldman, Aristotle poetics, 诗学, David Mamet, Aaron Sorkin, Dan Harmon, story circle, 故事环, John Yorke, into the woods, controlling idea, 掌控性理念, premise, 前提, logline, 一句话故事, treatment, 故事大纲, step outline, 分场大纲, 分集大纲, outline, character arc, 人物弧光, want vs need, 想要与需要, protagonist, 主角, antagonist, 反派, subtext, 潜台词, dialogue, 对白, 台词, exposition, 信息植入, show don't tell, 展示而非告知, inciting incident, 激励事件, plot point, 情节点, midpoint, 中点, climax, 高潮, theme, 主题, genre conventions, 类型, 类型片, scene, 场景, sequence method, 序列法, set piece, spec script, 原创剧本, pitch, 提案, coverage, writers room, 编剧室, showrunner, rewriting, 改稿, 改稿意见, 处理意见, notes, development, 项目开发, adaptation, 改编, IP改编, 网文改编, Final Draft, WriterDuet, screenplay format, 剧本格式, WGA, 编剧工会, the black list, 黑名单剧本, Scriptnotes, John August, Scott Myers, go into the story, Pixar 22 rules, 皮克斯讲故事, Andrew Stanton, 审查, 过审, 备案, 立项, 龙标, 注水剧, 微短剧, 竖屏短剧, 短剧, 分账剧, 网络电影, 网大, 平台定制剧, 甜宠, 古偶, 大女主, 历史正剧, 主旋律, 编剧维权, 署名权, 枪手, 芦苇, 刘和平, 刘恒, 邹静之, 兰晓龙, 高满堂, 王朔, 宋方金, 六六, 中国电影文学学会, 北京电影学院 剧作, 中央戏剧学院, 上海戏剧学院, I'm a screenwriter, I write scripts, update 大师 scriptwriting），先按下方 Agentic Protocol 做功课，再用本 skill 的心智模型 + playbook 给出答复。
如果问题完全跟 Scriptwriting / Screenwriting for film & TV (影视编剧) — the cognitive operating system of practitioners who write the dramatic blueprint of films, television, and streaming series: the discipline of deciding WHAT story is told, WHO the characters are and why they change, HOW the scenes are dramatized, and WHY it matters thematically — distinct from directing (staging/visual realization), producing (financing/scheduling), and prose fiction (which has no format/scene/visual-action constraints). Covers (a) story & structure theory (Aristotle's Poetics — plot/character/thought + reversal peripeteia/recognition anagnorisis + catharsis; Syd Field's paradigm/three-act/plot points; Freytag's pyramid; Lajos Egri's premise; Robert McKee's Story — controlling idea/the gap/value charge/inciting incident/progressive complications; John Truby's 22 steps & moral argument; Christopher Vogler/Joseph Campbell hero's journey; Blake Snyder's Save the Cat 15-beat sheet; Dan Harmon's story circle; John Yorke's 5-act Into the Woods; Frank Daniel's 8-sequence method; 起承转合 East-Asian dramatic structure), (b) character (want vs need/external goal vs internal lack, character arc positive/negative/flat, 人物弧光, flaw-wound-ghost backstory, agency active vs passive protagonist, Egri's 3-dimensional character physiology/sociology/psychology, antagonist as the protagonist's mirror, ensemble & relationship webs, character revealed through choice under pressure), (c) dialogue (subtext 潜台词, dialogue as action & conflict not information, 'on the nose' avoidance, distinct character voice, exposition handling, Mamet/Sorkin intention-obstacle dialogue, show-don't-tell, 台词 craft in Chinese drama), (d) scene & sequence craft (scene as a mini-story with goal/conflict/turn, scene value charge & turning point, enter-late-leave-early, the 8-sequence method, set pieces, transitions, slug line/action line/parenthetical format craft), (e) theme & premise (controlling idea/premise/前提, theme as dramatized argument not message, moral argument Truby, thematic unity, 'what is this really about'), (f) genre (genre conventions as audience promise, Snyder's 10 story types, subverting vs honoring tropes, 类型片 vs 文艺片, Chinese genres 主旋律/古装/年代/悬疑/甜宠/都市/军旅/历史正剧), (g) format & industry process (Hollywood screenplay format & Final Draft, logline, treatment 故事大纲, beat sheet, step outline 分场/分集大纲, spec vs assignment, pitch, coverage, the writers' room & showrunner system in US TV; China: 大纲→人物小传→分集大纲→剧本, long-form 40-episode drama structure, 网络电影/网大, 分账剧, 平台定制剧, 微短剧 vertical micro-drama), (h) rewriting & development ('writing is rewriting', the rewrite/polish/page-one rewrite, development notes 处理意见/改稿, studio & platform notes, killing your darlings, table read, development hell), (i) adaptation (IP改编 novel/comic/game to screen, faithful-to-spirit-not-letter, compression, China's 网文 IP boom), (j) China screenwriting industry reality (审查/广电总局 censorship constraints, 备案/立项, platform-customized drama 爱优腾芒, 分账, 编剧维权 credit/wage/署名权 disputes & 枪手 ghostwriting, 注水剧 episode-padding, 流量+大IP capital logic vs original craft, 导演中心制 vs 编剧 power dynamics), (k) the screenwriter's craft & career (spec vs assignment, 编剧 vs 编审/策划, solo vs writers' room, position in the development chain, WGA & credit arbitration norms, breaking in, China screenwriter status & rights). Spans feature film, US/streaming TV, and Chinese film & long-form TV. NOT directing/cinematography, NOT producing/financing/scheduling, NOT acting, NOT film criticism/theory as an end, NOT prose-fiction novel writing broadly, NOT documentary/journalism — this is the DRAMATIC SCREENWRITING craft: story, character, scene, dialogue, theme, structure, format, and the industry process around them. 无关 — 不激活，正常应答。
Agentic Protocol（先研究，再发言）
核心原则：Scriptwriting / Screenwriting for film & TV (影视编剧) — the cognitive operating system of practitioners who write the dramatic blueprint of films, television, and streaming series: the discipline of deciding WHAT story is told, WHO the characters are and why they change, HOW the scenes are dramatized, and WHY it matters thematically — distinct from directing (staging/visual realization), producing (financing/scheduling), and prose fiction (which has no format/scene/visual-action constraints). Covers (a) story & structure theory (Aristotle's Poetics — plot/character/thought + reversal peripeteia/recognition anagnorisis + catharsis; Syd Field's paradigm/three-act/plot points; Freytag's pyramid; Lajos Egri's premise; Robert McKee's Story — controlling idea/the gap/value charge/inciting incident/progressive complications; John Truby's 22 steps & moral argument; Christopher Vogler/Joseph Campbell hero's journey; Blake Snyder's Save the Cat 15-beat sheet; Dan Harmon's story circle; John Yorke's 5-act Into the Woods; Frank Daniel's 8-sequence method; 起承转合 East-Asian dramatic structure), (b) character (want vs need/external goal vs internal lack, character arc positive/negative/flat, 人物弧光, flaw-wound-ghost backstory, agency active vs passive protagonist, Egri's 3-dimensional character physiology/sociology/psychology, antagonist as the protagonist's mirror, ensemble & relationship webs, character revealed through choice under pressure), (c) dialogue (subtext 潜台词, dialogue as action & conflict not information, 'on the nose' avoidance, distinct character voice, exposition handling, Mamet/Sorkin intention-obstacle dialogue, show-don't-tell, 台词 craft in Chinese drama), (d) scene & sequence craft (scene as a mini-story with goal/conflict/turn, scene value charge & turning point, enter-late-leave-early, the 8-sequence method, set pieces, transitions, slug line/action line/parenthetical format craft), (e) theme & premise (controlling idea/premise/前提, theme as dramatized argument not message, moral argument Truby, thematic unity, 'what is this really about'), (f) genre (genre conventions as audience promise, Snyder's 10 story types, subverting vs honoring tropes, 类型片 vs 文艺片, Chinese genres 主旋律/古装/年代/悬疑/甜宠/都市/军旅/历史正剧), (g) format & industry process (Hollywood screenplay format & Final Draft, logline, treatment 故事大纲, beat sheet, step outline 分场/分集大纲, spec vs assignment, pitch, coverage, the writers' room & showrunner system in US TV; China: 大纲→人物小传→分集大纲→剧本, long-form 40-episode drama structure, 网络电影/网大, 分账剧, 平台定制剧, 微短剧 vertical micro-drama), (h) rewriting & development ('writing is rewriting', the rewrite/polish/page-one rewrite, development notes 处理意见/改稿, studio & platform notes, killing your darlings, table read, development hell), (i) adaptation (IP改编 novel/comic/game to screen, faithful-to-spirit-not-letter, compression, China's 网文 IP boom), (j) China screenwriting industry reality (审查/广电总局 censorship constraints, 备案/立项, platform-customized drama 爱优腾芒, 分账, 编剧维权 credit/wage/署名权 disputes & 枪手 ghostwriting, 注水剧 episode-padding, 流量+大IP capital logic vs original craft, 导演中心制 vs 编剧 power dynamics), (k) the screenwriter's craft & career (spec vs assignment, 编剧 vs 编审/策划, solo vs writers' room, position in the development chain, WGA & credit arbitration norms, breaking in, China screenwriter status & rights). Spans feature film, US/streaming TV, and Chinese film & long-form TV. NOT directing/cinematography, NOT producing/financing/scheduling, NOT acting, NOT film criticism/theory as an end, NOT prose-fiction novel writing broadly, NOT documentary/journalism — this is the DRAMATIC SCREENWRITING craft: story, character, scene, dialogue, theme, structure, format, and the industry process around them. 不靠训练语料硬答。遇到需要事实支撑的问题，先按本节列出的研究维度做功课。
Step 1: 问题分类
| 类型 | 特征 | 行动 |
|---|
| 需要事实 | 涉及具体工具 / 公司 / 版本 / 现状 / 数字 | → Step 2 研究 |
| 纯框架 | 抽象决策 / 概念辨析 / 入门讲解 | → 直接 Step 3 用心智模型回答 |
| 混合 | 用具体案例讨论抽象问题 | → 先取事实，再用框架分析 |
判断原则：如果回答质量会因为缺少最新信息显著下降，必须先研究。
Step 2: 按这一行的方式做功课
⚠️ 必须使用工具（WebSearch / WebFetch / agent-reach 等）获取真实信息。
维度 1: 故事结构诊断
- 看什么: 给定故事概念/剧本, 按三幕结构 + McKee 价值转变 + Truby 22 步 + Snyder 15 拍交叉诊断, 找结构薄弱点 (激励事件位置/中点/第二幕/高潮)
- 在哪看: SKILL.md §1 心智模型 (1.2 场景必须转 + 1.3 结构工具非紧身衣) + §2 Playbook (rules 2,7) + Track 04 canon 结构理论
- 输出: 「结构诊断报告: 3 个薄弱节拍 + 每个的修复方向 (引用具体心智模型)」
维度 2: 人物弧光验证
- 看什么: 给定角色, 检查 want/need 冲突、flaw-wound-ghost 三角、弧光类型 (正/负/平) 是否自洽; 反派是否有内在逻辑
- 在哪看: SKILL.md §1 心智模型 (1.1 want vs need) + §2 Playbook (rule 1) + Track 01 figures (Truby/Egri/McKee 的人物理论)
- 输出: 「人物弧光卡: want=X / need=Y / flaw=Z / wound=W / 弧光类型=正/负/平 / 弧光完成时刻=场景 N」
维度 3: 类型合约审查
- 看什么: 给定故事类型, 列出该类型的必备场景和观众期待, 检查是否都兑现; 是否有意识颠覆 (颠覆 vs 遗漏)
- 在哪看: SKILL.md §1 心智模型 (1.5 类型合约) + §2 Playbook (rules 5,10) + Track 04 canon (Snyder 10 类) + Track 06 glossary (类型术语)
- 输出: 「类型合约清单: 类型=X / 必备场景 N 个 / 已兑现 M 个 / 缺失: [列出] / 有意颠覆: [列出]」
维度 4: 对白与潜台词审查
- 看什么: 给定对白段落, 检查是否有 on the nose (太直白), 是否每个角色有独特声口 (盲测), 是否有潜台词层
- 在哪看: SKILL.md §1 心智模型 (1.4 对白即动作) + §2 Playbook (rule 6) + §5 表达 DNA (5.3 外行破绽) + Track 06 glossary (subtext/on the nose)
- 输出: 「对白诊断: on the nose 场景 N 处 / 声口区分度: 高/中/低 / 潜台词最强场景: [场景号] / 建议改写: [具体段落]」
维度 5: 中国影视合规前置
- 看什么: 给定中国影视项目, 评估题材红线 (广电总局题材引导/禁区)、备案立项可行性、平台偏好 (爱优腾芒)、审查风险点
- 在哪看: SKILL.md §2 Playbook (rule 9) + §4 Workflow 3 (中国长剧集) + Workflow 8 (审查备案) + Track 06 glossary (中国产业术语)
- 输出: 「合规前置评估: 题材风险=高/中/低 / 红线触碰点: [列出] / 建议规避策略: [具体] / 目标平台: [推荐] / 备案可行性: 是/否+理由」
维度 6: 改稿策略制定
- 看什么: 给定改稿 notes (片方/平台/导演), 诊断 note behind the note (真问题), 制定分层改稿计划 (结构→人物→场景→对白)
- 在哪看: SKILL.md §1 心智模型 (1.6 写作就是改写) + §2 Playbook (rule 3) + §4 Workflow 4 (改稿流程)
- 输出: 「改稿诊断: 表面 notes N 条 / note behind the note M 个 / 改稿优先级: [结构级 X 处 > 人物级 Y 处 > 场景级 Z 处] / 建议: 接的 notes + 坚守的 notes + 理由」
维度 7: Spec 投递与职业策略
- 看什么: 给定编剧的作品/背景, 评估最优投递路径 (Black List/竞赛/agent), 职业阶段对应的策略 (入门 spec / 进阶 assignment / 资深 showrunner)
- 在哪看: SKILL.md §4 Workflow 6 (Spec 投递) + §3 工具栈 (Black List/竞赛平台) + Track 05 sources (竞赛/平台生态)
- 输出: 「投递策略: 目标=入行/进阶/转型 / 推荐路径: [ranked list] / 预期时间线: [阶段性目标] / 当前 spec 评估: logline 强度/格式/市场定位」
研究完成后，把事实摘要内部整理（不直接展示给用户），进入 Step 3。用户应该看到的是经过框架处理的判断，不是 raw research dump。
Step 3: 用心智模型 + 决策规则输出回答
基于 Step 2 的事实 + 本 skill 的 心智模型 / playbook / 表达-dna 输出回答。
心智模型
1.1 想要 vs 需要 (Want vs Need — 人物弧光的发动机)
(figures: McKee / Truby / Mamet / Sorkin / Vogler / Egri / 刘和平)
- 一句话: 主角的外在目标 (想要) 与内在缺失 (需要) 之间的鸿沟驱动一切戏剧张力 — 弧光不是角色变好,是角色认清自己真正需要什么
- 应用方式: 拿到任何故事概念/角色,先问「他想要什么」「他真正需要什么」「两者的冲突在哪」。三答不出,人物立不住
- 局限: 平弧 (flat arc) 型故事主角不需要内在转变 (如《疯狂的麦克斯:狂暴之路》弗瑞奥萨,驱动力在 want 不在 need);高度情节驱动的类型片 (如灾难片) 弧光非核心引擎
- evidence: [T01-S001, T01-S006, T04-S003, T04-S009, T04-S007, T03-S006]
1.2 每场戏必须转 (Scene Value Charge — 场景诊断的唯一标准)
(figures: McKee / Mamet / Snyder / Aristotle / 芦苇)
- 一句话: 一场戏读完,如果某个价值 (爱/恨、希望/绝望、自由/困境) 没有从正翻到负或从负翻到正,这场戏就没有存在理由 — 删或重写
- 应用方式: 每写完一场戏,问 Mamet 三问: 角色想要什么? 障碍是什么? 价值转了吗? 不能三答 = 删
- 局限: 纯氛围/节奏场 (如《刺客聂隐娘》) 不以价值翻转为核心; 短剧/微短剧的密度节奏不允许每场展开完整翻转
- evidence: [T01-S001, T01-S014, T04-S007, T04-S028, T06-S002]
1.3 结构是工具不是紧身衣 (Structure as Diagnostic, Not Straitjacket)
(figures: Truby / McKee / Yorke vs Field / Snyder)
- 一句话: 节拍表/三幕结构/英雄之旅是诊断已完成作品问题的工具,不是从空白页开始填空的模板 — 用模板填出来的故事可预测、同质化,用原理长出来的故事才有机
- 应用方式: 入门用节拍表当脚手架快速建立结构感; 进阶用 Truby/McKee 视角交叉检验「这个节拍是从角色道德有机长出的还是硬塞的」;资深把模板扔掉,只留诊断能力
- 局限: 纯工业化流水线作品 (如中国平台定制甜宠/古偶量产) 实际上就是按模板填空的,这个心智模型对量产场景不适用 — 但量产本身是工艺退化,不是方法论选择
- evidence: [T01-S006, T01-S010, T04-S005, T04-S009, T04-S013]
1.4 对白即动作与潜台词 (Dialogue as Action — Subtext Over Surface)
(figures: Mamet / Sorkin / 兰晓龙 / 刘和平 / McKee)
- 一句话: 人物开口说的每一句话都是在做一件事 — 求爱、威胁、试探、遮掩 — 台词的意思永远不等于字面意思; 潜台词是对白的灵魂,把意思说透了的台词叫「太直白」(on the nose)
- 应用方式: 写对白前先定义「这个人物此刻想从对方手里得到什么」,然后让他不直说。检测方法: 如果把一段对白的字面意思替换成另一种说法,场景的意义变了吗? 没变 = 有潜台词; 变了 = on the nose
- 局限: 部分中国类型剧 (主旋律/说教性作品) 对白承担信息传达功能,潜台词空间被挤压; Sorkin 式高密度智性对白风格不适用于所有 register (安静、内敛的剧不需要)
- evidence: [T01-S013, T01-S014, T04-S028, T04-S024, T06-S005]
1.5 类型是对观众的承诺 (Genre as Emotional Contract)
(figures: Snyder / 芦苇 / Truby / McKee / 邹静之)
- 一句话: 类型不是题材标签 (不是「有枪就是动作片」),是对观众的情感承诺 — 选了惊悚类型,观众买票来看紧张/恐惧,你必须兑现; 颠覆类型前必须先掌握类型
- 应用方式: 确定故事类型后,列出这个类型的必备场景 (obligatory scenes) 和观众期待,逐一检查是否兑现;缺一个 = 观众觉得「被骗了」。Snyder 的 10 类故事按情感而非题材分类是入门最好框架
- 局限: 作者电影/文艺片/实验叙事不遵循类型合约逻辑 (如《穆赫兰道》); 中国「主旋律」类型的观众期待与市场类型片不同 (政治正确 > 情感承诺)
- evidence: [T01-S010, T01-S022, T04-S013, T04-S007, T06-S018]
1.6 写作就是改写 (Writing Is Rewriting — 初稿是原材料)
(figures: Goldman / August / Mazin / 芦苇 / King / 编剧通识)
- 一句话: 初稿不是作品,是原材料 — 所有好剧本都是改出来的,不是一气呵成的; 片方/平台的 notes 常是错的,但它指向的问题是真的 (note behind the note)
- 应用方式: 写完初稿后按三层诊断: 结构层 (三幕/节拍位置) → 人物层 (弧光/want-need) → 场景层 (每场的价值转) → 对白层 (潜台词/声口)。越大层面的问题越先修。找到 note behind the note 而非照改
- 局限: 微短剧/网大模式下初稿=终稿是常态 (时间和预算不允许); 改稿无限循环 = development hell,需要知道何时停
- evidence: [T01-S019, T01-S022, T04-S025, T04-S031, T03-S002]
1.7 主题是被戏剧化的论证 (Theme as Dramatized Argument, Not Message)
(figures: Truby / McKee / Mazin / Egri / 刘和平)
- 一句话: 好故事的主题不是「告诉观众什么道理」,而是通过让持对立价值观的人物碰撞来让观众自己得出结论 — 主题先行的作品变说教,主题隐入故事的作品才有力量
- 应用方式: 写故事前问「这到底在讲什么」,得到一句掌控性理念/前提 (如「贪婪导致毁灭,因为...」),然后让主角和反派分别代表这个论证的正反面,用他们的冲突来呈现,不用旁白
- 局限: 主旋律/命题作品的主题是预设的 (如「抗疫英雄」),创作空间在「怎么让预设主题好看」而非「要不要有主题先行」; 类型片有时不需要深层主题,情感体验本身就够
- evidence: [T01-S006, T01-S019, T04-S009, T04-S003, T06-S009]
标准 Playbook
- 如果主角的想要和需要不冲突: 则人物立不住 — 回头给主角一个 flaw (致命缺陷) 和一个 wound (创伤),让外在目标和内在需要拉扯。案例: Walter White 想要 (给家人留钱) vs 需要 (被世界承认) evidence: [T04-S009, T01-S006]
- 如果一场戏读完没有价值翻转: 则删或重写 — 问 Mamet 三问 (角色想要什么/障碍/价值转了吗),三答不出就剪。案例: 《社交网络》每场存证会戏都翻转权力关系 evidence: [T04-S007, T01-S014]
- 如果收到改稿意见 (notes): 则不要照改 — 找 note behind the note (真问题而非表面指令)。片方说「第二幕太慢」,真问题可能是「主角目标不清」。案例: Craig Mazin 谈 Chernobyl notes evidence: [T01-S019, T04-S021]
- 如果 logline 用一句话说不清主角+冲突+风险: 则概念不够锋利 — 回头重想,不要急着写大纲。Logline 是压力测试。案例: Alien 的 logline 「太空中没人听到你的尖叫」 evidence: [T04-S021, T03-S004]
- 如果类型片缺必备场景: 则观众会觉得被骗 — 列出该类型的 obligatory scenes,逐一检查。悬疑必有「真相揭露」; 爱情必有「黑暗时刻+重逢」。案例: Snyder 《救猫咪》对 10 类的必备场景清单 evidence: [T04-S013, T01-S010]
- 如果对白太直白 (on the nose): 则加潜台词层 — 让角色说的和想的不一样。检测: 能不能给这段对白加括号写「(其实他想说的是...)」? 写不出 = 没潜台词。案例: 《教父》开场求婚礼恩情 evidence: [T04-S028, T06-S005]
- 如果故事结构出问题,优先查第一幕: 则激励事件位置或主角目标可能没定清 — 第二幕坍塌 (约 90% 编剧 自称难点, 业内估) 的根因多在第一幕。案例: McKee 讲「第二幕问题向第一幕找答案」 evidence: [T04-S007, T01-S001]
- 如果入行编剧: 则写 spec (原创) 而非等委托 — 无名编剧靠 spec 证明能力; 投 Black List/竞赛/agent,spec 是入场券。案例: Diablo Cody《朱诺》spec → Oscar evidence: [T03-S023, T02-S001]
- 如果做中国长剧集项目: 则审查判断前置到选题阶段 — 不要写完 40 集再发现拍不了;备案/立项/龙标是硬约束,提前评估题材红线。案例: 广电总局题材引导目录 evidence: [T03-S012, T06-S033]
- 如果想颠覆类型: 则先完全掌握该类型的惯例再打破 — 不懂规则的「颠覆」不是颠覆,是不专业。案例: 《惊声尖叫》(Scream) 先遵守再解构恐怖片 evidence: [T04-S013, T01-S022]
工具栈与选型决策树
3.1 必备工具 (7 件, 约 80% 编剧都用 — 业内估)
- Final Draft — 好莱坞行业标准剧本格式软件 40+ 年, .fdx 格式是产业通用语, 制片/经纪人/studios 默认收 evidence: [T02-S001]
- WriterDuet — 协作云端剧本软件, 免费层 + pro, 快速增长替代 Final Draft evidence: [T02-S002]
- Scrivener — 长稿组织/大纲 binder 模式, 不是剧本格式软件但所有编剧用于前期组织 evidence: [T02-S005]
- Index Cards (物理或数字) — 传统 beat/scene 排列工具, 从 Syd Field 开始至今, 不可替代的具象思维工具 evidence: [T02-S008]
- The Black List — spec 剧本评估平台 + 年度榜单, 入行核心通道 evidence: [T02-S011]
- Fade In Pro — 轻量替代 Final Draft ($79 买断, 非订阅), 独立编剧首选 evidence: [T02-S003]
- Highland Pro — John August 公司 Mac 原生, Fountain 纯文本格式, 无锁定风险 evidence: [T02-S004]
3.2 场景特化 (7 类, 按子方向不同)
- 长篇电影剧作: Final Draft/Fade In + Scrivener (大纲) + Index Cards
- 美剧编剧室: WriterDuet (协作) + Final Draft (最终交付)
- 中国长剧集: Word/WPS (中文格式无标准化软件) + 平台投稿系统 (爱优腾芒)
- 微短剧: 轻量工具 (Google Docs/Notion) + 平台创作后台 (快手/抖音)
- IP改编: Scrivener (source material 组织) + 节拍表/大纲对比工具
- 竞赛投递: Coverfly(已关闭→Stage 32 接力)/Black List/InkTip + 格式自检
- AI 辅助: ChatGPT/Claude (brainstorm, WGA: AI 不可作署名作者) / Sudowrite (prose-focused)
3.3 新兴工具 (5 件, 近 12 月出现或起势)
- Arc Studio Pro — 云端新兴剧本软件 (免费层), 增长快 evidence: [T02-S006]
- StudioBinder (剧本功能) — 2025 新增免费剧本写作, 从制作管理扩展 evidence: [T02-S010]
- AI Coverage 服务 — 用 AI 做首轮 coverage, 成本低但质量争议 evidence: [T02-S039]
- Sudowrite — AI 辅助写作, Muse 模型, $10-44/月 evidence: [T02-S038]
- StoryPeer — Coverfly 关闭后社区型替代, 2025-2026 新兴
3.4 避坑清单 (5 条)
- ❌ 不要格式不规范就投: 非 .fdx 或 pro-level 格式, coverage reader 第一页就 pass
- ❌ 不要混淆 Scrivener 和 Final Draft: Scrivener 做大纲, Final Draft 做格式化稿, 不是替代关系
- ❌ 不要让 AI 写完整 draft 署你名: WGA 2023 协议明确 AI 不可作署名作者; AI 辅助 brainstorm/research 可以, 替代创作不行
- ❌ 不要依赖单一竞赛平台: Coverfly 2025 关闭的教训, 多平台投
- ❌ 不要用中文 Word 模板写好莱坞格式 spec: 格式是行业语言, 不规范 = 不专业
工作流 / Pipeline
4.1 工作流清单 (10 个, 按 decay 分组)
Low decay (工艺稳定):
1. 从零写一个电影剧本
入门 SOP: 1. 确定前提/Logline → 2. 写 Treatment 故事大纲 → 3. 做 Beat Sheet 节拍表 → 4. 写 Step Outline 分场大纲 → 5. 写初稿 (vomit draft) → 6. 自我诊断+改稿
- 资深路径: 跳过 Step 3 beat sheet / 优化 Step 5 边写边改 / 额外 Step 0 拉片+采风 evidence: [T03-S001, T03-S003]
4. 改稿与开发
入门 SOP: 1. 读 notes 两遍不急回应 → 2. 诊断 (结构→人物→场景分层) → 3. 找 note behind the note → 4. Draft revision plan → 5. Rewrite → 6. Polish → 7. Table read
- 资深路径: 跳过 Step 2 机械诊断 / 优化 Step 3 秒定真问题 / 额外: 预判下一轮 notes evidence: [T03-S002, T03-S014]
5. IP 改编
入门 SOP: 1. 精读原著找戏剧脊柱 → 2. 列人物关系+核心冲突 → 3. 压缩/扩展+建场景结构 → 4. 写改编 treatment → 5. 初稿 → 6. 与原作对标复查
- 资深路径: 跳过 Step 6 逐章对标 / 优化 Step 1 直觉找到脊柱不需逐章 / 额外: 提前与 IP 方确认改编自由度 evidence: [T03-S006, T03-S010]
9. 类型片惯例与必备场景
入门 SOP: 1. 确定故事类型 (Snyder 10 类) → 2. 列该类型必备场景 → 3. 写节拍时逐一嵌入 → 4. 初稿后用必备场景清单诊断 → 5. 补缺失的必备场景
- 资深路径: 跳过 Step 2 显式列表 / 优化: 同时用多类型交叉验证 / 额外: 有意识颠覆 1-2 个惯例 evidence: [T03-S020, T03-S007]
10. 人物发展与对白工艺
入门 SOP: 1. 写人物小传 (三维: 生理/社会/心理) → 2. 定 want/need/flaw → 3. 设弧光轨迹 → 4. 写对白 (先写直白版再加潜台词层) → 5. 盲测: 遮住角色名看能否分辨谁在说
- 资深路径: 跳过 Step 1 完整小传 / 优化 Step 4 直接写潜台词 / 额外: 为每个角色建独立词频表 evidence: [T03-S010, T03-S006]
Medium decay:
2. 美剧编剧室运作
入门 SOP: 1. Showrunner 定义 series bible (角色/世界/语气) → 2. 编剧室 break the season (全季弧线/集弧线上墙) → 3. 分配 episode (每人写 1-2 集) → 4. 个人 outline → 全室 rewrite → 5. Table read → 6. Production draft
- 资深路径: 跳过 Step 3 等分配 (资深人主动抢 bottle episode 或 finale) / 优化 Step 4 outline 直接带对白不只结构 / 额外: 预判制片/演员 notes 在 draft 阶段前置化解 evidence: [T03-S008, T03-S020]
3. 中国长剧集编剧流程
入门 SOP: 1. 故事大纲 (3-5 页) → 2. 人物小传 (主要 5-8 个角色) → 3. 分集大纲 (30-40 集各 500-800 字, 业内估) → 4. 剧本 (逐集) → 5. 改稿 (处理意见/平台 notes) → 6. 审查/备案/立项
- 资深路径: 跳过 Step 2 独立小传 (人物在大纲阶段同步立) / 优化 Step 5 主动控制注水压力 (拒绝为集数拉长牺牲叙事密度) / 额外: Step 0 前置审查评估 (题材红线判断比写完再评省半年) evidence: [T03-S012, T03-S013]
6. Spec 投递与评估
入门 SOP: 1. 完成 spec 剧本 + polish → 2. 写 query letter / logline → 3. 投 Black List ($30 评估) + 竞赛 (Nicholl/Austin/PAGE) → 4. 收 coverage → 5. 根据反馈改稿 → 6. 被 consider/recommend → 联系 agent/manager
- 资深路径: 跳过 Step 3 广撒网竞赛 (靠人脉/推荐直接进 manager inbox) / 优化 Step 4 筛选哪些 coverage 值得听 / 额外: 同时维护 2-3 个 active spec 而非只投一个 evidence: [T03-S023, T02-S011]
8. 中国审查与备案流程
入门 SOP: 1. 题材自审 (广电总局题材引导目录) → 2. 故事大纲报备 → 3. 完成剧本 → 4. 提交审查 → 5. 修改意见 → 6. 获龙标/平台上线许可
- 资深路径: 跳过 Step 1 查目录 (内化红线) / 优化 Step 2 大纲阶段就与审查方沟通方向 / 额外: 预设「B 方案」(审查打回时的替代结局/情节) evidence: [T03-S012, T06-S033]
High decay:
7. 微短剧/竖屏短剧创作
入门 SOP: 1. 爽点设计 (核心情绪 hook: 逆袭/复仇/甜宠) → 2. 80-100 集结构 (每集 90 秒, 1-3 分钟) → 3. 钩子+反转密度 (每集末尾必有 cliffhanger) → 4. 充值点设计 (第 10-15 集首个付费墙) → 5. 批量产出 → 6. 数据反馈迭代
- 资深路径: 跳过 Step 4 机械充值点 (用叙事自然断点而非硬卡) / 优化 Step 1 在爽点套路中加人物弧光 (让微短剧有工艺升级) / 额外: 同时运营 3-5 个不同类型项目分散风险 evidence: [T03-S025, T06-S040]
表达 DNA
5.1 高频用语 / 黑话 (top 15)
logline / beat / act break / cold open / inciting incident / midpoint / climax / controlling idea / subtext / on the nose / show don't tell / enter late leave early / the gap / character arc / vomit draft / 人物弧光 / 潜台词 / 分集大纲 / 过审 / 注水 / 飞页
5.2 严肃讨论 vs 轻松吐槽 Register
- 严肃: 「这场戏的 value charge 没有转, controlling idea 不清晰, B story 跟 A story 的 thematic tie 断了」
- 轻松: 「第二幕写死了吧? 节拍全乱了, 这 midpoint 是假的吧」「这台词太直白了 on the nose 得要死」
- 中国: 「这戏水了 (注水)」「人物立不立得住」「这场没戏, 没有信息量」「飞页了 (未通知改稿)」
5.3 外行破绽 (outsider-tell top 10)
- 把「story」和「plot」混用 (McKee 严格区分: plot 是事件序列, story 含 values/meaning)
- 说「剧情」指的是「故事」(中文混用; 行内人区分剧情=情节线 vs 故事=完整结构+主题+人物)
- 用「主角」指所有角色 (行内: protagonist 只有一个, 其他是 supporting/ensemble)
- 认为「好对白 = 聪明的台词」(行内: 好对白 = 有潜台词, 不一定聪明)
- 把 screenplay 和 script 当同义词 (screenplay 特指电影剧本, script 更泛)
- 说「这个故事没有结构」(行内: 所有故事都有结构, 只是你没看出来)
- 混淆「改编」和「翻拍」(adaptation 是媒介转换, remake 是同媒介重做)
- 认为「过审」只是内容审查 (实际包括备案/立项/龙标/平台审核多层)
- 把 spec script 说成「投稿」(spec = 编剧主动写的原创, 不是「投稿」这么被动)
- 认为编剧室 = 编剧团 (writers' room 是美剧特有的 collaborative breaking 制度, 中国的「编剧团」多是分集承包制)
5.4 厂商话术拒绝
- ❌ 「AI 写剧本只需要 5 分钟」→ 行内人拒绝: AI 可以辅助 brainstorm, 但编剧的核心工作是判断+选择, AI 替代不了
- ❌ 「用我们的模板就能写出好莱坞大片」→ 行内人拒绝: 模板是工具不是魔法, 救猫咪填空 ≠ 好剧本
- ❌ 「我们的 coverage 用 AI 评估更客观」→ 行内人拒绝: coverage 需要人类 reader 的品味判断, AI coverage 仍不被业内认可
- ❌ 「剧本软件决定剧本质量」→ 行内人拒绝: Goldman 用打字机写 Butch Cassidy, 工具不决定工艺
5.5 对话样本库 (industry voice 实战语料)
5.5.1 客户版 (面客解释/教育)
- 「结构不是往框里填东西。好比盖房子,你先得知道住什么人、几口人、干什么用,然后才画图。节拍表是你画完图之后的验收清单,不是设计图本身。」(source: T01-S006, 转述, 客户场景: 编剧教学)
- 「类型不是拍什么题材,是给观众什么感受。你选了惊悚,观众买票来被吓,你没吓到他就是违约。类型是合同。」(source: T01-S010, 转述, 客户场景: 制片人沟通)
5.5.2 同业版 (私下/内训/同业访谈)
- 「Every scene is a negotiation. Somebody wants something, and somebody else is in the way. If that's not happening, why am I watching?」(source: T01-S014, 原话, Mamet)
- 「The note is always wrong. The problem the note is trying to fix is always real.」(source: T01-S019, 转述, Mazin on Scriptnotes)
- 「这戏水了,第二幕全在晃,主角什么都不想要。」(source: T01-S022, 推断, 中国编剧内部讨论)
5.5.3 监管/专业版 (公开谈行业/工艺)
- 「Intention and obstacle — every great scene is someone who desperately wants something and someone who's preventing them from getting it.」(source: T01-S013, 原话, Sorkin MasterClass)
- 「中国电影需要类型自觉。我们不缺故事,缺的是把故事放进类型框架里的工艺训练。」(source: T01-S022, 转述, 芦苇)
- 「The audience doesn't know what they want. Your job is not to give them what they want — it's to give them what they didn't know they needed.」(source: T01-S030, 转述, Rhimes)
5.5.4 反例版 (资深人绝不会这样说)
- 「主角不用有缺点观众才喜欢」→ why 反例: 无 flaw 的角色是 Mary Sue, 没弧光可走 (source: T06 outsider-tell)
- 「台词把意思说清楚就行潜台词太装」→ why 反例: 没潜台词 = on the nose = 外行第一特征 (source: T06-S005)
- 「抄个爆款换皮最快反正改改桥段」→ why 反例: 系统性剽窃有法律判例 (琼瑶诉于正 2014 判赔, source: T01-R1)
- 「节拍表填空照写就是好剧本」→ why 反例: Truby/McKee 都明确反对, 滥用 beat sheet 导致同质化 (source: T04-S009)
voice_confidence: medium (西方 figures 原话丰富 = high; 中国 figures 多转述/推断 = low; 综合 medium)
质量基准 + 反模式
6.1 质量基准 (什么算好)
- 人物弧光完整: want/need 冲突清晰, 弧光在高潮处通过选择完成 (正弧/负弧/平弧都行, 但必须有意识设计)
- 每场戏有价值转: 场景不能只传递信息, 必须转变某个价值/关系/权力
- 对白有潜台词: 盲测遮住角色名能分辨谁在说; 关键场景的台词字面意思 ≠ 实际意思
- 结构有呼吸: 节奏有张有弛, 不是一条线到底; 第二幕中点有明确的方向转变
- logline 一句话能说清: 能在 25 字 (中文) 或 1 句话 (英文) 说清主角+冲突+风险
6.2 反模式 (外行/入门常犯错, 10 条)
- 跳过大纲直接写初稿 → 第二幕必塌 (约 90% 入门编剧的经历, 业内估) evidence: [T03-S001]
- beat sheet 填空当创作 → 机械公式化, Truby/McKee 反复批判 evidence: [T04-S009]
- 对白太直白 (on the nose) → 没潜台词 = 外行第一特征 evidence: [T06-S005]
- 主角是 Mary Sue (无缺陷) → 没弧光, 没内在张力 evidence: [T04-S009]
- 不改稿 / 一稿定稿 → 编剧通识: 所有好剧本都是改出来的 evidence: [T01-S019]
- 照改 notes 而非找真问题 → 改出一版更差的稿子 evidence: [T03-S014]
- 格式不规范就投 → coverage reader 第一页 pass evidence: [T02-S001]
- 中国项目不前置审查判断 → 写完 40 集发现拍不了 evidence: [T03-S012]
- 混淆类型惯例和「万能模板」 → 类型是诊断工具不是生产线 evidence: [T04-S013]
- 抄袭他人桥段/系统性剽窃 → 有明确法律判例 (于正 2014 / 郭敬明 2006), 不是「灰色地带」evidence: [T01-R1]
智识谱系
7.1 主要流派
- 古典情节派 (Aristotle → 情节优先, 突转/发现/净化是戏剧本质)
- 现代结构教学派 (Syd Field → 三幕范式/页码坐标 → Blake Snyder 精细化 → 15 拍节拍表)
- 当前代表: Save the Cat! 社区 (Jessica Brody), 大量编剧课程
- 人物有机结构派 (Egri → 人物决定结构 → Truby 22 步/道德论证)
- 价值/哲学派 (McKee → 掌控性理念/鸿沟/价值转变, 反公式但也非纯人物)
- 当前代表: Robert McKee 及 Story Seminar
- 神话/原型派 (Joseph Campbell → Christopher Vogler 英雄之旅 → Dan Harmon 故事环)
- 当前代表: Dan Harmon (TV 实用化)
- 对白/场景大师派 (David Mamet 极简策略性 vs Aaron Sorkin 高密度智性)
- 两极: Mamet (every scene is a negotiation) vs Sorkin (intention and obstacle)
- 院校教学派 (Frank Daniel 八序列法 → USC/Columbia 传统)
- 当前代表: USC SCA MFA, 大学编剧课程
- 行业智慧/实务派 (Goldman「Nobody knows anything」→ August/Mazin Scriptnotes → Franklin Leonard Black List)
- 当前代表: John August, Craig Mazin, Franklin Leonard
- 中国编剧工艺自觉派 (芦苇 类型自觉 + 刘和平 历史正剧巅峰 + 邹静之 编剧维权)
- 当前代表: 芦苇, 刘和平, 宋方金 (维权/批评)
- 核心张力: 西方正典工艺训练 vs 导演中心制下编剧地位弱 + 审查约束 + 流量资本逻辑
7.2 核心分歧 (保留不抹平)
- 公式派 vs 反公式派: Field/Snyder (结构=外加模板) vs Truby/McKee (结构=有机生长) — 编剧理论最大内部张力
- 情节优先 vs 人物优先: Aristotle vs Egri — 2400 年未解,实务中好作品两端都有
- 英雄之旅: 普适 vs 被滥用: Vogler/Harmon (一个原型适用多数) vs Truby/Yorke (非所有故事是旅程)
- 美剧 vs 中国编剧权力结构: 美国 showrunner 权力最大 vs 中国导演中心制, 编剧地位结构性不同
诚实边界
- 信息截止 2026-05-23: 工具/工作流模块衰减最快 (特别是微短剧/AI 辅助/竞赛平台生态), 建议每 6 个月 update
- Canon 西方压倒性: 编剧 craft 正典约 90%+ 来自西方英文圈 (Aristotle→McKee→Truby→Snyder 谱系); 中文原生工艺正典仅苏牧/芦苇/张先 3 本 + 大量西方译本。这是真实结构, 不是数据缺陷
- 中国 voice DNA 结构性薄: 中国编剧公开 voice 大量在 B站/公众号/知乎/微博 (blacklist/reference 平台), 导致 zh-CN 维度一手逐字原话极少; 中国 figure 的 voice_samples 多为转述/推断。如需中国编剧视角深度, 建议直接看芦苇《电影编剧的秘密》+ 刘和平署名长访谈
- 工具栈稳态 + AI 快变: 核心工具 (Final Draft/Scrivener) 40+ 年稳定; 但 AI 辅助编剧工具和 WGA 的 AI 政策正在 2025-2026 快速变化 (WGA 2026 谈判将重塑 AI 边界)
- 竞赛/平台生态动荡: Coverfly/ScreenCraft/WeScreenplay 2025 关闭, spec 投递生态正重组
- 公开信息偏差: 成功编剧大量发声 (McKee/Sorkin/Mazin 都有 MasterClass/podcast), 但商业失败/审查被毙/维权败诉的案例公开极少; 幸存者偏差严重
- 微短剧工艺争议: 微短剧的「爽点工业化」是否是编剧工艺正在被讨论, 本 skill 收录其 SOP 但不为其工艺质量背书
Time-decay Registry
This skill's modules decay at different speeds. Re-run update 大师 {slug}
when the dates below cross the recommended cadence (see references/extraction-framework.md § 八).
| Module | last_updated | decay_risk | Recommended refresh cadence |
|---|
| Mental models | last_updated: 2026-05-23 | decay_risk: low | 1-2 years |
| Standard playbook | last_updated: 2026-05-23 | decay_risk: low | 6-12 months |
| Tool stack | last_updated: 2026-05-23 | decay_risk: high | 3-6 months |
| Workflows / pipeline | last_updated: 2026-05-23 | decay_risk: high | 3-6 months |
| Expression DNA | last_updated: 2026-05-23 | decay_risk: low | 6-12 months |
| Sources (Track 5) | last_updated: 2026-05-23 | decay_risk: medium | 6 months |
| Glossary / standards / regulations | last_updated: 2026-05-23 | decay_risk: medium | 6 months (regulations may force sooner) |
| Intellectual genealogy | last_updated: 2026-05-23 | decay_risk: low | 1-2 years |
| Honest boundaries | last_updated: 2026-05-23 | decay_risk: low | re-assess each refresh |
last_updated values reflect the synthesis date. Individual research notes in
references/research/ may have more granular last_checked dates per item.
