@azerogluemin/ai-bootstrap 0.2.1

package/templates/skills/screenwriter/knowledge/categories/film/genres/action.md

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+# Action — Genre
+
+> Films built around physical conflict, set pieces, and kinetic spectacle.
+
+## Defining elements
+
+- Physical conflict central
+- Set pieces drive structure
+- Hero with skills
+- Clear stakes
+- Visceral experience
+
+## Sub-genres
+
+| Sub-genre | Example |
+|-----------|---------|
+| Action thriller | Bourne Identity |
+| Martial arts | The Raid |
+| Western action | Hell or High Water |
+| War action | 1917 |
+| Heist | Ocean's Eleven |
+| Action comedy | Bad Boys |
+| Action sci-fi | Mad Max Fury Road |
+| Buddy action | Lethal Weapon |
+| Revenge action | John Wick |
+| Spy action | Mission Impossible |
+| Disaster | Twister |
+
+## Structural conventions
+
+### Set pieces every 15-20 min
+- Major action sequences spaced
+- Build in scale
+- Variety in type
+- Climax = biggest
+
+### Hero competence
+- Established early
+- Demonstrated through small action
+- Skills set up = pay off later
+
+### Clear stakes
+- What happens if they fail
+- Personal stakes alongside larger
+- Time pressure often
+
+### Pacing
+- Fast cuts in action
+- Breath moments between
+- Build-explode-recover
+
+## Voice / Style
+
+### Visual
+- Kinetic camera
+- Wide + close mix
+- Geography clear (audience must understand space)
+- Practical preferred when possible
+
+### Sound
+- Score driving
+- Impact sounds visceral
+- Music + SFX layered
+- Quiet moments contrast
+
+### Dialogue
+- Tight
+- Quips ok in lighter action
+- Less than drama
+- Earned moments of stillness
+
+## Action mechanics
+
+### Set piece structure
+1. Setup (location, threat, stakes)
+2. Engagement (action begins)
+3. Escalation (worse, harder)
+4. Climax (peak danger)
+5. Resolution (outcome)
+
+### Geography
+- Audience must understand SPACE
+- Where is hero? Where is threat?
+- Wide shots establish
+- Close shots impact
+- Don't lose audience in chaos
+
+### Hero competence + vulnerability
+- Hero is good at thing X
+- But threat can hurt them
+- Tension = real
+
+### Setup / payoff
+- Skill shown in Act 1
+- Used in Act 3
+- Rule of Chekhov's gun
+
+## Sample action scene
+
+```
+INT. ABANDONED WAREHOUSE - NIGHT
+
+ELDAR (35), ex-military, moves silently through the shadows.
+Six ARMED MEN somewhere in the building. He has one knife and
+the element of surprise.
+
+He pauses at the corner. Listens. Two voices nearby.
+
+GUARD #1 (O.S.)
+He's got to be in here somewhere.
+
+GUARD #2 (O.S.)
+Boss said don't kill him. Yet.
+
+Eldar moves. Three quiet steps to a tool bench. Lifts a wrench
+silently.
+
+He waits.
+
+Footsteps approach his corner.
+
+GUARD #1 enters frame from left.
+
+Eldar moves — wrench across the temple. Catches the body before
+it falls. Lowers it silently.
+
+GUARD #2 (O.S.)
+Adil?
+
+Pause.
+
+GUARD #2 (O.S.)
+Adil!
+
+Eldar takes the unconscious guard's gun. Checks the magazine.
+Half full.
+
+He moves.
+
+A hallway. Three doors. He picks the middle one.
+
+The middle door = the wrong one. Two guards inside, immediately
+firing.
+
+He drops back into the hallway as bullets pepper the doorframe.
+
+ELDAR (under breath)
+Always the middle door.
+
+He pulls the pin on a smoke grenade he stole from Adil. Rolls it
+in. Closes the door.
+
+Counts: three, two, one.
+
+Bursts in. Smoke fills the room. Two muzzle flashes — wild fire.
+
+He fires twice precisely. Two thuds.
+
+He moves through the smoke. The fight is on.
+```
+
+This works through:
+- Geography clear (corner, doors, hallway)
+- Competence demonstrated
+- Stakes (boss wants alive — for now)
+- Tools / improvisation
+- Pacing varied (slow stalking, fast burst)
+- Specific detail
+- Self-deprecating humor (middle door)
+
+## Common mistakes
+
+- Choreography unclear
+- Geography lost (where are they?)
+- Hero unkillable (no stakes)
+- Set pieces without escalation
+- Forgetting character through action
+- Too much shaky cam
+- Quips overdone
+
+## Best action films reference
+
+- Mad Max: Fury Road (kinetic, visual)
+- John Wick (choreography, world)
+- The Raid (martial arts)
+- Mission Impossible: Fallout (set pieces)
+- Heat (drama + action)
+- Die Hard (single location)
+- The Bourne Identity (grounded)
+- Skyfall (modern Bond)
+- Hell or High Water (modern western)
+
+## When to write action
+
+- Studio commercial appeal
+- Star vehicle
+- Spectacle desired
+- Theatrical release
+- Sequel/franchise potential
+- Genre audience
+
+## Production realities
+
+Action ranges:
+- Indie action: $1-5M (use smart set pieces)
+- Mid-budget: $20-60M (set piece spectacle)
+- Tentpole: $100M+ (massive scale)
+
+Choreography quality > budget.
+
+## Combination with other genres
+
+- Action + Thriller (Bourne)
+- Action + Comedy (Bad Boys)
+- Action + Sci-fi (Mad Max)
+- Action + Drama (Heat)
+- Action + Horror (Resident Evil)
+- Action + Romance (Mr. & Mrs. Smith)

package/templates/skills/screenwriter/knowledge/categories/film/genres/biographical.md

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+# Biographical (Biopic) — Genre
+
+> Films depicting the life of a real person. Selectivity from real events into narrative.
+
+## Defining elements
+
+- Based on real person
+- Selectivity (life → narrative)
+- Truth + interpretation
+- Period accuracy (often)
+- Performance vehicle (lead role)
+
+## Sub-genres
+
+| Sub-genre | Example |
+|-----------|---------|
+| Cradle-to-grave | Gandhi, Lincoln |
+| Pivotal moment | The King's Speech, Lincoln |
+| Underdog rise | Rocky (semi-bio), 8 Mile |
+| Tragic figure | Ray, Bohemian Rhapsody |
+| Political | Vice, Lincoln |
+| Sports | Ali, I, Tonya |
+| Musician | Walk the Line, Bohemian Rhapsody, Rocketman |
+| Scientist / inventor | The Imitation Game, A Beautiful Mind |
+| Artist | Frida, At Eternity's Gate |
+| Athlete | The Blind Side, King Richard |
+| Activist | Selma, Milk |
+| Criminal | Catch Me If You Can, The Wolf of Wall Street |
+
+## Structural conventions
+
+### Cradle-to-grave (full life)
+- Birth or formative event
+- Rise + struggles
+- Peak
+- Decline / death
+- Legacy
+
+### Defining period
+- Pivotal years only
+- Specific event-focused
+- King's Speech: speech preparation
+- Lincoln: passage of 13th Amendment
+
+### Inciting incident from life
+- Real event triggers narrative
+- Audience knows ending (often)
+- Tension from HOW not WHAT
+
+## Voice / Style
+
+### Visual
+- Period accurate
+- Production design = research
+- Costume essential
+- Locations authentic
+
+### Dialogue
+- Period-appropriate
+- Accent, vocabulary
+- Adapted real quotes
+- Some invented
+
+### Performance
+- Often Oscar-bait
+- Star transformation
+- Mannerisms, voice
+- Don't impersonate, embody
+
+## Biopic mechanics
+
+### Truth vs Drama
+- Compress timelines
+- Composite characters
+- Invented dialogue
+- Disclose: "Based on a true story" / "Inspired by"
+- Honor essence even when changing facts
+
+### Choosing what to include
+- Cradle-to-grave hard (too much)
+- Pivotal moment focused better
+- Theme drives selection
+- Climax = real climactic event
+
+### Avoiding hagiography
+- Show flaws
+- Real people complex
+- No saints
+- Audience trusts honesty
+
+### Avoiding hatchet job
+- Even villains have humanity
+- Understand from within
+- Don't condemn from outside
+
+## Sample biographical scene
+
+```
+INT. RECORDING STUDIO - NIGHT, 1965
+
+YOUNG NAZIM (28), composer, sits at the piano. The producer leans
+through the doorway.
+
+PRODUCER
+We need it tonight.
+
+NAZIM
+I know.
+
+PRODUCER
+The label is asking. Have you tried...
+
+NAZIM
+I've tried everything.
+
+The producer leaves. Nazim sits in silence. Looks at the empty
+sheet music. The deadline is six hours away.
+
+He stands. Walks to the window. Below, the street lamps are coming
+on. Baku in 1965. The Caspian beyond.
+
+He hears something. Not music. A WOMAN's voice — singing softly
+in Azerbaijani somewhere in another apartment. A folk song. His
+grandmother's song.
+
+He listens. Doesn't move.
+
+The voice continues. Imperfect, untrained, but true.
+
+He returns to the piano. Sits. Closes his eyes.
+
+He plays one note. Listens to it die.
+
+Plays another.
+
+The first phrase emerges. Simple. Borrowed from her.
+
+He writes it down. Then plays the next phrase.
+
+By morning, he has the song that will outlive him.
+
+INSERT TITLE CARD: "Nazim Aliyev wrote 'Bakı Gecəsi' that night.
+It became one of the most recorded songs in Azerbaijani music
+history. He never knew the woman whose singing inspired it."
+```
+
+This works through:
+- Real person specific moment
+- Vulnerability (deadline, blocked)
+- Inspiration source (overheard song)
+- Truth + invention
+- Title card adds context
+- Honors subject's craft
+
+## Common mistakes
+
+- Hagiography (pretending subject was saint)
+- Cradle-to-grave bloat (too much, no focus)
+- Hitting all the famous moments (greatest hits feel)
+- Generic period (not specific)
+- Bad makeup (distracting)
+- Impersonation over embodiment
+- Forgetting drama needs (real life isn't always dramatic)
+
+## Best biographical films reference
+
+### Cradle-to-grave
+- Gandhi (1982)
+- Lincoln (focused on months)
+- Bohemian Rhapsody (selective)
+- Lawrence of Arabia (epic biographical)
+
+### Pivotal moment
+- The King's Speech
+- Lincoln (passage of 13th Amendment)
+- Dunkirk (Christopher Nolan — semi-biographical of event)
+- Selma (march)
+- Milk (final years)
+
+### Modern
+- The Social Network (Zuckerberg, but invented dialogue)
+- Steve Jobs (Sorkin — three product launches)
+- Vice (Cheney)
+- King Richard (the father, not Williams sisters)
+- Maestro (Bernstein)
+- Oppenheimer (life through Trinity test prism)
+
+## When to write biographical
+
+- Compelling real story
+- Festival / awards aspirations
+- Star vehicle
+- Cultural moment
+- Documentary subject deserves narrative
+- Streaming long-form
+
+## Combination with other genres
+
+- Biopic + Drama (most common)
+- Biopic + Music (Walk the Line)
+- Biopic + Sports (Ali)
+- Biopic + Romance (Iris)
+- Biopic + Crime (Wolf of Wall Street)
+- Biopic + War (Patton, Pianist)

package/templates/skills/screenwriter/knowledge/categories/film/genres/comedy.md

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+# Comedy — Genre
+
+> Films designed to amuse. Range from broad slapstick to subtle dramedy.
+
+## Defining elements
+
+- Designed to elicit laughter
+- Conflict often low-stakes (relative to drama)
+- Character flaws as humor source
+- Misunderstanding / mismatch as engine
+- Resolution typically positive
+
+## Sub-genres
+
+| Sub-genre | Example | Style |
+|-----------|---------|-------|
+| Romantic comedy | When Harry Met Sally | Love through obstacles |
+| Screwball | Bringing Up Baby | Fast dialogue, chaos |
+| Slapstick | Naked Gun | Physical, broad |
+| Dark comedy | In Bruges | Comedy from dark situations |
+| Satire | Don't Look Up | Social/political critique |
+| Mockumentary | This is Spinal Tap | Documentary parody |
+| Buddy comedy | Superbad | Friendship + adventure |
+| Stoner comedy | Pineapple Express | Casual, absurd |
+| Workplace comedy | Office Space | Modern frustration |
+| Dramedy | Sideways | Drama with comedy |
+
+## Structural conventions
+
+### Joke density
+- Several laughs per minute
+- Setup-punchline rhythm
+- Visual + verbal mix
+- Variety in joke types
+
+### Misunderstanding engine
+- Characters operating on wrong info
+- Mistaken identity
+- Dramatic irony (audience knows)
+
+### Escalation
+- Each beat raises absurdity
+- Snowball effect
+- Climax = peak chaos
+
+### Sympathetic protagonists
+- Even flawed = lovable
+- Audience roots for them
+- Their defeats temporary
+
+## Voice / Style
+
+### Dialogue
+- Witty
+- Quick
+- Specific (specifics are funnier than generics)
+- Irony / sarcasm
+- Character voice clear
+
+### Visual
+- Often bright, accessible
+- Comedic timing in editing
+- Reaction shots crucial
+- Wide-then-close emphasis pattern
+
+### Music
+- Often upbeat
+- Source music for jokes
+- Score supports comic timing
+
+## Comedy mechanics
+
+### Setup → Punchline
+- Establish expectation
+- Subvert it
+- Surprise = laugh
+
+### Rule of three
+- Two examples establish pattern
+- Third subverts
+- Classic comedy structure
+
+### Callbacks
+- Reference earlier joke
+- Audience reward
+- Deeper than first appearance
+
+### Misdirection
+- Audience expects A
+- Get B
+- Surprise = laugh
+
+### Specificity
+- "He drove a car" — not funny
+- "He drove a 1987 Ford Tempo with a broken radio antenna" — funnier
+- Detail = humor
+
+## Sample comedic scene
+
+```
+INT. CAFE - DAY
+
+ELDAR (35) is on a first date with NIGAR (32). He's nervous.
+
+ELDAR
+So... you're a doctor.
+
+NIGAR
+Lawyer.
+
+ELDAR
+Right. Lawyer. (trying to recover)
+You probably handle... cases.
+
+NIGAR
+Yes. That's correct. I handle cases.
+
+She smiles politely. He nods seriously, like she's revealed
+something profound.
+
+ELDAR
+That must be... so many cases.
+
+NIGAR
+Just enough.
+
+Long awkward pause. Eldar drinks his coffee. Realizes it's empty.
+Drinks again anyway.
+
+ELDAR
+Mm. Good coffee.
+
+NIGAR
+You drank the cup already.
+
+He sets it down. The empty cup on the table feels enormous.
+
+ELDAR
+... yes.
+```
+
+This works through:
+- Specific, awkward details
+- Misdirection (he can't recover)
+- Visual gag (empty cup)
+- Sympathetic character
+- Real social situation amplified
+
+## Common mistakes
+
+- Telling jokes (vs. situations being funny)
+- Mean-spirited humor (turns audience off)
+- Punching down
+- Forced quirks
+- Stale references
+- No genuine character beneath
+- Predictable rhythms
+
+## Best comedic films reference
+
+- The Princess Bride (witty)
+- When Harry Met Sally (romantic)
+- Anchorman (absurd)
+- The Big Lebowski (cult)
+- Superbad (buddy)
+- Bridesmaids (modern romantic)
+- Eighth Grade (cringe + heart)
+- The Worst Person in the World (dramedy)
+
+## When to write comedy
+
+- Lighter mood project
+- Star vehicle
+- Audience-friendly
+- Mainstream commercial
+- Mental health "escape"
+- Holiday films
+
+## Combination with other genres
+
+- Comedy + Romance = Rom-com
+- Comedy + Drama = Dramedy
+- Comedy + Action = Action comedy (Bad Boys)
+- Comedy + Horror = Horror comedy (Scream)
+- Comedy + Crime = Crime comedy (Snatch)
+
+Comedy elevates serious genres by humanizing characters.