@azerogluemin/ai-bootstrap 0.2.1

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

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+# Crime — Genre
+
+> Films centered on criminal acts, criminals, or those who pursue them.
+
+## Defining elements
+
+- Criminal act central
+- Moral ambiguity
+- Justice (or its absence)
+- Stakes legal + personal
+- Often urban setting
+
+## Sub-genres
+
+| Sub-genre | Example |
+|-----------|---------|
+| Crime drama | The Godfather, Goodfellas |
+| Heist | Ocean's Eleven |
+| Crime thriller | Se7en |
+| Gangster | Scarface, The Irishman |
+| Police procedural | The French Connection |
+| Mafia | The Godfather, The Sopranos |
+| Caper (lighter heist) | The Italian Job |
+| True crime | Zodiac, Mindhunter |
+| Crime comedy | Snatch, Lock Stock |
+| Vigilante | Death Wish, You Were Never Really Here |
+
+## Structural conventions
+
+### The crime
+- Often shown early
+- Or alluded to mysteriously
+- Triggers everything
+
+### Pursuit / consequences
+- Detective hunts criminal
+- Or criminal evades, deepens
+- Often both perspectives
+
+### Moral complexity
+- Criminals humanized
+- Detectives flawed
+- Lines blurred
+
+### Resolution
+- Justice served (often) — but at cost
+- Or unjust — bittersweet
+- Or cyclical — the crime continues
+
+## Voice / Style
+
+### Visual
+- Often urban
+- Night scenes
+- Shadows and light contrast
+- Specific locations as character
+
+### Dialogue
+- Vernacular / regional
+- Tough talk
+- Loyalty-coded language
+- Ethnic / class specific
+
+### Pacing
+- Drama pace + tension
+- Set pieces (heists, confrontations)
+- Quiet character moments
+
+## Crime mechanics
+
+### Moral compass
+- Hero (detective) vs villain (criminal)
+- OR criminal as protagonist (anti-hero)
+- Audience sympathy questioned
+
+### Code / Honor
+- Criminals often have own code
+- Detectives bend rules
+- Loyalty tested
+
+### Consequences
+- Crimes have ripple effects
+- Family / community impact
+- Long-term costs
+
+### Authenticity
+- Real-feeling police work
+- Real-feeling criminal world
+- Slang, procedure, detail
+
+## Sample crime scene
+
+```
+INT. WAREHOUSE OFFICE - NIGHT
+
+The MEETING is finished. RAMIN (45), the boss, leans back in his
+chair. ELDAR (32), his soldier, stands across the desk.
+
+RAMIN
+You did good tonight.
+
+ELDAR
+Thank you.
+
+RAMIN
+Sit down.
+
+Eldar sits. Ramin pours two glasses of vodka. Slides one across.
+
+RAMIN
+You know why I'm telling you this?
+
+ELDAR
+No.
+
+RAMIN
+Because in three months, you won't be working for me anymore.
+
+Long beat. Eldar doesn't react. Doesn't drink.
+
+ELDAR
+Why not?
+
+RAMIN
+Because in three months, you'll be doing my job.
+
+Eldar's eyes — surprise barely controlled.
+
+ELDAR
+I don't understand.
+
+RAMIN
+Yes you do. The doctors said two months. Maybe three. We're moving
+faster than I'd planned.
+
+Eldar absorbs this. Picks up the vodka. Doesn't drink yet.
+
+ELDAR
+Who else knows?
+
+RAMIN
+You. Now.
+
+ELDAR
+Why me?
+
+RAMIN
+Because you didn't ask for it. The ones who ask, they're the ones
+to watch.
+
+Eldar drinks. Sets the glass down.
+
+ELDAR
+What do you need from me?
+
+RAMIN
+I need you to start making decisions like the boss. Tonight.
+
+He pushes a folder across the desk.
+
+RAMIN
+Read this. Then come back tomorrow with a plan.
+
+Eldar takes the folder. Stands. At the door:
+
+ELDAR
+Who knew before me?
+
+RAMIN
+Your father.
+
+Eldar's grip on the door tightens.
+
+RAMIN
+He didn't trust me to keep my word. I'm trusting you to honor what
+he protected.
+
+Eldar leaves.
+```
+
+This works through:
+- Loyalty-coded dialogue
+- Subtext (what's NOT said)
+- Honor / code
+- Stakes (succession, mortality)
+- Specific (vodka, folder)
+- Restraint (no shouting)
+
+## Common mistakes
+
+- Glamorizing without consequences
+- Stereotyping (every Italian = mafia)
+- Convenient resolutions
+- Forgetting victim impact
+- Style over substance
+- Cliché underworld
+- Generic detectives
+
+## Best crime films reference
+
+- The Godfather (epic crime)
+- Goodfellas (mafia rise/fall)
+- Pulp Fiction (style + crime)
+- Heat (drama + crime)
+- Zodiac (true crime procedural)
+- Se7en (crime + horror)
+- The Departed (crime drama)
+- No Country for Old Men (crime + western)
+- Gomorrah (modern Italian crime)
+- A Most Violent Year (slow burn)
+
+## When to write crime
+
+- Adult audience
+- Festival + commercial overlap
+- Streaming hit potential
+- Multi-character ensembles
+- Strong director voice
+- Long-form (often features benefit from runtime)
+
+## Combination with other genres
+
+- Crime + Drama (Godfather)
+- Crime + Thriller (Se7en)
+- Crime + Comedy (Snatch)
+- Crime + Western (No Country)
+- Crime + Mystery (Zodiac)
+- Crime + Romance (Bonnie and Clyde)

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

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+# Drama — Genre
+
+> Character-driven films exploring human emotion, relationships, and moral complexity. The "default" prestige genre.
+
+## Defining elements
+
+- Character-driven plot
+- Emotional realism
+- Moral complexity
+- Real-world (mostly)
+- Slow burn often
+- Internal conflict prominent
+- Subtext heavy
+
+## Audience expectations
+
+- Emotional engagement
+- Authentic characters
+- Real consequences
+- Earned catharsis
+- Quality performances
+- Director vision
+
+## Sub-genres
+
+| Sub-genre | Example |
+|-----------|---------|
+| Family drama | Manchester by the Sea |
+| Coming-of-age | Lady Bird, Boyhood |
+| Period drama | The Power of the Dog |
+| Social drama | Nomadland |
+| Romance drama | Past Lives |
+| Workplace drama | Spotlight |
+| Crime drama | Mystic River |
+| Domestic drama | Marriage Story |
+| Historical drama | 12 Years a Slave |
+| Political drama | The Trial of the Chicago 7 |
+| Faith drama | First Reformed |
+
+## Structural conventions
+
+### Slower pacing
+- Scenes can breathe
+- Silence has weight
+- Build through accumulation
+
+### Character over plot
+- Plot serves character revelation
+- Internal conflict drives external
+- Watch character think
+
+### Real-world stakes
+- Mortality, family, identity
+- Career, marriage, parenthood
+- Loss, legacy, meaning
+
+### Earned catharsis
+- Build through restraint
+- Pay off in moments, not speeches
+- Tears earned, not demanded
+
+## Voice / Style
+
+### Dialogue
+- Naturalistic
+- Subtext heavy
+- Pauses meaningful
+- Every line revealing
+
+### Visual
+- Often realistic cinematography
+- Long takes acceptable
+- Faces / closeups important
+- Locations as character
+
+### Music
+- Often restrained
+- Score supports, doesn't lead
+- Silence used well
+- Source music meaningful
+
+## Sample dramatic scene approach
+
+```
+INT. KITCHEN - NIGHT
+
+ELDAR (35) at the table. His FATHER ASIF (62) at the stove,
+making tea. Neither speaks for a long beat.
+
+ASIF
+You take sugar?
+
+ELDAR
+No.
+
+ASIF
+You used to take sugar.
+
+ELDAR
+I stopped.
+
+Long pause. Asif sets the tea down. Sits.
+
+ASIF
+When?
+
+ELDAR
+A while.
+
+Pause. They both look at the tea.
+
+ASIF
+Your mother used to put a spoonful in mine. Said I was too bitter
+without it.
+
+He almost smiles. Doesn't quite.
+
+ELDAR
+I remember.
+
+The tea steams between them.
+```
+
+This scene has:
+- Subtext (years of distance)
+- Real character (specifics)
+- Restraint (no big speeches)
+- Earned emotion (small detail = wave)
+- Visual storytelling (steam, looks)
+
+## Common mistakes
+
+- Melodrama (overwrought)
+- Speech-y dialogue
+- Generic characters
+- On-the-nose theme
+- Easy resolution
+- Manufactured tears
+- Saggy pacing without purpose
+
+## Best dramatic films reference
+
+- Manchester by the Sea (grief, family)
+- Moonlight (identity, love)
+- Past Lives (longing, time)
+- The Worst Person in the World (becoming)
+- A Separation (moral complexity)
+- Roma (memory, class)
+
+## When to write drama
+
+- Character-focused story
+- Real-world setting
+- Emotional truth central
+- Adult audience
+- Festival aspirations
+- Awards potential
+
+## Combination with other genres
+
+- Drama + Comedy = Dramedy (Lady Bird)
+- Drama + Thriller = Drama-thriller (Spotlight)
+- Drama + Romance = Romantic drama (Past Lives)
+- Drama + Crime = Crime drama (Manchester by Sea has crime element)
+
+Drama can be the "base" with other elements layered.

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

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+# Experimental — Genre
+
+> Films that break conventional narrative form. Avant-garde, art cinema, structural experiment.
+
+## Defining elements
+
+- Non-traditional narrative
+- Formal experimentation
+- Artistic intent over commercial
+- Often festival / gallery
+- Audience patience required
+
+## Sub-types
+
+| Sub-type | Example |
+|----------|---------|
+| Non-linear | Memento, Pulp Fiction |
+| Anthology / vignette | Coffee and Cigarettes |
+| Single-take / one-shot | Russian Ark, 1917 |
+| Found footage | The Blair Witch Project |
+| Documentary-fiction hybrid | Close-Up |
+| Slow cinema | Stalker, Tarr's films |
+| Surrealist | Eraserhead, Mulholland Drive |
+| Structural film | Wavelength (Snow) |
+| Diary / personal | News from Home |
+| Genre subversion | Dogme 95 films |
+
+## Structural approaches
+
+### Non-linear
+- Time jumps backward/forward
+- Reveals through reordering
+- Audience reconstructs
+
+### Single take / long take
+- Continuous shot or appearance of
+- Time + space sustained
+- Technical achievement
+
+### Repetition / variation
+- Same scene multiple times
+- Different perspectives
+- Structural meaning
+
+### Anthology / vignette
+- Multiple short stories
+- Connected thematically
+- Or unconnected
+
+### Stream of consciousness
+- Internal experience
+- Less plot
+- More feeling
+
+## Voice / Style
+
+### Visual
+- Often distinctive (signature look)
+- Color palette specific
+- Composition meaningful
+- Camera language unusual
+
+### Pacing
+- Often slower than commercial
+- Long takes acceptable
+- Silence used
+- Patience rewarded
+
+### Dialogue
+- Often sparse
+- Or stylized (theatrical)
+- Or naturalistic / improvised
+- Defies convention
+
+## Experimental mechanics
+
+### Form = content
+- Structure means something
+- Not arbitrary
+- Audience grapples with form
+
+### Audience challenge
+- Not entertainment alone
+- Engagement required
+- Reward = profound
+
+### Festival circuit
+- Cannes, Venice, Berlin
+- Specific audiences
+- Critical attention
+
+### Artistic statement
+- Director vision uncompromised
+- Not commercial-friendly
+- Cultural artifact
+
+## Sample experimental approach
+
+```
+TITLE: "Seven Mornings"
+
+GENRE: Experimental short
+LENGTH: 12 minutes
+STRUCTURE: Seven brief scenes, each 90 seconds, each showing the
+same kitchen at the same time of morning, on seven different days.
+
+NO DIALOGUE.
+
+SCENE 1: Empty kitchen. Sunrise through window. Steam from kettle.
+SCENE 2: Same. A WOMAN enters. Makes coffee. Drinks alone.
+SCENE 3: Same. WOMAN and MAN. He makes coffee. She watches. They
+don't speak.
+SCENE 4: Same. WOMAN alone. Empty mug across from her.
+SCENE 5: Same. WOMAN in pajamas. Hair undone. Hasn't slept.
+SCENE 6: Same. WOMAN dressed for travel. Suitcase by door. She
+makes coffee. Doesn't drink it.
+SCENE 7: Same. Empty kitchen. Steam from kettle. Sunrise.
+
+The story is in what changes. In what's missing. In what's repeated.
+
+Final image: empty mug, drying on the counter.
+```
+
+This works through:
+- Repetition as structure
+- Absence as meaning
+- Form = content
+- Audience constructs narrative
+- Visual storytelling pure
+
+## Common mistakes
+
+- Difficulty for difficulty's sake
+- Pretension without substance
+- Boring (vs. patient — different)
+- Self-indulgent
+- No clear intent
+- Form unconnected to content
+- Alienating without reward
+
+## Best experimental films reference
+
+### Modern accessible experimental
+- Memento (non-linear)
+- Mulholland Drive (surrealist)
+- 1917 (single-take feel)
+- Russian Ark (actual single take)
+- Boyhood (12-year shoot)
+
+### Slow cinema
+- Stalker (Tarkovsky)
+- Sátántangó (Tarr)
+- Uncle Boonmee Who Can Recall His Past Lives
+
+### Surrealist
+- Eraserhead (Lynch)
+- Holy Motors (Carax)
+- The Lobster (Lanthimos)
+
+### Avant-garde
+- Wavelength (Snow)
+- Sleep (Warhol)
+- Meshes of the Afternoon (Deren)
+
+### Genre subversion
+- Dogville (Lars von Trier — theater on film)
+- Synecdoche, New York (Charlie Kaufman)
+- Last Year at Marienbad (Resnais)
+
+## When to write experimental
+
+- Artistic ambition
+- Festival circuit aim
+- Budget allows risk
+- Specific formal idea
+- Master class / portfolio
+- Cultural statement
+
+## Production realities
+
+Experimental can be:
+- Microbudget (DIY, single location)
+- Mid (festival darling productions)
+- High (Russian Ark — 96-min single take)
+
+## Combination
+
+Experimental can elevate any genre:
+- Experimental + Sci-fi (Stalker)
+- Experimental + Drama (Mulholland Drive)
+- Experimental + War (1917)
+- Experimental + Comedy (Holy Motors)
+
+## Risks
+
+- Limited audience
+- Requires marketing positioning (festival/art house)
+- Critical reception variable
+- Not commercially viable typically
+- Personal vision risk
+
+## When NOT to write experimental
+
+- Commercial commercial
+- Mainstream audience
+- Risk-averse production
+- Genre conventions desired
+- Festival not aim
+
+If "experimental" is impulse but not commitment — pull back to genre with experimental elements.