@azerogluemin/ai-bootstrap 0.2.1

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

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+# Mystery — Genre
+
+> Films centered on solving a puzzle or uncovering hidden truth.
+
+## Defining elements
+
+- Question audience wants answered
+- Clues distributed
+- Investigation as plot
+- Reveal as climax
+- Logic + intuition
+
+## Sub-genres
+
+| Sub-genre | Example |
+|-----------|---------|
+| Whodunit | Knives Out |
+| Detective procedural | Zodiac |
+| Cozy mystery | Knives Out |
+| Conspiracy | All the President's Men |
+| Locked room | And Then There Were None |
+| Amateur sleuth | Pride and Prejudice with mystery |
+| Hard-boiled | Chinatown |
+| Psychological mystery | Memento |
+
+## Structural conventions
+
+### The crime / question
+- Established early
+- Stakes clear
+- Audience wants answer
+
+### Investigation
+- Detective/protagonist seeks truth
+- Evidence collected
+- Suspects examined
+- Red herrings
+
+### Reveal
+- Truth uncovered
+- Often in third act
+- Recontextualizes everything
+- Logical (in retrospect)
+
+### Justice / aftermath
+- Resolution beyond just answer
+- Cost of investigation
+- Truth's consequences
+
+## Voice / Style
+
+### Visual
+- Investigation tactile (boards, photos, files)
+- Locations as clues
+- Lighting often noir-influenced
+- Detail emphasized
+
+### Pacing
+- Slower than thriller
+- Build through accumulation
+- Reveal moments
+- Patience rewarded
+
+### Dialogue
+- Interviews with suspects
+- Detective's deduction
+- Lies and withholding
+- Subtext crucial
+
+## Mystery mechanics
+
+### Fair play (Knox's commandments)
+Classic mystery rules:
+- No supernatural unless established
+- No previously unknown poisons
+- No secret rooms unhinted
+- Detective doesn't commit crime
+- All clues available to reader/viewer
+
+Modern: bend these but reward audience.
+
+### Clues + red herrings
+- Real clues planted
+- Misleading false leads
+- Audience tracks both
+- Reveal honors planting
+
+### POV control
+- Detective's POV (audience knows what they know)
+- OR omniscient (audience ahead/behind)
+- Each works differently
+
+### The reveal
+- All pieces fit
+- Logic inevitable in retrospect
+- Suspect identified
+- Method explained
+
+## Sample mystery scene
+
+```
+INT. POLICE STATION INTERVIEW ROOM - DAY
+
+DETECTIVE NIGAR (38), sharp eyes, sits across from RAMIN (45),
+the victim's business partner. Their second interview.
+
+RAMIN
+I told you everything yesterday.
+
+NIGAR
+Then today should be quick.
+
+She places a photograph between them. The crime scene.
+
+NIGAR
+You said you arrived at 9:15.
+
+RAMIN
+That's right.
+
+NIGAR
+The doorman saw you at 8:45.
+
+RAMIN
+He's mistaken.
+
+NIGAR
+He's not. We have video.
+
+Pause. Ramin's jaw tightens.
+
+RAMIN
+I don't remember exactly.
+
+NIGAR
+Half an hour. That's a meaningful difference.
+
+She places another photograph. The victim's appointment book.
+
+NIGAR
+Especially since this says he had a meeting at 9:00 with someone
+whose name was crossed out. Hard.
+
+Ramin doesn't look at the photo.
+
+NIGAR
+Take your time.
+
+She waits. Long beat.
+
+RAMIN (quiet)
+I want a lawyer.
+
+She nods. Stands. As she reaches the door:
+
+NIGAR
+Did you cross out the name yourself? Or did someone else?
+
+He doesn't answer.
+
+She leaves. The door closes.
+
+In the hallway, her CAPTAIN waits.
+
+CAPTAIN
+He didn't crack.
+
+NIGAR
+He confirmed it.
+
+CAPTAIN
+How?
+
+NIGAR
+He didn't ask whose name was crossed out.
+
+She walks past. The pieces are clicking together.
+```
+
+This works through:
+- Specific clues (timing, video, appointment book)
+- Subtle reveals (he didn't ask = he knew)
+- Tension without action
+- Detective competence
+- Audience puzzles along
+
+## Common mistakes
+
+- Solution unprepared (cheating audience)
+- Too many red herrings (audience confused)
+- Detective without method
+- Reveal info-dump
+- Suspect revealed late (no setup)
+- Generic detective
+- Convenient evidence
+
+## Best mystery films reference
+
+- Knives Out (modern whodunit)
+- Zodiac (procedural)
+- Chinatown (noir mystery)
+- Memento (psychological)
+- The Usual Suspects (twist)
+- Prisoners (dark)
+- Gone Girl (genre-bending)
+- The Silence of the Lambs (psychological)
+
+## When to write mystery
+
+- Audience loves puzzles
+- Character-driven detective
+- Streaming hit potential
+- Festival + commercial
+- Strong reveal-friendly story
+- Adaptation potential (books)
+
+## Combination with other genres
+
+- Mystery + Thriller = Mystery thriller (Gone Girl)
+- Mystery + Comedy = Cozy mystery (Knives Out)
+- Mystery + Horror = Mystery horror (The Wicker Man)
+- Mystery + Sci-fi (Annihilation)
+- Mystery + Drama (Manchester by the Sea has mystery element)
+- Mystery + Crime (Zodiac)

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

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+# Noir — Genre
+
+> Crime films with cynical heroes, moral ambiguity, atmospheric darkness. Style + worldview.
+
+## Defining elements
+
+- Cynical worldview
+- Moral ambiguity (everyone compromised)
+- Femme fatale often
+- Doomed protagonist
+- Urban / shadow aesthetic
+- Voiceover frequently
+- Crime-adjacent
+
+## Classic noir vs neo-noir
+
+### Classic noir (1940s-50s)
+- B&W cinematography
+- WWII era + post
+- Detective / investigator protagonist
+- Femme fatale archetype
+- Voiceover narration
+- Examples: The Maltese Falcon, Double Indemnity
+
+### Neo-noir (1970s+)
+- Color (often desaturated)
+- Modern settings
+- Genre updated
+- Examples: Chinatown, LA Confidential, Drive
+
+## Structural conventions
+
+### Doomed quest
+- Hero pursues something
+- Truth darker than expected
+- Cost is everything
+
+### Femme fatale (or homme fatal)
+- Seductive, dangerous
+- Manipulates protagonist
+- Often the killer / mastermind
+- Modern: subverted often
+
+### Voiceover
+- First-person narration
+- Cynical observations
+- Past tense (looking back)
+- Audience inside hero's mind
+
+### Bleak ending
+- Hero loses (often)
+- Truth unsatisfying
+- World unchanged
+- Protagonist diminished
+
+## Voice / Style
+
+### Visual
+- High contrast (chiaroscuro)
+- Shadow patterns
+- Venetian blinds
+- Wet streets, rain
+- Smoky interiors
+- Practical lighting
+
+### Dialogue
+- Cynical wit
+- Hard-boiled patter
+- Metaphor heavy
+- "She had legs that..." style
+- Lies and double-meaning
+
+### Color (neo-noir)
+- Desaturated
+- Cold tones
+- Yellow-amber neon
+- Deep shadows
+
+## Noir mechanics
+
+### Moral compromise
+- No clean hero
+- All characters flawed
+- World corrupt
+- "Doing the right thing" = costly
+
+### Setting as character
+- City = moral landscape
+- Rain, fog, night
+- Specific locations
+- Atmosphere palpable
+
+### Pessimism
+- Cynical worldview
+- Trust is foolish
+- Justice unreliable
+- Human nature dark
+
+### Hero's flaw
+- Often haunted past
+- Self-destructive
+- Drink, addiction, obsession
+- Identifies with victims (or villains)
+
+## Sample noir scene
+
+```
+INT. DETECTIVE'S OFFICE - NIGHT
+
+Rain on the windows. The streetlight outside makes shadow patterns
+across the desk. ASIF (50), private detective, sits in shadow.
+He's been drinking, but not enough to forget.
+
+The door opens without a knock.
+
+NIGAR (38) enters. Furs. Pearl earrings. Eyes that have seen too
+much.
+
+NIGAR
+Mr. Asif Mammadov?
+
+ASIF
+At this hour, mostly.
+
+He doesn't rise.
+
+NIGAR
+I have a job for you.
+
+ASIF
+You have a name?
+
+NIGAR
+Nigar.
+
+ASIF
+A last name?
+
+She doesn't answer. He smiles slightly.
+
+ASIF
+Sit down, Nigar with no last name.
+
+She sits across the desk. Crosses her legs. He notices. He notices
+that she wanted him to.
+
+ASIF
+Tell me why a woman who looks like you needs to climb three flights
+to find a man who looks like me.
+
+NIGAR
+Because no one else will take this job.
+
+ASIF
+Why not?
+
+NIGAR
+Because the man I want you to find is dead.
+
+He pauses. Reaches for the bottle. Pours.
+
+ASIF
+Then he doesn't need finding.
+
+NIGAR
+He owes me something. I don't believe him.
+
+ASIF (V.O.)
+That's how it started. With a woman who didn't believe in death,
+sitting in my office at midnight. I should have walked away. But
+I'd been broke for two months, and her perfume reminded me of
+someone I tried to forget.
+
+He pushed the glass toward her.
+
+ASIF
+Three days. Two hundred up front.
+
+She opened her purse.
+
+ASIF (V.O.)
+I should have charged her more.
+```
+
+This works through:
+- Atmospheric setting
+- Mysterious femme fatale
+- Cynical voiceover
+- Doomed undertone
+- Visual style (shadow, rain)
+- Hard-boiled dialogue
+- Hero's flaws visible
+
+## Common mistakes
+
+- Pastiche without substance (parody feel)
+- Femme fatale without agency (sexist)
+- Generic cynicism (without specific worldview)
+- Voiceover as crutch (explaining what we see)
+- Style over story
+- Forgetting consequences
+- Modern updates that lose noir essence
+
+## Best noir films reference
+
+### Classic
+- Double Indemnity
+- The Maltese Falcon
+- Out of the Past
+- Sunset Boulevard
+
+### Neo-noir
+- Chinatown (perfect noir)
+- LA Confidential
+- Blade Runner (sci-fi noir)
+- Drive
+- Mulholland Drive
+- Sin City (stylized)
+- Brick (high school noir)
+- A Most Violent Year
+
+## When to write noir
+
+- Atmospheric mood project
+- Cynical worldview to explore
+- Festival or arthouse
+- Genre lovers
+- Period piece (1940s/50s)
+- Or modern reinvention
+
+## Combination with other genres
+
+- Noir + Sci-fi = Sci-fi noir (Blade Runner)
+- Noir + Crime = Crime noir (Chinatown)
+- Noir + Mystery = Detective noir (Maltese Falcon)
+- Noir + Western = Hell or High Water
+- Noir + Comedy = The Big Lebowski

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

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+# Romance — Genre
+
+> Films centered on a love relationship as primary plot.
+
+## Defining elements
+
+- Love relationship at center
+- Obstacles to love
+- Emotional arc of connection
+- Audience invested in pairing
+- Catharsis at resolution
+
+## Sub-genres
+
+| Sub-genre | Example |
+|-----------|---------|
+| Romantic comedy | When Harry Met Sally |
+| Romantic drama | The Notebook, Past Lives |
+| Period romance | Pride and Prejudice |
+| Forbidden love | Brokeback Mountain |
+| Tragic romance | Titanic, Romeo + Juliet |
+| Love triangle | Bridget Jones |
+| Long-distance | Past Lives |
+| Second chance | About Time |
+| Rom-com | Notting Hill |
+| Workplace romance | The Proposal |
+
+## Structural conventions
+
+### Meet-cute
+- How couple meets
+- Often tension/conflict
+- Memorable opening
+
+### Obstacles
+- External (circumstance, family, distance)
+- Internal (fear, history, flaw)
+- Build through middle
+
+### Dark night
+- Lowest point of relationship
+- Often breakup or near-loss
+- Audience anxious
+
+### Grand gesture / Resolution
+- Effort to win/return
+- Sacrifice often
+- Reunion or tragic loss
+
+### Resolution
+- Together (happy)
+- Apart but transformed (bittersweet)
+- Tragic loss (drama-romance)
+
+## Voice / Style
+
+### Dialogue
+- Witty banter (rom-com)
+- Emotional intimacy (drama)
+- Specific to characters
+- Subtext heavy
+
+### Visual
+- Faces / closeups
+- Light flattering
+- Locations romantic
+- Color palette warm typically
+
+### Music
+- Songs as emotional anchors
+- Score swells at peaks
+- Specific song = the couple's song
+
+## Romance mechanics
+
+### Will-they-won't-they
+- Tension from uncertainty
+- Audience invested
+- Obstacles maintain question
+
+### Two characters worth caring about
+- Both have flaws
+- Both desirable
+- Specific not generic
+
+### Chemistry
+- Through dialogue
+- Through looks
+- Through small touches
+- "I see you"
+
+### The third act misunderstanding
+- Common in rom-com
+- Communication breakdown
+- Resolution requires reaching out
+
+## Sample romantic scene
+
+```
+INT. CAFETERIA - NIGHT
+
+NIGAR (32) sits across from ELDAR (35). It's their fifth date.
+They're past the surface conversations.
+
+NIGAR
+Can I ask you something?
+
+ELDAR
+Anything.
+
+NIGAR
+Why do you order coffee you don't drink?
+
+He looks at his cup. Half-full. He's been holding it for an hour.
+
+ELDAR
+What do you mean?
+
+NIGAR
+Every time we've met, you order coffee. You never finish it. You
+play with the cup. You watch it go cold.
+
+He's caught.
+
+ELDAR
+I... (laughs nervously)
+I don't even like coffee.
+
+NIGAR
+Why do you keep ordering it?
+
+ELDAR
+(beat)
+Because everyone else orders it. And I didn't want to be...
+different.
+
+She sets her own cup down. Looks at him.
+
+NIGAR
+That's the most you've ever told me about yourself.
+
+He almost retreats. Doesn't.
+
+ELDAR
+What should I order?
+
+NIGAR
+What do you actually want?
+
+He thinks. Realizes he doesn't know. Then —
+
+ELDAR
+Tea.
+
+She smiles.
+
+NIGAR
+Tea. Okay.
+
+They sit. He doesn't look at the coffee anymore.
+```
+
+This works through:
+- Specific detail (coffee = his hiding)
+- Vulnerability earned
+- Subtext (about him not just coffee)
+- Small intimate moment
+- Connection deepening
+
+## Common mistakes
+
+- Generic chemistry (no specific magic)
+- Manufactured obstacles
+- Misunderstanding could be solved with one conversation
+- Insta-love (no buildup)
+- Ignoring red flags (toxic patterns)
+- Saggy middle (too much "fun and games")
+- Predictable beats
+
+## Best romance films reference
+
+- When Harry Met Sally (rom-com craft)
+- Past Lives (longing, time)
+- The Notebook (epic romance)
+- Brokeback Mountain (forbidden)
+- Eternal Sunshine of the Spotless Mind (memory)
+- Carol (period, queer)
+- 500 Days of Summer (deconstruction)
+- About Time (time travel + love)
+- Before Sunrise trilogy (real-time)
+
+## When to write romance
+
+- Audience-friendly mainstream
+- Star vehicle
+- Holiday release (Valentine's)
+- Streaming success
+- Character-driven story
+- Book adaptation often
+
+## Demographic note
+
+- Romance audience often female-skewed (historically)
+- Modern: diverse audiences
+- Queer romance growing market
+- International audiences strong
+
+## Combination with other genres
+
+- Romance + Comedy = Rom-com
+- Romance + Drama = Romantic drama
+- Romance + Action (rare, but works — Mr. & Mrs. Smith)
+- Romance + Sci-fi (Eternal Sunshine, About Time)
+- Romance + Period (Pride and Prejudice)
+- Romance + Tragedy (Titanic)