@mytechtoday/augment-extensions 0.4.0 → 0.5.0

package/augment-extensions/writing-standards/screenplay/examples/news-segment.fountain

@@ -0,0 +1,142 @@
+Title: EVENING NEWS - TECH INNOVATION SEGMENT
+Credit: Written by
+Author: Example Broadcast Script
+Draft date: 01/31/2026
+Format: News Broadcast
+
+===
+
+SEGMENT: TECH INNOVATION SPOTLIGHT
+RUNTIME: 2:30
+AIRDATE: January 31, 2026
+
+---
+
+INT. NEWS STUDIO - EVENING
+
+ANCHOR DESK. JESSICA MARTINEZ (38), professional, warm demeanor, sits at the news desk. Graphics display behind her: "TECH INNOVATION SPOTLIGHT"
+
+JESSICA
+(to camera)
+Good evening. In tonight's Tech Innovation Spotlight, we're looking at a breakthrough that could change how we think about renewable energy.
+
+[B-ROLL: Solar panels, wind turbines, scientists in lab]
+
+JESSICA (V.O.)
+For years, the biggest challenge with renewable energy has been storage. Solar and wind power are great when the sun is shining and the wind is blowing - but what about at night, or on calm days?
+
+[B-ROLL: Battery facilities, power grids]
+
+JESSICA (V.O.) (CONT'D)
+Now, researchers at MIT say they've developed a new type of battery that could solve this problem.
+
+CUT TO:
+
+INT. MIT LABORATORY - DAY
+
+DR. SARAH CHEN (42), lead researcher, stands next to a prototype battery unit.
+
+DR. CHEN
+(to camera)
+What makes this battery different is the material we're using. Instead of lithium, we're using a compound derived from seawater - something that's abundant, cheap, and environmentally friendly.
+
+[B-ROLL: Close-up of battery components, chemical processes]
+
+DR. CHEN (V.O.)
+Our tests show this battery can store three times more energy than current lithium-ion batteries, and it can hold that charge for up to six months without significant degradation.
+
+CUT TO:
+
+INT. NEWS STUDIO - EVENING
+
+JESSICA
+(to camera)
+Three times more energy storage - that's significant. But Dr. Chen says the real breakthrough is in the cost.
+
+CUT TO:
+
+INT. MIT LABORATORY - DAY
+
+DR. CHEN
+Because we're using materials that are readily available, we estimate these batteries could be produced at about one-fifth the cost of current technology. That means renewable energy storage becomes economically viable for developing nations, not just wealthy countries.
+
+[B-ROLL: Solar installations in developing countries, rural communities]
+
+CUT TO:
+
+INT. NEWS STUDIO - EVENING
+
+JESSICA
+(to camera)
+The technology is still in the testing phase, but Dr. Chen's team hopes to have a commercial prototype ready within two years.
+
+[GRAPHIC: Timeline showing development phases]
+
+JESSICA (CONT'D)
+Of course, not everyone is convinced. Some energy experts point out that new battery technologies have promised big breakthroughs before, only to face unexpected challenges in real-world applications.
+
+[B-ROLL: Previous battery technology announcements, failed prototypes]
+
+CUT TO:
+
+INT. ENERGY POLICY INSTITUTE - DAY
+
+MICHAEL TORRES (55), energy policy analyst, sits in his office.
+
+MICHAEL
+(to camera)
+I'm cautiously optimistic. The science looks sound, but we've seen promising lab results before that didn't scale up to industrial production. The real test will be whether they can manufacture these batteries at scale while maintaining performance and cost targets.
+
+CUT TO:
+
+INT. NEWS STUDIO - EVENING
+
+JESSICA
+(to camera)
+Dr. Chen acknowledges those concerns but says her team is already working with manufacturing partners to address scalability issues.
+
+[B-ROLL: Factory floor, manufacturing equipment]
+
+JESSICA (V.O.)
+If successful, this technology could be a game-changer for the renewable energy sector - making clean energy not just environmentally sustainable, but economically sustainable as well.
+
+[B-ROLL: Wind farms, solar installations, happy families with solar panels]
+
+CUT TO:
+
+INT. NEWS STUDIO - EVENING
+
+JESSICA
+(to camera)
+We'll continue to follow this story as it develops. You can find more information about Dr. Chen's research on our website.
+
+[GRAPHIC: Website URL appears on screen]
+
+JESSICA (CONT'D)
+Coming up after the break: A local high school's robotics team heads to nationals. That story and more, when we return.
+
+[MUSIC: News theme]
+
+FADE TO COMMERCIAL
+
+---
+
+PRODUCTION NOTES:
+- Total runtime: 2:30
+- B-roll needed: 45 seconds total
+- Graphics: 3 (title card, timeline, website URL)
+- Interviews: 2 (Dr. Chen, Michael Torres)
+- Studio time: 30 seconds
+- Music cues: Open and close
+
+TIMING MARKS:
+:00 - :15 | Anchor intro
+:15 - :45 | B-roll with VO
+:45 - 1:15 | Dr. Chen interview
+1:15 - 1:30 | Anchor transition
+1:30 - 1:50 | Michael Torres interview
+1:50 - 2:20 | B-roll with VO
+2:20 - 2:30 | Anchor close
+
+END SEGMENT
+

package/augment-extensions/writing-standards/screenplay/examples/plot-outline-example.yaml

@@ -0,0 +1,184 @@
+# Plot Outline Example - Three-Act Structure
+# Demonstrates the plot-outline.json schema usage
+
+title: "The Weight We Carry"
+logline: "A dedicated social worker must confront her own traumatic past when a case mirrors the addiction that destroyed her family."
+genre: "Psychological Drama"
+targetLength: 110
+
+acts:
+  - actNumber: 1
+    title: "Setup - The Savior Complex"
+    pageRange:
+      start: 1
+      end: 25
+    summary: "Introduce Sarah's world: a dedicated social worker who lives for her job because she has nothing else. When she takes on Elena's case, she sees a chance to rewrite her own tragic history."
+    
+    turningPoints:
+      - page: 12
+        description: "Sarah meets Elena and her daughter Sofia for the first time. Elena reminds Sarah of her own mother."
+        type: "inciting-incident"
+      
+      - page: 25
+        description: "Despite warnings, Sarah commits to Elena's case and promises Sofia she'll keep the family together."
+        type: "plot-point-1"
+    
+    sequences:
+      - sequenceNumber: 1
+        title: "Sarah's World"
+        pageRange:
+          start: 1
+          end: 12
+        summary: "Establish Sarah's isolated life, her dedication to work, and her inability to form personal connections."
+        purpose: "Show who Sarah is before the story begins - competent professionally but emotionally shut down."
+        
+        scenes:
+          - sceneNumber: 1
+            heading: "INT. SARAH'S CAR - NIGHT"
+            location: "Outside rundown apartment"
+            timeOfDay: "NIGHT"
+            intExt: "INT"
+            pageNumber: 1
+            summary: "Sarah conducts late-night surveillance on a client's apartment, alone."
+            characters: ["Sarah"]
+            purpose: "Opening image - establish Sarah's isolation and obsessive dedication"
+            conflict: "Sarah vs. her own inability to disconnect from work"
+            outcome: "She stays watching until dawn"
+            emotionalBeat: "Loneliness masked as dedication"
+          
+          - sceneNumber: 2
+            heading: "INT. SOCIAL SERVICES OFFICE - DAY"
+            location: "Sarah's office"
+            timeOfDay: "DAY"
+            intExt: "INT"
+            pageNumber: 3
+            summary: "Sarah meets with Dr. Hayes for her quarterly review. Hayes expresses concern about Sarah's work-life balance."
+            characters: ["Sarah", "Dr. Hayes"]
+            purpose: "Theme stated - 'You can't save everyone'"
+            conflict: "Sarah's resistance to acknowledging her own needs"
+            outcome: "Sarah deflects and changes subject"
+            emotionalBeat: "Defensive, guarded"
+            notes: "Theme stated on page 5"
+
+      - sequenceNumber: 2
+        title: "The Catalyst"
+        pageRange:
+          start: 12
+          end: 25
+        summary: "Sarah is assigned Elena's case and becomes obsessed with saving this family."
+        purpose: "Inciting incident and commitment to the journey"
+
+        scenes:
+          - sceneNumber: 3
+            heading: "INT. RUNDOWN APARTMENT - DAY"
+            location: "Elena's apartment"
+            timeOfDay: "DAY"
+            intExt: "INT"
+            pageNumber: 12
+            summary: "Sarah meets Elena and Sofia for the first time. The resemblance to her own past is striking."
+            characters: ["Sarah", "Elena", "Sofia"]
+            purpose: "Catalyst - Sarah sees her mother in Elena"
+            conflict: "Professional distance vs. personal connection"
+            outcome: "Sarah is deeply affected, can't remain objective"
+            emotionalBeat: "Triggered, determined"
+
+          - sceneNumber: 4
+            heading: "INT. SARAH'S APARTMENT - NIGHT"
+            location: "Sarah's apartment"
+            timeOfDay: "NIGHT"
+            intExt: "INT"
+            pageNumber: 20
+            summary: "Sarah looks at old photos of her mother, sees the parallels to Elena. She makes a decision."
+            characters: ["Sarah"]
+            purpose: "Show Sarah's internal commitment"
+            conflict: "Past trauma vs. present opportunity"
+            outcome: "Sarah decides she will save this family"
+            emotionalBeat: "Resolved, driven"
+
+  - actNumber: 2
+    title: "Confrontation - The Unraveling"
+    pageRange:
+      start: 26
+      end: 85
+    summary: "Sarah's attempts to save Elena initially succeed, but her personal investment and unresolved trauma lead to increasingly desperate behavior. When Elena relapses, Sarah's world collapses."
+
+    turningPoints:
+      - page: 55
+        description: "Elena celebrates 60 days sober. Sarah feels victorious. Then Elena's abusive ex is released from prison."
+        type: "midpoint"
+
+      - page: 75
+        description: "Elena overdoses. Sarah has failed, just like she failed her mother."
+        type: "plot-point-2"
+
+    sequences:
+      - sequenceNumber: 3
+        title: "Progress and Connection"
+        pageRange:
+          start: 26
+          end: 55
+        summary: "Sarah helps Elena enter recovery. Things improve. Sarah also begins opening up to Marcus."
+        purpose: "False hope - show what Sarah wants before taking it away"
+
+        scenes:
+          - sceneNumber: 5
+            heading: "INT. REHAB FACILITY - DAY"
+            location: "Intake office"
+            timeOfDay: "DAY"
+            intExt: "INT"
+            pageNumber: 30
+            summary: "Sarah helps Elena check into rehab. Elena is scared but hopeful."
+            characters: ["Sarah", "Elena"]
+            purpose: "Show Sarah's methods working"
+            conflict: "Elena's fear vs. Sarah's determination"
+            outcome: "Elena commits to treatment"
+            emotionalBeat: "Hopeful"
+
+  - actNumber: 3
+    title: "Resolution - Letting Go"
+    pageRange:
+      start: 86
+      end: 110
+    summary: "Sarah confronts her own trauma and learns that she can't save everyone - but she can save herself. Elena makes her own choice about recovery."
+
+    turningPoints:
+      - page: 90
+        description: "Sarah asks for help for the first time in her life."
+        type: "climax"
+
+    sequences:
+      - sequenceNumber: 4
+        title: "Healing"
+        pageRange:
+          start: 86
+          end: 110
+        summary: "Sarah begins her own recovery journey and learns to build genuine connections."
+        purpose: "Resolution and transformation"
+
+        scenes:
+          - sceneNumber: 6
+            heading: "INT. SARAH'S APARTMENT - NIGHT"
+            location: "Sarah's apartment"
+            timeOfDay: "NIGHT"
+            intExt: "INT"
+            pageNumber: 90
+            summary: "Sarah calls Marcus and admits she needs help."
+            characters: ["Sarah", "Marcus (phone)"]
+            purpose: "Sarah's breakthrough moment"
+            conflict: "Pride vs. need for connection"
+            outcome: "Sarah chooses vulnerability"
+            emotionalBeat: "Scared but hopeful"
+
+subplots:
+  - title: "Sarah and Marcus Romance"
+    description: "Sarah's growing relationship with Marcus mirrors her journey toward vulnerability and connection."
+    characters: ["Sarah", "Marcus"]
+    resolution: "Sarah learns to accept love and support, allowing Marcus into her life."
+
+  - title: "Dr. Hayes as Mentor"
+    description: "Dr. Hayes tries to guide Sarah toward healthier boundaries and self-care."
+    characters: ["Sarah", "Dr. Hayes"]
+    resolution: "Sarah finally hears Hayes's wisdom and begins therapy."
+
+notes: "This outline demonstrates the three-act structure with sequences and scenes. Each scene serves the overall arc while maintaining its own conflict and resolution. The plot (saving Elena) drives the character arc (Sarah saving herself)."
+

package/augment-extensions/writing-standards/screenplay/examples/tv-episode-teaser.fountain

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+Title: DARK HARBOR
+Episode: 1x05 - "The Lighthouse Keeper"
+Credit: Written by
+Author: Example Screenplay
+Draft date: 01/31/2026
+
+===
+
+TEASER
+
+FADE IN:
+
+EXT. ROCKY COASTLINE - NIGHT
+
+Waves crash against jagged rocks. A lighthouse beam cuts through thick fog, rotating slowly.
+
+SUPER: "DARK HARBOR, MAINE - 11:47 PM"
+
+INT. LIGHTHOUSE - KEEPER'S QUARTERS - NIGHT
+
+THOMAS BRENNAN (58), weathered face, flannel shirt, sits at a small desk writing in a logbook. The lighthouse beam sweeps past the window every few seconds, illuminating the room in rhythmic flashes.
+
+A RADIO CRACKLES on the desk.
+
+DISPATCHER (V.O.)
+(through radio)
+Lighthouse Station Seven, this is Harbor Patrol. Do you copy?
+
+Thomas picks up the radio.
+
+THOMAS
+This is Station Seven. Go ahead, Harbor Patrol.
+
+DISPATCHER (V.O.)
+We're getting reports of a vessel in distress approximately two miles northeast of your position. Can you confirm visual?
+
+Thomas stands, walks to the window, peers out into the fog.
+
+THOMAS
+Negative, Harbor Patrol. Visibility is near zero. I can barely see past the rocks.
+
+DISPATCHER (V.O.)
+Copy that. Keep your eyes open. Coast Guard is en route but they're twenty minutes out.
+
+THOMAS
+Will do.
+
+He sets down the radio, returns to the window. The beam sweeps across the fog.
+
+Then - a FLASH OF LIGHT in the distance. Not the lighthouse beam. Something else.
+
+Thomas grabs binoculars, scans the water.
+
+THOMAS (CONT'D)
+(into radio)
+Harbor Patrol, I've got something. Looks like... wait.
+
+Through the binoculars: A SMALL BOAT, adrift. No lights. No movement.
+
+THOMAS (CONT'D)
+I've got visual on a vessel. Appears to be a fishing boat, maybe twenty-footer. Dead in the water.
+
+DISPATCHER (V.O.)
+Any signs of crew?
+
+Thomas adjusts the binoculars. Squints.
+
+THOMAS
+Can't tell from here. I'm going to take the launch out for a closer look.
+
+DISPATCHER (V.O.)
+Negative, Station Seven. Wait for Coast Guard.
+
+THOMAS
+They're twenty minutes out. If someone's in the water, they don't have twenty minutes.
+
+He's already moving, grabbing a jacket and flashlight.
+
+EXT. LIGHTHOUSE DOCK - NIGHT
+
+Thomas climbs into a small motorboat, starts the engine. It ROARS to life.
+
+He steers into the fog, the lighthouse beam fading behind him.
+
+EXT. OPEN WATER - NIGHT
+
+The motorboat cuts through choppy waves. Thomas keeps his flashlight trained ahead.
+
+The abandoned fishing boat comes into view, rocking with the waves.
+
+THOMAS
+(into handheld radio)
+Harbor Patrol, I'm approaching the vessel now.
+
+He pulls alongside. The boat is eerily quiet. No name visible on the hull.
+
+THOMAS (CONT'D)
+Boat appears abandoned. No visible damage. I'm going aboard.
+
+He ties off and climbs onto the fishing boat.
+
+INT. FISHING BOAT - NIGHT
+
+Thomas sweeps his flashlight across the deck. Fishing nets are neatly coiled. Equipment is stowed properly. Everything is in order.
+
+Too much in order.
+
+He moves to the cabin door, opens it slowly.
+
+INT. FISHING BOAT - CABIN - NIGHT
+
+The flashlight beam reveals a small cabin. Navigation equipment. A half-eaten sandwich on the console. A coffee cup, still steaming.
+
+Thomas touches the cup. Warm.
+
+THOMAS
+(into radio)
+Harbor Patrol, this is strange. The boat looks like it was just abandoned. There's fresh coffee, food...
+
+He notices something on the navigation screen. Leans closer.
+
+The GPS shows a route - but it's not heading to shore. It's heading out to sea. To a specific coordinate.
+
+Thomas pulls out his phone, takes a photo of the screen.
+
+Then he sees it: A LOGBOOK on the seat, open to today's date.
+
+He picks it up, reads the last entry. His face goes pale.
+
+THOMAS (CONT'D)
+(whispered)
+Oh my God.
+
+DISPATCHER (V.O.)
+Station Seven, say again?
+
+Thomas doesn't respond. He's staring at the logbook entry.
+
+We see it over his shoulder:
+
+"THEY FOUND ME. IF YOU'RE READING THIS, DON'T GO TO THE COORDINATES. WHATEVER YOU DO, DON'T—"
+
+The entry ends mid-sentence.
+
+Suddenly - the boat's radio CRACKLES to life.
+
+VOICE (V.O.)
+(distorted, barely audible)
+...Thomas... can you hear me...
+
+Thomas spins around, staring at the radio.
+
+THOMAS
+Who is this?
+
+VOICE (V.O.)
+...you shouldn't have come... turn back... while you still can...
+
+THOMAS
+Identify yourself!
+
+The radio goes dead. Silence.
+
+Then - a SPLASH outside. Something hitting the water.
+
+Thomas rushes to the deck.
+
+EXT. FISHING BOAT - DECK - NIGHT
+
+He sweeps his flashlight across the water. Nothing but fog and waves.
+
+Then he sees it: His motorboat. The rope is cut. It's drifting away.
+
+THOMAS
+No, no, no!
+
+He runs to the edge, but the boat is already too far.
+
+Behind him - FOOTSTEPS on the deck.
+
+Thomas spins around, flashlight raised.
+
+Nothing there.
+
+But the cabin door is now closed. He left it open.
+
+THOMAS (CONT'D)
+(into radio, urgent)
+Harbor Patrol, I need immediate assistance. My boat is gone and there's someone—
+
+The radio DIES. Screen goes black.
+
+Thomas is alone in the fog. On a dead boat. With something - or someone - in the cabin.
+
+He backs toward the railing, flashlight shaking in his hand.
+
+The cabin door slowly creaks open.
+
+SMASH TO BLACK.
+
+TITLE CARD: "DARK HARBOR"
+
+END OF TEASER
+