@mytechtoday/augment-extensions 0.4.0 → 0.7.0

package/augment-extensions/writing-standards/screenplay/rules/live-tv-productions.md

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+# Live TV Productions
+
+## Overview
+
+Live television productions require real-time scripting, multi-camera coordination, precise timing, and contingency planning for unpredictable elements. Scripts must balance structure with flexibility for improvisation and live audience interaction.
+
+## Types of Live Productions
+
+### Live Variety Shows
+- Saturday Night Live
+- Late-night talk shows
+- Award shows
+- Sketch comedy
+- Musical performances
+
+### Live Sitcoms
+- Multi-camera setup
+- Live studio audience
+- Theatrical staging
+- Continuous performance
+- Immediate feedback
+
+### Live Events
+- Sports broadcasts
+- News coverage
+- Award ceremonies
+- Concerts
+- Special events
+
+### Live Drama
+- Live theater broadcasts
+- One-night television events
+- Experimental productions
+- Holiday specials
+
+## Script Format
+
+### Multi-Camera Script Format
+**Format**:
+```
+FADE IN:
+
+INT. LIVING ROOM - NIGHT
+
+                    JOHN ENTERS FROM KITCHEN, CARRYING PIZZA BOX.
+
+                         JOHN
+          (TO AUDIENCE)
+     Who ordered pepperoni?
+
+                    AUDIENCE LAUGHS.
+
+                         MARY
+          (SARCASTIC)
+     Oh great, more pizza.
+
+                    AUDIENCE LAUGHS.
+
+                         JOHN
+          What? You love pizza!
+
+                         MARY
+          I love NOT having pizza every night!
+
+                    AUDIENCE APPLAUSE.
+```
+
+**Characteristics**:
+- ALL CAPS for scene headings
+- Centered character names
+- Centered dialogue
+- Centered parentheticals
+- Audience reactions noted
+- Camera cues in margins
+
+### Timing Marks
+**Notation**:
+```
+[0:00] COLD OPEN
+[2:30] OPENING CREDITS
+[3:00] MONOLOGUE
+[8:00] COMMERCIAL BREAK 1
+[11:00] SKETCH 1
+[16:00] COMMERCIAL BREAK 2
+[TOTAL RUNTIME: 60:00]
+```
+
+### Camera Cues
+**Format**:
+```
+CAM 1: WIDE SHOT - LIVING ROOM
+CAM 2: CLOSE-UP - JOHN
+CAM 3: TWO-SHOT - JOHN AND MARY
+CAM 4: AUDIENCE REACTION
+```
+
+## Live Audience Considerations
+
+### Audience Warm-Up
+**Pre-Show** (10-15 minutes):
+- Comedian or host
+- Explain show format
+- Practice applause/laughter
+- Build energy
+- Set expectations
+
+### Audience Cues
+**Script Notation**:
+```
+                    APPLAUSE SIGN
+
+                    AUDIENCE APPLAUDS.
+
+                    LAUGHTER SIGN
+
+                    AUDIENCE LAUGHS.
+```
+
+### Playing to Audience
+**Techniques**:
+- Pause for laughter
+- Acknowledge reactions
+- Eye contact with audience
+- Physical comedy
+- Audience interaction
+
+### Audience Reactions
+**Timing**:
+- Allow time for laughter (3-5 seconds)
+- Pause for applause (5-10 seconds)
+- Don't step on laughs
+- Adjust pacing in real-time
+- Read the room
+
+## Timing and Pacing
+
+### Precise Timing
+**Requirements**:
+- Hit exact runtime
+- Account for audience reactions
+- Buffer time for delays
+- Flexible segments
+- Time cues for performers
+
+### Timing Buffer
+**Strategies**:
+- Flexible segments that can be cut
+- "Stretch" material if running short
+- Pre-planned cuts if running long
+- Real-time adjustments
+- Stage manager time cues
+
+### Time Cues
+**Notation**:
+```
+STAGE MANAGER GIVES 5-MINUTE WARNING
+
+STAGE MANAGER GIVES 1-MINUTE WARNING
+
+STAGE MANAGER GIVES 30-SECOND WARNING
+
+STAGE MANAGER GIVES WRAP CUE
+```
+
+## Improvisation and Flexibility
+
+### Scripted vs. Improvised
+**Balance**:
+- Scripted structure
+- Room for improvisation
+- Ad-lib opportunities
+- Spontaneous moments
+- Controlled flexibility
+
+### Improvisation Markers
+**Script Notation**:
+```
+JOHN AND MARY AD-LIB ABOUT CURRENT EVENTS
+(APPROXIMATELY 2 MINUTES)
+
+[IMPROVISED BANTER]
+
+JOHN RETURNS TO SCRIPT:
+```
+
+### Contingency Planning
+**Prepare For**:
+- Technical difficulties
+- Performer mistakes
+- Timing issues
+- Unexpected events
+- Backup material
+
+## Multi-Camera Setup
+
+### Camera Blocking
+**Planning**:
+- Pre-plan camera positions
+- Choreograph camera moves
+- Avoid crossing cameras
+- Clear sightlines
+- Smooth transitions
+
+### Shot List
+**Format**:
+```
+SCENE 1 - LIVING ROOM
+
+SHOT 1: WIDE - Establish room
+SHOT 2: MED - John enters
+SHOT 3: CU - John's reaction
+SHOT 4: TWO-SHOT - John and Mary
+SHOT 5: CU - Mary's response
+SHOT 6: WIDE - Both characters
+```
+
+### Camera Transitions
+**Techniques**:
+- Cut on movement
+- Match action
+- Reaction shots
+- Audience cutaways
+- Smooth flow
+
+## Cue Cards and Teleprompter
+
+### Cue Card Usage
+**Guidelines**:
+- Large, readable text
+- Key lines only
+- Positioned near camera
+- Updated in real-time
+- Backup for teleprompter
+
+### Teleprompter
+**Format**:
+```
+WELCOME TO THE SHOW!
+
+[PAUSE FOR APPLAUSE]
+
+TONIGHT WE HAVE A GREAT SHOW FOR YOU.
+
+[GESTURE TO GUESTS]
+
+PLEASE WELCOME OUR FIRST GUEST...
+```
+
+**Best Practices**:
+- Short sentences
+- Natural breaks
+- Pause indicators
+- Emphasis markers
+- Easy-to-read font
+
+## Live Performance Elements
+
+### Entrances and Exits
+**Choreography**:
+- Precise timing
+- Clear pathways
+- Audience visibility
+- Camera awareness
+- Smooth transitions
+
+### Physical Comedy
+**Considerations**:
+- Rehearsed but spontaneous-looking
+- Safety first
+- Camera angles
+- Audience sightlines
+- Timing precision
+
+### Musical Performances
+**Integration**:
+- Pre-recorded vs. live
+- Sound check timing
+- Camera choreography
+- Lighting cues
+- Transition planning
+
+## Error Recovery
+
+### Handling Mistakes
+**Strategies**:
+- Acknowledge and move on
+- Incorporate into comedy
+- Have backup lines ready
+- Stay in character
+- Don't break unless necessary
+
+### Technical Difficulties
+**Contingencies**:
+- Backup equipment
+- Alternative segments
+- Stall tactics
+- Audience interaction
+- Pre-recorded backup
+
+### Script Notation
+```
+[IF TECHNICAL DIFFICULTY, GO TO BACKUP SKETCH]
+
+[BACKUP MATERIAL - 3 MINUTES]
+
+[RETURN TO MAIN SCRIPT WHEN READY]
+```
+
+## Rehearsal Process
+
+### Table Read
+- Full cast read-through
+- Timing check
+- Script adjustments
+- Character development
+- Identify issues
+
+### Blocking Rehearsal
+- Stage movement
+- Camera positions
+- Entrance/exit timing
+- Physical comedy
+- Set familiarization
+
+### Camera Rehearsal
+- Full technical run
+- Camera blocking
+- Lighting cues
+- Sound checks
+- Timing refinement
+
+### Dress Rehearsal
+- Full performance
+- Costumes and makeup
+- Live audience (sometimes)
+- Final adjustments
+- Confidence building
+
+## Live Show Structure
+
+### Variety Show (60 minutes)
+**Structure**:
+- **Cold Open** (2-3 min): Sketch or monologue
+- **Opening Credits** (1 min)
+- **Monologue** (5-7 min): Host addresses audience
+- **Commercial Break 1** (3 min)
+- **Sketch 1** (5-7 min)
+- **Commercial Break 2** (3 min)
+- **Musical Performance** (4-5 min)
+- **Commercial Break 3** (3 min)
+- **Sketch 2** (5-7 min)
+- **Commercial Break 4** (3 min)
+- **Sketch 3** (5-7 min)
+- **Goodnights** (2 min)
+
+### Talk Show (60 minutes)
+**Structure**:
+- **Cold Open** (2 min)
+- **Monologue** (8-10 min)
+- **Commercial Break 1**
+- **Guest 1** (10-12 min)
+- **Commercial Break 2**
+- **Guest 2** (8-10 min)
+- **Commercial Break 3**
+- **Musical Performance** (4-5 min)
+- **Closing** (2 min)
+
+## Best Practices
+
+### DO
+✅ Rehearse extensively
+✅ Plan for contingencies
+✅ Allow time for audience reactions
+✅ Use clear timing marks
+✅ Prepare backup material
+✅ Communicate with crew
+✅ Stay flexible
+✅ Mark camera cues clearly
+✅ Account for improvisation
+✅ Build in timing buffers
+
+### DON'T
+❌ Over-script improvised moments
+❌ Ignore timing constraints
+❌ Forget audience reactions
+❌ Neglect camera blocking
+❌ Panic during mistakes
+❌ Rush through material
+❌ Forget backup plans
+❌ Ignore stage manager cues
+❌ Overcomplicate camera moves
+❌ Sacrifice safety for comedy
+
+## Script Example
+
+**Live Sketch Comedy**:
+```
+SKETCH: "THE JOB INTERVIEW"
+RUNTIME: 5:00
+CAMERAS: 3
+
+FADE IN:
+
+INT. OFFICE - DAY
+
+CAM 1: WIDE SHOT - OFFICE
+
+                    BOSS SITS BEHIND DESK. APPLICANT ENTERS.
+
+CAM 2: MED SHOT - APPLICANT
+
+                         APPLICANT
+          Thanks for seeing me.
+
+CAM 3: CU - BOSS
+
+                         BOSS
+          Have a seat.
+
+                    AUDIENCE LAUGHS (ANTICIPATORY).
+
+CAM 2: TWO-SHOT
+
+                    APPLICANT SITS. CHAIR COLLAPSES.
+
+                    AUDIENCE LAUGHS.
+
+CAM 3: CU - BOSS (DEADPAN)
+
+                         BOSS
+          That's a good start.
+
+                    AUDIENCE ROARS.
+
+[SKETCH CONTINUES...]
+
+[4:30] STAGE MANAGER: 30-SECOND WARNING
+
+[5:00] BLACKOUT
+
+                    AUDIENCE APPLAUSE.
+```
+

package/augment-extensions/writing-standards/screenplay/rules/narrative-structures.md

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+# Narrative Structures
+
+## Overview
+
+This document outlines the fundamental narrative structure frameworks used in screenplay writing, based on the work of Syd Field, Blake Snyder, and Joseph Campbell. These frameworks provide the foundation for crafting compelling stories across all screenplay categories.
+
+## Three-Act Structure (Syd Field)
+
+### Act I: Setup (Pages 1-30 of 120-page screenplay)
+
+**Purpose**: Introduce the world, characters, and central conflict
+
+**Key Elements**:
+- **Opening Image** (Page 1): Visual representation of the story's theme
+- **Exposition**: Establish protagonist's ordinary world
+- **Inciting Incident** (Pages 10-15): Event that disrupts the status quo
+- **Plot Point I** (Page 25-30): Major event that propels protagonist into Act II
+
+**Guidelines**:
+- Establish protagonist's want vs. need
+- Introduce supporting characters and relationships
+- Set up the central question of the story
+- End with a clear turning point that changes everything
+
+### Act II: Confrontation (Pages 30-90)
+
+**Purpose**: Protagonist faces escalating obstacles while pursuing their goal
+
+**Key Elements**:
+- **Midpoint** (Page 60): Major revelation or reversal that raises the stakes
+- **Rising Action**: Series of complications and setbacks
+- **Subplot Development**: B-story and C-story progression
+- **Plot Point II** (Page 85-90): Lowest point that forces final confrontation
+
+**Guidelines**:
+- Increase tension and stakes progressively
+- Develop character relationships and arcs
+- Reveal character flaws and internal conflicts
+- Build to the "all is lost" moment
+
+### Act III: Resolution (Pages 90-120)
+
+**Purpose**: Protagonist confronts the central conflict and achieves transformation
+
+**Key Elements**:
+- **Climax** (Pages 100-110): Final confrontation with antagonist/obstacle
+- **Resolution**: Consequences of the climax play out
+- **Denouement**: New equilibrium established
+- **Final Image** (Page 120): Visual callback to opening image showing change
+
+**Guidelines**:
+- Resolve all major plot threads
+- Show character transformation
+- Answer the central question
+- Provide emotional satisfaction
+
+## Save the Cat Beat Sheet (Blake Snyder)
+
+### 15 Story Beats
+
+1. **Opening Image** (Page 1): Snapshot of protagonist's flawed world
+2. **Theme Stated** (Page 5): Hint at the story's deeper meaning
+3. **Setup** (Pages 1-10): Establish protagonist's world and relationships
+4. **Catalyst** (Page 12): Inciting incident that starts the story
+5. **Debate** (Pages 12-25): Protagonist hesitates before committing
+6. **Break Into Two** (Page 25): Protagonist enters the new world/situation
+7. **B Story** (Page 30): Introduction of love interest or mentor
+8. **Fun and Games** (Pages 30-55): Promise of the premise delivered
+9. **Midpoint** (Page 55): False victory or false defeat
+10. **Bad Guys Close In** (Pages 55-75): External and internal pressure mounts
+11. **All Is Lost** (Page 75): Lowest point; whiff of death
+12. **Dark Night of the Soul** (Pages 75-85): Protagonist wallows in defeat
+13. **Break Into Three** (Page 85): Protagonist finds the solution
+14. **Finale** (Pages 85-110): Protagonist applies lessons learned
+15. **Final Image** (Page 110): Opposite of opening image
+
+**Application Guidelines**:
+- Use beat sheet as a roadmap, not a rigid formula
+- Adjust page numbers for different screenplay lengths
+- Ensure each beat serves character and theme
+- Subvert expectations while honoring structure
+
+## Hero's Journey (Joseph Campbell)
+
+### The Monomyth Structure
+
+**Act I: Departure**
+1. **Ordinary World**: Hero's normal life before the adventure
+2. **Call to Adventure**: Challenge or quest is presented
+3. **Refusal of the Call**: Hero hesitates or declines
+4. **Meeting the Mentor**: Wise figure provides guidance
+5. **Crossing the Threshold**: Hero commits to the journey
+
+**Act II: Initiation**
+6. **Tests, Allies, and Enemies**: Hero faces challenges and builds team
+7. **Approach to the Inmost Cave**: Preparation for major challenge
+8. **Ordeal**: Hero faces greatest fear or enemy
+9. **Reward**: Hero seizes the prize or gains new knowledge
+
+**Act III: Return**
+10. **The Road Back**: Hero begins journey home with consequences
+11. **Resurrection**: Final test where hero must use everything learned
+12. **Return with the Elixir**: Hero brings wisdom/treasure back to ordinary world
+
+**Modern Adaptations**:
+- Not all beats are required in every story
+- Can be combined with three-act or Save the Cat structures
+- Particularly effective for adventure, fantasy, and sci-fi genres
+- Focus on internal journey as much as external quest
+
+## Plot Points and Turning Points
+
+### Essential Plot Points
+
+**Inciting Incident**:
+- Occurs in first 10-15 pages
+- Disrupts protagonist's ordinary world
+- Presents the central dramatic question
+- Must be significant enough to sustain 2 hours of story
+
+**First Turning Point (End of Act I)**:
+- Page 25-30 in feature screenplay
+- Point of no return for protagonist
+- Launches the main story
+- Raises central dramatic question
+
+**Midpoint**:
+- Exact center of screenplay (page 55-60)
+- Major revelation or reversal
+- Raises stakes significantly
+- Shifts protagonist from reactive to proactive (or vice versa)
+
+**Second Turning Point (End of Act II)**:
+- Page 85-90 in feature screenplay
+- "All is lost" moment
+- Forces protagonist to final confrontation
+- Often involves a sacrifice or revelation
+
+**Climax**:
+- Pages 100-110
+- Final confrontation with antagonist/obstacle
+- Protagonist must use skills/wisdom gained
+- Answers central dramatic question
+
+### Sequences and Beats
+
+**8-Sequence Structure**:
+- Divide screenplay into eight 12-15 page sequences
+- Each sequence has its own mini-arc
+- Useful for maintaining pacing and tension
+- Common in action and thriller genres
+
+**Scene Beats**:
+- Individual moments of change within a scene
+- Each beat should advance plot or character
+- Typically 3-7 beats per scene
+- Use beats to create rhythm and pacing
+
+## Application by Category
+
+### Feature Films (90-120 pages)
+- Use full three-act structure
+- Midpoint at exact center
+- Allow time for character development
+- Balance plot and theme
+
+### TV Episodes (30-60 pages)
+- Compressed act structure
+- Multiple act breaks for commercials
+- Cliffhangers at act breaks
+- Ongoing character arcs across episodes
+
+### Web Content (5-15 pages)
+- Simplified structure (setup, conflict, resolution)
+- Hook in first 30 seconds
+- Faster pacing
+- Clear payoff
+
+### Commercials (1-2 pages)
+- Problem-solution structure
+- Immediate hook
+- Emotional beat
+- Call to action
+
+## Best Practices
+
+✅ **DO**:
+- Use structure as a foundation, not a straitjacket
+- Ensure each act has clear purpose and progression
+- Build to meaningful turning points
+- Balance plot structure with character development
+- Adapt structure to genre and format
+
+❌ **DON'T**:
+- Follow structure so rigidly that story feels formulaic
+- Ignore character motivation in service of plot points
+- Rush through setup to get to action
+- Neglect the emotional journey
+- Use structure as a substitute for originality
+
+## References
+
+- Syd Field, *Screenplay: The Foundations of Screenwriting*
+- Blake Snyder, *Save the Cat!*
+- Joseph Campbell, *The Hero with a Thousand Faces*
+- Robert McKee, *Story: Substance, Structure, Style and the Principles of Screenwriting*
+