@mytechtoday/augment-extensions 0.4.0 → 0.7.0

package/augment-extensions/writing-standards/screenplay/styles/module.json

@@ -0,0 +1,64 @@
+{
+  "name": "screenplay-styles",
+  "version": "1.0.0",
+  "displayName": "Screenplay Narrative Styles",
+  "description": "Narrative style rules and techniques for screenplay writing across 13+ storytelling approaches",
+  "type": "writing-standards",
+  "category": "screenplay",
+  "tags": [
+    "screenplay",
+    "narrative-style",
+    "storytelling",
+    "structure",
+    "pacing"
+  ],
+  "dependencies": {
+    "required": [],
+    "optional": []
+  },
+  "augment": {
+    "characterCount": 350000,
+    "priority": "high",
+    "category": "screenplay-styles",
+    "appliesTo": {
+      "filePatterns": [
+        "**/*.fountain",
+        "**/*.screenplay",
+        "**/screenplay/**/*.md"
+      ],
+      "languages": ["fountain", "markdown"]
+    }
+  },
+  "installation": {
+    "required": false,
+    "steps": [
+      "Link module: augx link writing-standards/screenplay/styles",
+      "Configure styles in .augment/screenplay-config.json",
+      "Select specific narrative style to apply"
+    ]
+  },
+  "configuration": {
+    "schema": "../schemas/feature-selection.json",
+    "defaultConfig": {
+      "enabled": true,
+      "selected": []
+    }
+  },
+  "contents": [
+    "rules/linear.md - Linear narrative style",
+    "rules/non-linear.md - Non-linear narrative style",
+    "rules/ensemble.md - Ensemble narrative style",
+    "rules/minimalist.md - Minimalist narrative style",
+    "rules/epic.md - Epic narrative style",
+    "rules/satirical.md - Satirical narrative style",
+    "rules/poetic.md - Poetic narrative style",
+    "rules/realistic.md - Realistic narrative style",
+    "rules/surreal.md - Surreal narrative style",
+    "rules/experimental.md - Experimental narrative style",
+    "rules/voice-over.md - Voice-over driven narrative style",
+    "rules/flashback.md - Flashback-heavy narrative style",
+    "rules/dialogue-centric.md - Dialogue-centric narrative style",
+    "examples/style-applications.md - Style application examples"
+  ]
+}
+

package/augment-extensions/writing-standards/screenplay/styles/rules/.gitkeep

@@ -0,0 +1,2 @@
+# Placeholder for styles/rules directory
+

package/augment-extensions/writing-standards/screenplay/styles/rules/dialogue-centric.md

@@ -0,0 +1,520 @@
+# Dialogue-Centric Narrative Style
+
+**Category**: Screenplay Narrative Style  
+**Type**: Technical/Tonal  
+**Complexity**: High
+
+## Overview
+
+Dialogue-centric narrative prioritizes spoken conversation as the primary storytelling vehicle, with character interactions, verbal sparring, and linguistic artistry driving the narrative. This style creates theatrical intimacy while demanding exceptional dialogue writing.
+
+## Core Concept
+
+Dialogue-driven screenwriting treats conversation as action, using words as the primary dramatic engine. The power lies in the rhythm, wit, subtext, and emotional truth of human speech. Success requires mastery of dialogue craft—creating distinct voices, layering subtext, building verbal tension, and making every line count.
+
+## Definition
+
+A dialogue-centric narrative uses conversation as the primary storytelling device, with character development, plot advancement, and thematic exploration occurring primarily through spoken interaction rather than visual action.
+
+## Structural Requirements
+
+### Requirement 1: Distinct Character Voices
+
+**Description**: Each character must have unique, recognizable speech patterns and vocabulary.
+
+**Why It Matters**: Dialogue-heavy films live or die on character voice distinction.
+
+**Implementation**:
+- Create specific vocabulary for each character
+- Establish unique speech rhythms
+- Develop consistent verbal tics
+- Make characters identifiable by dialogue alone
+
+**Examples**:
+- ✅ **Good**: Could identify speaker without character name
+- ❌ **Bad**: All characters sound the same
+
+**Film Reference**: Pulp Fiction (1994) - Each character has distinctive voice.
+
+---
+
+### Requirement 2: Subtext and Layering
+
+**Description**: Dialogue must operate on multiple levels with rich subtext beneath surface conversation.
+
+**Why It Matters**: Great dialogue says one thing while meaning another.
+
+**Implementation**:
+- Characters rarely say exactly what they mean
+- Emotional truth beneath surface words
+- Power dynamics in conversation
+- Multiple interpretations possible
+
+**Examples**:
+- ✅ **Good**: Small talk that's really about deeper conflict
+- ❌ **Bad**: Characters state exactly what they think and feel
+
+**Film Reference**: Who's Afraid of Virginia Woolf? (1966) - Layers of subtext in every exchange.
+
+---
+
+### Requirement 3: Verbal Conflict
+
+**Description**: Dialogue creates and escalates dramatic tension through verbal sparring.
+
+**Why It Matters**: In dialogue-driven films, conversation IS the action.
+
+**Implementation**:
+- Arguments and debates as set pieces
+- Verbal one-upmanship
+- Escalating tension through words
+- Dialogue as combat
+
+**Examples**:
+- ✅ **Good**: Conversation builds tension like action sequence
+- ❌ **Bad**: Flat, tension-free exchanges
+
+**Film Reference**: 12 Angry Men (1957) - Entire film is verbal conflict.
+
+---
+
+### Requirement 4: Rhythmic Precision
+
+**Description**: Dialogue must have musical rhythm, pacing, and flow.
+
+**Why It Matters**: Great dialogue has rhythm like music or poetry.
+
+**Implementation**:
+- Vary sentence length for rhythm
+- Use repetition and variation
+- Create verbal patterns
+- Pace exchanges carefully
+
+**Examples**:
+- ✅ **Good**: Dialogue has natural rhythm and flow
+- ❌ **Bad**: Monotonous, rhythmless speech
+
+**Film Reference**: His Girl Friday (1940) - Rapid-fire rhythmic dialogue.
+
+---
+
+### Requirement 5: Linguistic Artistry
+
+**Description**: Dialogue should be artfully crafted, quotable, and memorable.
+
+**Why It Matters**: Dialogue-centric films require exceptional writing quality.
+
+**Implementation**:
+- Craft memorable lines
+- Use wordplay and wit
+- Create quotable moments
+- Elevate everyday speech
+
+**Examples**:
+- ✅ **Good**: Lines audiences remember and quote
+- ❌ **Bad**: Forgettable, generic dialogue
+
+**Film Reference**: Casablanca (1942) - Endlessly quotable dialogue.
+
+---
+
+### Requirement 6: Minimal Visual Reliance
+
+**Description**: Story must work primarily through dialogue, not visual action.
+
+**Why It Matters**: Dialogue-centric style commits to verbal storytelling.
+
+**Implementation**:
+- Limited physical action
+- Confined settings acceptable
+- Conversation drives plot
+- Visual simplicity
+
+**Examples**:
+- ✅ **Good**: Entire scenes in single location, dialogue-driven
+- ❌ **Bad**: Relying on action to advance plot
+
+**Film Reference**: My Dinner with Andre (1981) - Entire film is one conversation.
+
+---
+
+## Pacing Guidelines
+
+### Overall Rhythm
+
+- Pacing through dialogue rhythm
+- Vary conversation tempo
+- Build to verbal climaxes
+- Use silence strategically
+
+### Scene Length
+
+- Scenes can be extended conversations
+- Length determined by dialogue needs
+- Avoid cutting away too quickly
+- Let conversations breathe
+
+### Act Structure
+
+- Acts marked by conversation shifts
+- Verbal escalation across acts
+- Dialogue-driven turning points
+- Traditional or flexible structure
+
+### Transitions
+
+- Dialogue can bridge scenes
+- Conversations interrupted and resumed
+- Verbal connections between scenes
+- Smooth conversational flow
+
+## Visual Storytelling
+
+### Camera Work
+
+- Often static or simple camera work
+- Focus on actors and performance
+- Close-ups for emotional moments
+- Theatrical staging acceptable
+
+### Visual Motifs
+
+- Visual elements support dialogue
+- Minimal visual distraction
+- Setting serves conversation
+- Simple, effective visuals
+
+### Action Lines
+
+- Minimal action description
+- Focus on dialogue
+- Note important reactions
+- Simple, clear prose
+
+**Example**:
+```
+INT. RESTAURANT - NIGHT
+
+Mark and Sarah sit across from each other. Wine glasses. Tension.
+
+MARK
+So you're saying it's over.
+
+SARAH
+I'm saying I don't know what it is anymore.
+
+MARK
+That's not an answer.
+
+SARAH
+It's the only answer I have.
+
+Silence. Mark looks away.
+```
+
+## Dialogue Approach
+
+### Dialogue Style
+
+- Naturalistic or heightened, but consistent
+- Character-specific voices
+- Rhythmic and musical
+- Subtext-rich
+
+### Subtext
+
+- Primary mode of communication
+- What's not said matters most
+- Emotional truth beneath words
+- Layered meaning
+
+### Formatting
+
+- Standard dialogue formatting
+- Minimal parentheticals
+- Let dialogue speak for itself
+- Clear speaker attribution
+
+**Example**:
+```
+JOHN
+You look good.
+
+MARY
+You're lying.
+
+JOHN
+I'm being polite.
+
+MARY
+Same thing.
+
+JOHN
+Not always.
+
+MARY
+With you it is.
+```
+
+## Technical Formatting
+
+### Page Layout
+
+- Dialogue-heavy pages
+- Minimal action lines
+- White space from dialogue format
+- Fast read despite length
+
+### Scene Headings
+
+- Simple, clear locations
+- Often confined settings
+- Minimal location changes
+- Focus on conversation spaces
+
+### Special Elements
+
+- Minimal special formatting
+- Standard dialogue rules
+- Occasional INTERCUT for phone calls
+- Simple, clean format
+
+## Strengths and Limitations
+
+### Strengths
+
+- Showcases writing craft
+- Actor-friendly material
+- Theatrical intimacy
+- Character depth
+- Quotable and memorable
+- Budget-friendly
+
+### Limitations
+
+- Can feel stagey or theatrical
+- Limited visual interest
+- Requires exceptional dialogue writing
+- May alienate action-oriented audiences
+- Risk of talking heads
+- Demands strong performances
+
+### Best Use Cases
+
+- Character studies
+- Relationship dramas
+- Intellectual/philosophical films
+- Ensemble pieces
+- Adaptations of plays
+- Intimate chamber pieces
+- Comedy (verbal wit)
+
+## Film Examples
+
+### Example 1: 12 Angry Men (1957)
+
+**Director**: Sidney Lumet
+
+**Why This Style Works**: Entire film is verbal conflict in single room as jurors debate verdict.
+
+**Key Stylistic Moments**:
+- **Opening Deliberation**: Establishing verbal dynamics
+- **Escalating Arguments**: Tension builds through dialogue
+- **Final Persuasion**: Verbal victory
+
+**Techniques Used**:
+- Confined setting
+- Dialogue as action
+- Verbal conflict escalation
+- Distinct character voices
+
+**Structural Analysis**: Plot advances entirely through conversation and persuasion.
+
+---
+
+### Example 2: Before Sunrise (1995)
+
+**Director**: Richard Linklater
+
+**Why This Style Works**: Entire film is extended conversation between two people falling in love.
+
+**Key Stylistic Moments**:
+- **Initial Meeting**: Verbal connection begins
+- **Walking and Talking**: Conversation as journey
+- **Deepening Intimacy**: Dialogue reveals souls
+
+**Techniques Used**:
+- Naturalistic dialogue
+- Philosophical conversations
+- Verbal intimacy building
+- Minimal plot, maximum talk
+
+**Structural Analysis**: Relationship develops entirely through conversation over one night.
+
+---
+
+### Example 3: Who's Afraid of Virginia Woolf? (1966)
+
+**Director**: Mike Nichols
+
+**Why This Style Works**: Verbal warfare between couples creates devastating psychological drama.
+
+**Key Stylistic Moments**:
+- **"Fun and Games"**: Verbal sparring begins
+- **Escalating Cruelty**: Dialogue becomes weaponized
+- **Final Revelations**: Truth through words
+
+**Techniques Used**:
+- Theatrical dialogue
+- Layered subtext
+- Verbal cruelty as action
+- Alcohol-fueled honesty
+
+**Structural Analysis**: Entire drama unfolds through conversation and verbal combat.
+
+---
+
+### Example 4: My Dinner with Andre (1981)
+
+**Director**: Louis Malle
+
+**Why This Style Works**: Entire film is single dinner conversation exploring life, art, and meaning.
+
+**Key Stylistic Moments**:
+- **Andre's Stories**: Theatrical monologues
+- **Wally's Skepticism**: Grounded counterpoint
+- **Philosophical Debate**: Ideas as drama
+
+**Techniques Used**:
+- Extended monologues
+- Philosophical dialogue
+- Minimal visual action
+- Conversation as entire film
+
+**Structural Analysis**: Abandons conventional plot for pure conversational exploration.
+
+---
+
+### Example 5: The Social Network (2010)
+
+**Director**: David Fincher
+
+**Why This Style Works**: Rapid-fire dialogue drives story of Facebook's creation and betrayals.
+
+**Key Stylistic Moments**:
+- **Opening Breakup**: Verbal sparring sets tone
+- **Deposition Scenes**: Legal dialogue as framework
+- **Zuckerberg's Voice**: Distinctive verbal patterns
+
+**Techniques Used**:
+- Extremely fast-paced dialogue
+- Overlapping speech
+- Verbal intelligence as character
+- Rhythmic precision
+
+**Structural Analysis**: Plot advances through conversations, meetings, and depositions.
+
+---
+
+## Integration with Other Features
+
+### Compatible Genres
+
+- **Drama**: Dialogue deepens emotional impact
+- **Comedy**: Verbal wit creates humor
+- **Romance**: Conversation builds intimacy
+- **Thriller**: Verbal tension creates suspense
+- **Mystery**: Dialogue reveals clues
+
+### Compatible Themes
+
+- **Relationships**: Dialogue explores connections
+- **Identity**: Characters reveal selves through speech
+- **Truth**: Conversation uncovers reality
+- **Power**: Verbal dynamics show control
+- **Philosophy**: Ideas explored through dialogue
+
+### Style Variations
+
+- **Naturalistic dialogue**: Realistic speech (Before Sunrise)
+- **Theatrical dialogue**: Heightened language (Virginia Woolf)
+- **Rapid-fire dialogue**: Fast-paced wit (His Girl Friday, Social Network)
+- **Philosophical dialogue**: Ideas as drama (My Dinner with Andre)
+
+## Common Pitfalls
+
+### Pitfall 1: On-the-Nose Dialogue
+
+**Problem**: Characters state exactly what they think and feel without subtext.
+
+**Solution**: Layer dialogue with subtext. Characters should rarely say exactly what they mean.
+
+**Example**: Virginia Woolf's dialogue operates on multiple levels of meaning.
+
+---
+
+### Pitfall 2: Indistinct Voices
+
+**Problem**: All characters sound the same, no unique speech patterns.
+
+**Solution**: Create distinct vocabulary, rhythm, and patterns for each character.
+
+**Example**: The Social Network gives each character distinctive verbal style.
+
+---
+
+### Pitfall 3: Talking Heads
+
+**Problem**: Static, visually boring scenes of people just talking.
+
+**Solution**: Use setting, blocking, and visual elements to support dialogue.
+
+**Example**: 12 Angry Men uses confined space dynamically despite minimal action.
+
+---
+
+### Pitfall 4: Exposition Dumps
+
+**Problem**: Dialogue becomes vehicle for delivering information rather than character.
+
+**Solution**: Integrate necessary information naturally into character-driven conversation.
+
+**Example**: Before Sunrise reveals backstory naturally through conversation.
+
+---
+
+### Pitfall 5: Unrealistic Speech
+
+**Problem**: Dialogue sounds written, not spoken.
+
+**Solution**: Read dialogue aloud. Ensure it sounds natural (or purposefully heightened).
+
+**Example**: Before Sunrise's dialogue feels genuinely conversational.
+
+---
+
+## Best Practices
+
+1. **Create distinct voices** - Each character should sound unique
+2. **Layer subtext** - What's not said matters most
+3. **Build verbal tension** - Conversation should escalate
+4. **Find rhythm** - Dialogue should have musical quality
+5. **Read aloud** - Test dialogue by speaking it
+6. **Cut ruthlessly** - Every line must earn its place
+7. **Use silence** - Strategic pauses enhance dialogue
+8. **Serve character** - Dialogue reveals who people are
+
+## Resources
+
+- "Dialogue: The Art of Verbal Action for Page, Stage, and Screen" by Robert McKee - Comprehensive dialogue guide
+- "12 Angry Men" screenplay by Reginald Rose - Master class in verbal conflict
+- "Before Sunrise" screenplay by Richard Linklater and Kim Krizan - Naturalistic dialogue
+- "The Social Network" screenplay by Aaron Sorkin - Rapid-fire dialogue mastery
+- "Who's Afraid of Virginia Woolf?" screenplay by Ernest Lehman - Theatrical dialogue
+
+---
+
+**Depth Coverage**: 85%
+**Last Updated**: 2026-01-31
+**Version**: 1.0.0
+