@mytechtoday/augment-extensions 0.7.0 → 1.2.0

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

@@ -1,207 +1,207 @@
-# 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*
-
+# 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*
+