@mytechtoday/augment-extensions 1.5.2 → 1.6.1

package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/kelly-reichardt/rules/kelly-reichardt.md

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+# Kelly Reichardt - Screenplay Style Guide
+
+## Table of Contents
+- [Table of Contents](#table-of-contents)
+- [The Minimalist Observational Drama](#the-minimalist-observational-drama)
+- [Overview](#overview)
+- [Core Principles](#core-principles)
+  - [1. **Observation Over Action**](#1-observation-over-action)
+  - [2. **Silence and Sparse Dialogue**](#2-silence-and-sparse-dialogue)
+  - [3. **Landscape as Character**](#3-landscape-as-character)
+  - [4. **Subtle Social Commentary**](#4-subtle-social-commentary)
+- [Narrative Structure](#narrative-structure)
+  - [The Reichardt Loose Arc Formula](#the-reichardt-loose-arc-formula)
+- [Character Development](#character-development)
+  - [The Vulnerable Everyperson](#the-vulnerable-everyperson)
+  - [Reichardt Character Archetypes](#reichardt-character-archetypes)
+- [Scene Construction](#scene-construction)
+  - [The "Quiet Walk" Scene](#the-quiet-walk-scene)
+  - [The "Silent Meal" Scene](#the-silent-meal-scene)
+  - [The "Solitary Routine" Scene](#the-solitary-routine-scene)
+
+## The Minimalist Observational Drama
+
+**Films Analyzed**: River of Grass (1994), Old Joy (2006), Wendy and Lucy (2008), Meek's Cutoff (2010), Night Moves (2013), Certain Women (2016), First Cow (2019), Showing Up (2022), Women Talking (2022; as editor, but influential), and various short films and documentaries that inform her aesthetic. Additional influences from her collaborations and inspirations, including films like Chantal Akerman's Jeanne Dielman, Abbas Kiarostami's Taste of Cherry, and the works of Robert Bresson, which echo in her minimalist approach.
+
+**Primary Writers**: Kelly Reichardt (often sole writer or co-writer), Jon Raymond (frequent collaborator on adaptations and originals, such as Old Joy, Wendy and Lucy, Meek's Cutoff, Night Moves, First Cow), Maile Meloy (source material for Certain Women), Miriam Toews (source for Women Talking, though Reichardt's influence permeates).
+
+**Genre**: Independent Drama / Slow Cinema / Observational Realism.
+
+**Core Concept**: Quiet, introspective narratives that prioritize the textures of everyday life, human vulnerability, and the interplay between individuals and their environments, eschewing spectacle for subtle emotional resonance and social commentary.
+
+---
+
+## Overview
+
+Kelly Reichardt's filmmaking represents a cornerstone of contemporary American independent cinema, characterized by its deliberate pacing, minimalist aesthetics, and profound focus on the marginalized and the mundane. Unlike the bombastic, ensemble-driven spectacles of mainstream blockbusters, Reichardt's films unfold like patient observations of the human condition, where plot takes a backseat to character, atmosphere, and the quiet accumulation of details. Her work draws from the traditions of neorealism, slow cinema, and feminist storytelling, creating worlds that feel authentically lived-in, where economic precarity, isolation, and the weight of unspoken emotions drive the narrative forward.
+
+This style guide distills the essential techniques that define Reichardt's approach to screenwriting and cinematic storytelling. It emphasizes restraint over excess, implication over explication, and the power of the unsaid. In a Reichardt film, a simple walk through a forest or a lingering shot on a character's face can convey more than pages of dialogue. Her scripts are blueprints for visual poetry, where the screenplay serves not as a rigid structure but as a framework for exploration, allowing actors, cinematography, and sound design to breathe life into the subtle nuances of existence.
+
+Reichardt's films often center on women and working-class individuals navigating systemic challenges—poverty in Wendy and Lucy, environmental activism in Night Moves, frontier survival in Meek's Cutoff—while avoiding didacticism. Instead, she invites viewers to inhabit the characters' perspectives, fostering empathy through immersion rather than manipulation. This guide will explore how to replicate this style, from core principles to narrative structures, ensuring that your screenplay captures the essence of quiet intensity that makes her work enduringly compelling.
+
+By adhering to these guidelines, writers can craft stories that resonate on a deeply personal level, challenging the conventions of commercial cinema and prioritizing authenticity over entertainment. Reichardt's influence extends beyond her films, inspiring a generation of indie filmmakers to embrace slowness as a form of resistance against the fast-paced, consumer-driven narratives of Hollywood.
+
+---
+
+## Core Principles
+
+### 1. **Observation Over Action**
+Reichardt's narratives privilege watching and waiting over doing and reacting. Every scene is an opportunity to observe characters in their environments, revealing inner lives through external behaviors rather than overt plot advancements.
+
+**Key Philosophy**:
+- Action is minimal and meaningful; spectacle is absent.
+- Observation builds tension through accumulation of details.
+- Environments shape and reflect character psyches.
+- Restraint amplifies emotional impact.
+
+**Examples from Films**:
+- In Wendy and Lucy, Wendy's search for her dog Lucy is less about frantic chases and more about quiet wanderings through parking lots and woods, where each step underscores her isolation and economic desperation.
+- Meek's Cutoff features long sequences of settlers walking across the Oregon desert, with the vast landscape dwarfing human endeavors, symbolizing the futility of manifest destiny.
+- First Cow depicts the baking of oily cakes not as a triumphant montage but as methodical, repetitive tasks that highlight the fragility of friendship and entrepreneurship in the frontier.
+- Night Moves shows the planning of an eco-terrorist act through subdued conversations and solitary drives, emphasizing moral ambiguity over explosive drama.
+
+**Writing Approach**:
+WRONG: "Wendy runs through the streets, shouting Lucy's name, colliding with pedestrians in a chaotic frenzy."
+RIGHT: "Wendy walks slowly along the edge of the highway, her eyes scanning the underbrush. Cars whoosh by. She pauses at a chain-link fence, fingers gripping the wire, staring into the empty lot beyond. No sign of Lucy. She continues, footsteps crunching on gravel."
+
+This approach invites the audience to feel the weight of time and space, turning mundane movement into a profound commentary on perseverance and loss.
+
+To expand on this principle, consider how observation serves as a narrative engine in Reichardt's work. In Old Joy, the film's core is a hiking trip between two old friends, Mark and Kurt, where little "happens" in terms of plot— they drive, walk, talk sparingly, and soak in hot springs. Yet, through prolonged shots of the forest canopy, the sound of rustling leaves, and the subtle shifts in their body language, Reichardt uncovers layers of unspoken tension: drifting friendships, unrequited desires, and the passage of time. Writers should aim to script scenes where the camera lingers, allowing actors' micro-expressions and the environment's ambient sounds to convey subtext. Avoid rushing to the next beat; instead, let the scene breathe, building immersion that mirrors real-life rhythms.
+
+Furthermore, this principle extends to character interactions. In Certain Women, the three interconnected stories feature women in quiet pursuits—a lawyer dealing with a disgruntled client, a wife building a ranch home, a ranch hand forming a tentative bond with a teacher. Each segment relies on observation: watching Laura Dern's character navigate bureaucratic frustration, observing Michelle Williams' family dynamics through unspoken glances, and lingering on Lily Gladstone's solitary routines. The cumulative effect is a tapestry of female resilience, where action is internalized, and observation reveals the quiet battles against patriarchal and economic structures.
+
+In practice, when drafting a screenplay in this style, allocate significant page space to descriptive passages that detail sensory experiences. Describe the play of light on a face, the distant hum of traffic, or the texture of worn clothing. These elements aren't mere set dressing; they are integral to the storytelling, grounding the abstract in the tangible and allowing themes of alienation, resilience, and connection to emerge organically.
+
+### 2. **Silence and Sparse Dialogue**
+Dialogue in Reichardt's films is economical, often serving to highlight what remains unsaid. Silence becomes a character in itself, amplifying emotional undercurrents and forcing viewers to engage actively with the subtext.
+
+**Dialogue Guidelines**:
+- **Economy of words** - Say only what's necessary; imply the rest.
+- **Naturalistic delivery** - Stilted, hesitant speech reflects real communication.
+- **Silence as tension** - Pauses convey conflict, longing, or resignation.
+- **Subtext-driven** - Words mask deeper feelings or societal pressures.
+
+**Dialogue Ratio**:
+- Scenes: 20% dialogue, 80% silence or ambient sound.
+- Character interactions: 40% verbal, 60% non-verbal cues.
+- Monologues: Rare, used sparingly for pivotal revelations.
+
+**Character Voice Examples**:
+WENDY (Quiet, determined, weary)
+I need to find my dog. She's all I have.
+MECHANIC (Gruff, sympathetic but distant)
+Can't help you there. Try the pound.
+(Long pause. Wendy stares at the ground, twisting her hands.)
+EMILY (In Meek's Cutoff; Soft, questioning, resilient)
+Why follow him if he's lost?
+SOLOMON (Hesitant, defensive)
+He's the guide. What choice do we have?
+(Silence stretches as they trudge on, wind whipping dust.)
+COOKIE (In First Cow; Gentle, optimistic, understated)
+We'll make it work. Just need the right spot.
+KING-LU (Ambitious, pragmatic, with a hint of melancholy)
+Yeah. The world owes us that much.
+(They exchange glances over the fire, flames crackling in the quiet night.)
+JOSH (In Night Moves; Tense, ideological, whispered)
+This has to mean something. We can't back out now.
+DERNA (Conflicted, soft-spoken)
+What if it doesn't change anything?
+(Pause filled with the hum of the river, unspoken doubts hanging.)
+
+To delve deeper, silence in Reichardt's screenplays isn't mere absence; it's a deliberate tool for emotional amplification. In Showing Up, the protagonist Lizzy, a sculptor, navigates her artistic frustrations and family obligations with minimal verbal expression. Conversations are fragmented, interrupted by the sounds of clay being molded or pigeons cooing, underscoring the isolation of creative labor. Writers should script pauses explicitly—e.g., "(Beat.)" or "(Long silence as she watches the horizon.)"—to guide directors and actors toward the rhythmic ebb and flow that defines her style.
+
+This principle also intersects with themes of inarticulacy among working-class characters. In Wendy and Lucy, Wendy's interactions with strangers are terse, reflecting her vulnerability and the societal barriers she faces. A phone call to her brother is laden with unspoken resentment and need, where what's not said about her circumstances speaks volumes about familial estrangement. By contrast, in mainstream cinema, dialogue often explicates emotions; here, it obscures them, mirroring how people in real life grapple with unexpressed pain.
+
+For verbosity in application, consider varying silence types: contemplative (e.g., gazing at landscapes in Meek's Cutoff), awkward (strained family dinners in Certain Women), or ominous (pre-act silences in Night Moves). Each type serves narrative purpose—building empathy, heightening suspense, or critiquing social norms. When writing, test scenes by reading aloud; if dialogue feels superfluous, cut it, letting visual and aural elements carry the weight.
+
+### 3. **Landscape as Character**
+The environment isn't backdrop; it's an active participant, influencing characters and symbolizing broader themes like Manifest Destiny, environmental degradation, or urban alienation.
+
+**Landscape Techniques**:
+- **Integration with action** - Characters move through spaces that reflect inner states.
+- **Natural sounds dominate** - Wind, rain, birds over score.
+- **Long takes on scenery** - Establish mood and pace.
+- **Symbolic geography** - Deserts for isolation, forests for introspection.
+
+**Pairing Examples from Films**:
+- Wendy + Oregon towns (Wendy and Lucy) - Industrial decay mirrors economic struggle.
+- Settlers + Desert (Meek's Cutoff) - Arid vastness embodies uncertainty and patriarchy.
+- Josh/Derna/Harmon + Pacific Northwest wilderness (Night Moves) - Lush but foreboding nature underscores moral consequences.
+- Cookie/King-Lu + Frontier forests (First Cow) - Verdant landscapes highlight fragile dreams.
+
+**Writing Approach**:
+LANDSCAPE SCENE STRUCTURE:
+
+Establish environment (detailed description of terrain, weather)
+Character interaction (movement through space, physical labor)
+Sensory details (sounds, textures, light)
+Emotional resonance (how landscape affects mood/decisions)
+Subtle progression (minimal change, building atmosphere)
+
+
+Expanding this, in Reichardt's oeuvre, landscape functions as a narrative co-protagonist. In Old Joy, the Oregon forests are not just setting but a metaphor for the characters' emotional wilderness—dense, impenetrable, yet serene. Scripts should describe locations with poetic precision: "The canopy filters sunlight into dappled patterns on the moss-covered ground, where roots twist like veins." This immerses readers in the sensory world, essential for her visual storytelling.
+
+In Meek's Cutoff, the square aspect ratio confines the frame, emphasizing the horizon's elusiveness, symbolizing lost direction in American expansionism. Writers must think cinematically, scripting shots that linger on horizons or rivers to evoke themes without dialogue. For instance, in First Cow, the Columbia River is a constant presence, its flow representing opportunity and peril for the protagonists' illicit milking scheme.
+
+To avoid redundancy, vary landscape descriptions: dynamic (shifting sands in Meek's Cutoff) vs. static (empty lots in Wendy and Lucy). This principle critiques anthropocentrism; humans are small against nature, as in Night Moves where the dam's destruction ripples through ecosystems, questioning activism's efficacy. In drafting, integrate landscape into character arcs—e.g., a character's gaze on a mountain range signaling internal resolve.
+
+### 4. **Subtle Social Commentary**
+Reichardt weaves critiques of capitalism, gender roles, environmentalism, and colonialism into the fabric of her stories without overt preaching, allowing themes to emerge through character experiences.
+
+**Commentary Principles**:
+- **Show, don't tell** - Inequities revealed through actions and interactions.
+- **Marginalized perspectives** - Focus on women, the poor, outsiders.
+- **Ambiguity over resolution** - Questions raised, not answered.
+- **Everyday realism** - Commentary grounded in authentic details.
+
+**Philosophy**:
+NOT: Direct monologue on inequality.
+BUT: Wendy counting coins for groceries, the cashier's indifferent glance, the distant train whistle signaling unattainable escape—cumulatively critiquing poverty's grind.
+
+In depth, this principle ensures films remain artful rather than polemical. In Certain Women, the ranch hand's (Lily Gladstone) unrequited affection for the teacher (Kristen Stewart) subtly explores queer longing and class divides, with no explicit labels. Writers should layer commentary: visual (rundown trailers in Wendy and Lucy symbolizing housing insecurity), auditory (factory noises in Showing Up critiquing artistic commodification), behavioral (women's silenced voices in Meek's Cutoff against patriarchal leadership).
+
+Avoid didacticism by embedding critiques in routines—e.g., in First Cow, the cow's milk as a luxury item highlights colonial exploitation. This fosters viewer interpretation, making films intellectually engaging. For verbose expansion, analyze how each film addresses specific issues: environmental terrorism in Night Moves questions radicalism's ethics; artistic struggle in Showing Up examines creativity's isolation. Scripts should balance universality with specificity, drawing from real socio-economic contexts.
+
+---
+
+## Narrative Structure
+
+### The Reichardt Loose Arc Formula
+
+Reichardt's structures defy traditional three-act models, favoring episodic, vignette-like progressions that mimic life's unpredictability. Plots are thin, arcs internal, resolutions ambiguous.
+
+#### Prelude: Establishing the World (0-20 minutes)
+**Goal**: Immerse in character's daily reality, hinting at underlying tensions.
+
+**Key Elements**:
+- **Character introduction** - Through routine actions, not exposition.
+- **Environmental immersion** - Detailed setup of space and atmosphere.
+- **Subtle inciting element** - A small disruption (lost dog, wrong turn).
+- **Tone setting** - Slow pace, natural lighting, ambient sounds.
+
+**Pacing**:
+- Deliberate slowness from outset.
+- No high-energy openers; start mid-routine.
+- Build curiosity through observation.
+- Emotional anchor by minute 10.
+
+**Examples**:
+- Wendy and Lucy: Wendy wakes in her car, interacts with Lucy, car breaks down.
+- First Cow: Cookie arrives in the territory, befriends King-Lu amid frontier hardship.
+- Certain Women: Each woman's segment begins in medias res, establishing isolation.
+
+To elaborate, this prelude acts as a immersion bath, contrasting with MCU's action hooks. In Old Joy, it opens with driving scenes, radio static, and casual chat, subtly introducing relational drift. Writers should script extended sequences of mundane tasks—washing clothes, hiking—to establish rhythm. Avoid info dumps; reveal backstory through objects (e.g., Wendy's Alaska map implying dreams).
+
+Verbosity here: Discuss how this phase critiques narrative expectations, forcing audiences to adjust to slowness, mirroring characters' patience. In Meek's Cutoff, the prelude's wagon train journey sets historical context without voiceover, using visuals to evoke 1840s hardships.
+
+#### Rising Tension: Accumulation of Details (20-60 minutes)
+**Goal**: Layer small events and interactions, building quiet pressure.
+
+**Escalation Pattern**:
+1. **Routine disruptions** - Minor obstacles compound.
+2. **Interpersonal dynamics** - Subtle conflicts emerge.
+3. **Environmental challenges** - Nature or society impedes progress.
+4. **Internal reflection** - Characters ponder via silence or minimal dialogue.
+5. **Midpoint shift** - A decision point, often moral or emotional.
+
+**Key Techniques**:
+- **Vignette structure** - Linked scenes without tight causality.
+- **Ambient buildup** - Sounds and visuals heighten unease.
+- **Character isolation** - Even in groups, individuals feel alone.
+- **Thematic deepening** - Subtext accumulates.
+
+Examples include in Night Moves, the planning phase with hushed talks and solitary drives, escalating to the act. In Certain Women, vignettes intersect loosely, each building female resilience.
+
+Expand: This section allows for character depth without plot machinations. Script long takes, e.g., "Camera holds on Derna staring at the lake, waves lapping, her face betraying doubt." Pacing is key—stretch moments to reflect psychological time.
+
+#### Crisis and Contemplation: The Quiet Reckoning (60-80 minutes)
+**Goal**: Confrontation with consequences, internal or external, without cathartic release.
+
+**Midpoint Crisis**:
+- **Subtle failure** - Plans unravel quietly.
+- **Emotional nadir** - Isolation peaks.
+- **Moral ambiguity** - No clear heroes/villains.
+- **Reflective pause** - Characters absorb impact.
+
+**Examples**:
+- Wendy and Lucy: Wendy at the pound, realizing Lucy's adoption.
+- Meek's Cutoff: Water shortage, questioning Meek's leadership.
+- First Cow: Discovery of the scheme, leading to pursuit.
+
+In detail, this avoids dramatic peaks; crisis is internalized, like Josh's paranoia post-explosion in Night Moves. Writers script ambiguity—end scenes on unresolved notes.
+
+#### Resolution: Ambiguous Closure (80-100 minutes)
+**Goal**: Provide partial resolution, leaving emotional echoes.
+
+**Resolution Principles**:
+- **No tidy endings** - Life continues.
+- **Emotional lingering** - Focus on aftermath.
+- **Thematic resonance** - Themes crystalize subtly.
+- **Open-ended** - Invite interpretation.
+
+**Final Sequence Structure**:
+
+CONFRONTATION - Quiet reckoning with events
+REFLECTION - Solitary or shared silence
+SMALL CHANGE - Subtle shift in character/world
+FADE OUT - On landscape or routine, implying continuity
+POST-CREDIT TEASE - Rare; if used, understated hint
+
+
+Examples: Wendy hitchhiking away, First Cow's tragic yet tender end.
+
+Verbose analysis: Resolutions critique Hollywood closure, emphasizing ongoing struggle. In Showing Up, Lizzy's exhibition is understated, success ambiguous. Scripts end on images, not words.
+
+---
+
+## Character Development
+
+### The Vulnerable Everyperson
+
+**Core Traits**:
+- **Ordinary abilities** - No superpowers; human frailties.
+- **Relatable struggles** - Economic, emotional, existential.
+- **Quiet resilience** - Endure rather than conquer.
+- **Growth through endurance** - Subtle evolution, not transformation.
+
+**Character Arc Template**:
+SETUP: Character in routine, defined by circumstance (Wendy's poverty)
+CHALLENGE: Obstacle exposes vulnerability (car breakdown)
+CRISIS: Nadir forces introspection (loss of Lucy)
+GROWTH: Small adaptation (acceptance, moving on)
+RESOLUTION: Continued journey, slightly altered
+
+### Reichardt Character Archetypes
+
+**The Drifter** (Wendy, Kurt in Old Joy):  
+- Rootless, searching for connection.  
+- Economic precarity as defining trait.  
+- Quiet determination amid setbacks.  
+- Arc toward tentative hope.
+
+**The Pioneer** (Emily in Meek's Cutoff, Cookie in First Cow):  
+- Navigating harsh frontiers.  
+- Resilience against systemic odds.  
+- Subtle defiance of norms.  
+- Growth via communal bonds.
+
+**The Activist** (Josh in Night Moves, Gina in Certain Women):  
+- Ideological drive with personal cost.  
+- Moral ambiguity in actions.  
+- Internal conflict over ethics.  
+- Arc of disillusionment.
+
+**The Artist** (Lizzy in Showing Up, Reichardt surrogates):  
+- Creative labor as struggle.  
+- Isolation in pursuit.  
+- Balance family/art.  
+- Subtle fulfillment.
+
+**The Outsider** (Ranch hand in Certain Women, King-Lu):  
+- Marginalized by society.  
+- Yearning for belonging.  
+- Quiet observations.  
+- Partial integration.
+
+Elaborate on each: For Drifter, detail Wendy's arc— from optimistic traveler to stripped-down survivor, revealed through actions like shoplifting or sleeping rough. Use non-verbal cues for development.
+
+---
+
+## Scene Construction
+
+### The "Quiet Walk" Scene
+Characters traverse landscapes, internal thoughts externalized through environment.
+
+**Structure**:
+1. **Initiation** - Start of journey.
+2. **Sensory immersion** - Describe sounds, sights.
+3. **Minimal interaction** - If group, sparse talk.
+4. **Emotional build** - Sub
+ via body language.
+5. **Endpoint** - Subtle revelation.
+
+**Example Template**:
+EXT. FOREST PATH - DAY
+Wendy walks, leash in hand, calling softly for Lucy.
+Leaves crunch underfoot. Birds chirp distantly.
+She pauses, breaths heavy, eyes scanning trees.
+No response. She continues, face etched with worry.
+
+### The "Silent Meal" Scene
+Shared or solitary eating, revealing dynamics.
+
+**Elements**:
+- **Setup** - Simple food preparation.
+- **Consumption** - Slow, deliberate.
+- **Subtext** - Glances, pauses convey emotion.
+- **Consequence** - Deepens bonds or highlights rifts.
+- **Payoff** - Lingering aftertaste of unspoken words.
+
+**Timing Rules**:
+- Extend duration for tension.
+- Use ambient sounds.
+- Avoid exposition.
+
+**Examples**:
+WRONG (Overly verbal):
+They eat, discussing plans.
+RIGHT:
+Cookie and King-Lu sit by fire, sharing oily cake.
+Flames crackle. They chew slowly, exchanging nods.
+King-Lu: Good.
+Cookie: Yeah.
+Silence, river flowing in background.
+
+### The "Solitary Routine" Scene
+Character alone in daily task, exposing inner world.
+
+**Required Elements**:
+- **Repetition** - Mundane actions looped.
+- **Detail focus** - Close on hands, objects.
+- **Emotional layering** - Build from calm to subtle turmoil.
+- **Environmental interplay** - Space influences mood.
+- **Connection** - Ties to larger theme.
+
+Examples: Lily Gladstone tending horses in Certain Women, loneliness palpable.

package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/kevin-smith/module.json

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+{
+  "name": "cinematic-styles-directors-kevin-smith",
+  "version": "1.0.0",
+  "displayName": "Kevin Smith Style Guide",
+  "description": "Screenplay style guide for Kevin Smith",
+  "type": "writing-standards",
+  "category": "screenplay/cinematic-styles/directors",
+  "tags": [
+    "screenplay",
+    "cinematic-style",
+    "director",
+    "auteur",
+    "kevin-smith"
+  ],
+  "dependencies": {
+    "required": [],
+    "optional": [
+      "writing-standards/screenplay"
+    ]
+  },
+  "augment": {
+    "characterCount": 5000,
+    "priority": "medium",
+    "category": "cinematic-styles",
+    "appliesTo": {
+      "filePatterns": [
+        "**/*.fountain",
+        "**/*.screenplay",
+        "**/screenplay/**/*.md",
+        "**/screenplays/**/*"
+      ],
+      "languages": [
+        "fountain",
+        "markdown"
+      ]
+    }
+  },
+  "installation": {
+    "required": false,
+    "steps": [
+      "Link module: augx link writing-standards/screenplay/cinematic-styles/directors/kevin-smith",
+      "Configure active style in .augment/screenplay-config.json"
+    ]
+  },
+  "contents": {
+    "rules": [
+      "kevin-smith.md"
+    ]
+  }
+}