@mytechtoday/augment-extensions 1.6.0 → 1.6.1
This diff represents the content of publicly available package versions that have been released to one of the supported registries. The information contained in this diff is provided for informational purposes only and reflects changes between package versions as they appear in their respective public registries.
- package/AGENTS.md +76 -0
- package/README.md +26 -3
- package/augment-extensions/writing-standards/literature/shakespeare/ANNOUNCEMENT.md +176 -0
- package/augment-extensions/writing-standards/literature/shakespeare/CHARACTER-THEME-VALIDATION-REPORT.md +465 -0
- package/augment-extensions/writing-standards/literature/shakespeare/DRAMA-VALIDATION-REPORT.md +217 -0
- package/augment-extensions/writing-standards/literature/shakespeare/LANGUAGE-VALIDATION-REPORT.md +195 -0
- package/augment-extensions/writing-standards/literature/shakespeare/PHASE6-VALIDATION-REPORT.md +359 -0
- package/augment-extensions/writing-standards/literature/shakespeare/README.md +126 -0
- package/augment-extensions/writing-standards/literature/shakespeare/examples/annotated-sonnets/sonnet-130.md +225 -0
- package/augment-extensions/writing-standards/literature/shakespeare/examples/annotated-sonnets/sonnet-18.md +188 -0
- package/augment-extensions/writing-standards/literature/shakespeare/examples/annotated-sonnets/sonnet-73.md +215 -0
- package/augment-extensions/writing-standards/literature/shakespeare/examples/exercises/character-worksheet.md +407 -0
- package/augment-extensions/writing-standards/literature/shakespeare/examples/exercises/iambic-pentameter-practice.md +470 -0
- package/augment-extensions/writing-standards/literature/shakespeare/examples/exercises/sonnet-writing-exercise.md +360 -0
- package/augment-extensions/writing-standards/literature/shakespeare/examples/exercises/theme-analysis-template.md +527 -0
- package/augment-extensions/writing-standards/literature/shakespeare/examples/exercises/verse-analysis-exercise.md +426 -0
- package/augment-extensions/writing-standards/literature/shakespeare/examples/scene-examples/hamlet-to-be-or-not-to-be.md +316 -0
- package/augment-extensions/writing-standards/literature/shakespeare/examples/scene-examples/king-lear-storm-scene.md +576 -0
- package/augment-extensions/writing-standards/literature/shakespeare/examples/scene-examples/macbeth-tomorrow-and-tomorrow.md +448 -0
- package/augment-extensions/writing-standards/literature/shakespeare/examples/scene-examples/much-ado-benedick-eavesdropping.md +496 -0
- package/augment-extensions/writing-standards/literature/shakespeare/examples/scene-examples/romeo-juliet-balcony.md +287 -0
- package/augment-extensions/writing-standards/literature/shakespeare/examples/scene-examples/twelfth-night-malvolio-letter.md +653 -0
- package/augment-extensions/writing-standards/literature/shakespeare/module.json +72 -0
- package/augment-extensions/writing-standards/literature/shakespeare/rules/character-themes/character-development.md +608 -0
- package/augment-extensions/writing-standards/literature/shakespeare/rules/character-themes/thematic-elements.md +471 -0
- package/augment-extensions/writing-standards/literature/shakespeare/rules/drama/comedy.md +763 -0
- package/augment-extensions/writing-standards/literature/shakespeare/rules/drama/history-plays.md +507 -0
- package/augment-extensions/writing-standards/literature/shakespeare/rules/drama/scene-construction.md +870 -0
- package/augment-extensions/writing-standards/literature/shakespeare/rules/drama/tragedy.md +743 -0
- package/augment-extensions/writing-standards/literature/shakespeare/rules/language/elizabethan-english.md +400 -0
- package/augment-extensions/writing-standards/literature/shakespeare/rules/language/rhetoric-wordplay.md +602 -0
- package/augment-extensions/writing-standards/literature/shakespeare/rules/language/vocabulary-guide.md +662 -0
- package/augment-extensions/writing-standards/literature/shakespeare/rules/poetry/iambic-pentameter.md +447 -0
- package/augment-extensions/writing-standards/literature/shakespeare/rules/poetry/narrative-poetry.md +453 -0
- package/augment-extensions/writing-standards/literature/shakespeare/rules/poetry/sonnets.md +435 -0
- package/augment-extensions/writing-standards/literature/shakespeare/rules/poetry/verse-forms.md +565 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/MIGRATION.md +213 -158
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/README.md +309 -157
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/REFACTORING-SUMMARY.md +99 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/comedy-formats/module.json +33 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/comedy-formats/monty-python/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/comedy-formats/monty-python/rules/monty-python.md +243 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/comedy-formats/saturday-night-live/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/comedy-formats/saturday-night-live/rules/saturday-night-live.md +153 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/README.md +127 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/alfred-hitchcock/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/alfred-hitchcock/rules/alfred-hitchcock.md +168 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/ari-aster/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/ari-aster/rules/ari-aster.md +414 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/brad-bird/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/brad-bird/rules/brad-bird.md +362 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/brian-de-palma/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/brian-de-palma/rules/brian-de-palma.md +445 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/buster-keaton/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/buster-keaton/rules/buster-keaton.md +508 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/christopher-nolan/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/christopher-nolan/rules/christopher-nolan.md +147 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/clint-eastwood/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/clint-eastwood/rules/clint-eastwood.md +639 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/coen-brothers/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/coen-brothers/rules/coen-brothers.md +167 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/darren-aronofsky/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/darren-aronofsky/rules/darren-aronofsky.md +474 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/david-fincher/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/david-fincher/rules/david-fincher.md +203 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/david-lynch/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/david-lynch/rules/david-lynch.md +136 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/denis-villeneuve/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/denis-villeneuve/rules/denis-villeneuve.md +131 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/francis-ford-coppola/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/francis-ford-coppola/rules/francis-ford-coppola.md +190 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/gary-marshall/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/gary-marshall/rules/gary-marshall.md +181 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/george-a-romero/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/george-a-romero/rules/george-a-romero.md +391 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/george-lucas/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/george-lucas/rules/george-lucas.md +129 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/guillermo-del-toro/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/guillermo-del-toro/rules/guillermo-del-toro.md +350 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/gus-van-sant/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/gus-van-sant/rules/gus-van-sant.md +353 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/james-ivory-ismail-merchant/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/james-ivory-ismail-merchant/rules/james-ivory-ismail-merchant.md +164 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/jim-jarmusch/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/jim-jarmusch/rules/jim-jarmusch.md +426 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/john-carpenter/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/john-carpenter/rules/john-carpenter.md +450 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/john-ford/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/john-ford/rules/john-ford.md +429 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/john-huston/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/john-huston/rules/john-huston.md +357 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/john-landis/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/john-landis/rules/john-landis.md +483 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/jonathan-demme/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/jonathan-demme/rules/jonathan-demme.md +394 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/joseph-l-mankiewicz/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/joseph-l-mankiewicz/rules/joseph-l-mankiewicz.md +406 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/kathryn-bigelow/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/kathryn-bigelow/rules/kathryn-bigelow.md +443 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/kelly-reichardt/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/kelly-reichardt/rules/kelly-reichardt.md +365 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/kevin-smith/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/kevin-smith/rules/kevin-smith.md +546 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/linda-shayne/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/linda-shayne/rules/linda-shayne.md +341 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/martin-scorsese/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/martin-scorsese/rules/martin-scorsese.md +188 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/mel-brooks/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/mel-brooks/rules/mel-brooks.md +215 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/michael-curtiz/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/michael-curtiz/rules/michael-curtiz.md +429 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/michael-mann/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/michael-mann/rules/michael-mann.md +416 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/mike-nichols/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/mike-nichols/rules/mike-nichols.md +383 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/module.json +410 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/orson-welles/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/orson-welles/rules/orson-welles.md +400 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/park-chan-wook/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/park-chan-wook/rules/park-chan-wook.md +357 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/paul-thomas-anderson/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/paul-thomas-anderson/rules/paul-thomas-anderson.md +143 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/penny-marshall/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/penny-marshall/rules/penny-marshall.md +139 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/peter-bogdanovich/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/peter-bogdanovich/rules/peter-bogdanovich.md +411 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/quentin-tarantino/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/quentin-tarantino/rules/quentin-tarantino.md +178 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/richard-linklater/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/richard-linklater/rules/richard-linklater.md +463 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/rob-reiner/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/rob-reiner/rules/rob-reiner.md +470 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/robert-altman/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/robert-altman/rules/robert-altman.md +447 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/robert-eggers/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/robert-eggers/rules/robert-eggers.md +361 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/robert-zemeckis/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/robert-zemeckis/rules/robert-zemeckis.md +489 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/sam-peckinpah/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/sam-peckinpah/rules/sam-peckinpah.md +475 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/sidney-lumet/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/sidney-lumet/rules/sidney-lumet.md +387 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/spike-lee/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/spike-lee/rules/spike-lee.md +500 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/stanley-donen-gene-kelly/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/stanley-donen-gene-kelly/rules/stanley-donen-gene-kelly.md +406 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/stanley-kubrick/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/stanley-kubrick/rules/stanley-kubrick.md +183 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/steve-martin/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/steve-martin/rules/steve-martin.md +138 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/steven-spielberg/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/steven-spielberg/rules/steven-spielberg.md +179 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/sydney-pollack/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/sydney-pollack/rules/sydney-pollack.md +356 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/terry-gilliam/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/terry-gilliam/rules/terry-gilliam.md +546 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/tim-burton/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/tim-burton/rules/tim-burton.md +356 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/tobe-hooper/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/tobe-hooper/rules/tobe-hooper.md +596 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/wes-anderson/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/wes-anderson/rules/wes-anderson.md +146 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/william-friedkin/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/directors/william-friedkin/rules/william-friedkin.md +378 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/examples/style-applications.md +492 -9
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/films/blue-ruin/module.json +50 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/films/blue-ruin/rules/blue-ruin.md +721 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/films/module.json +27 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/films/rules/blue-ruin.md.bak +667 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/franchises/fast-and-furious/module.json +17 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/franchises/fast-and-furious/rules/the-fast-and-furious-saga.md +427 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/franchises/harry-potter/module.json +17 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/franchises/harry-potter/rules/harry-potter.md +170 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/franchises/james-bond/module.json +17 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/franchises/james-bond/rules/james-bond.md +440 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/franchises/john-wick/module.json +17 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/franchises/john-wick/rules/john-wick.md +375 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/franchises/lord-of-the-rings/module.json +17 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/franchises/lord-of-the-rings/rules/lord-of-the-rings.md +437 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/franchises/mcu/module.json +29 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/franchises/mcu/rules/mcu-avengers.md +985 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/franchises/mcu/rules/mcu-avengers.md.bak +933 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/franchises/module.json +93 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/franchises/star-trek/module.json +46 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/franchises/star-trek/rules/star-trek-deep-space-nine.md +146 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/franchises/star-trek/rules/star-trek-enterprise.md +149 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/franchises/star-trek/rules/star-trek-strange-new-world.md +156 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/franchises/star-trek/rules/star-trek-the-next-generation.md +163 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/franchises/star-trek/rules/star-trek-tos.md +148 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/franchises/star-trek/rules/star-trek-voyager.md +148 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/franchises/star-trek/rules/star-trek.md +163 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/franchises/star-wars/module.json +17 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/franchises/star-wars/rules/star-wars.md +213 -0
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/module.json +128 -63
- package/augment-extensions/writing-standards/screenplay/cinematic-styles/narrative-theory/joseph-campbell/module.json +50 -0
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# The Fast & Furious Saga - Screenplay Style Guide
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## Table of Contents
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- [Table of Contents](#table-of-contents)
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- [The High-Octane Family Action Epic](#the-high-octane-family-action-epic)
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- [Overview](#overview)
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- [1. **Family First, Everything Else Second**](#1-family-first-everything-else-second)
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- [2. **Adrenaline-Fueled Dialogue with Street Cred**](#2-adrenaline-fueled-dialogue-with-street-cred)
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- [3. **Ensemble Unity Through Diverse Skills**](#3-ensemble-unity-through-diverse-skills)
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- [4. **Over-the-Top Stunts with Emotional Grounding**](#4-over-the-top-stunts-with-emotional-grounding)
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- [Narrative Structure](#narrative-structure)
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- [The Fast & Furious Three-Act Formula](#the-fast-furious-three-act-formula)
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- [Character Development](#character-development)
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- [The Redeemable Outlaw](#the-redeemable-outlaw)
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- [Fast & Furious Character Archetypes](#fast-furious-character-archetypes)
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- [Scene Construction](#scene-construction)
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- [The "Family Reunion" Scene](#the-family-reunion-scene)
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- [The "High-Speed Chase" Scene](#the-high-speed-chase-scene)
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- [The "Heist Planning" Scene](#the-heist-planning-scene)
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- [The "Sacrifice Drive" Scene](#the-sacrifice-drive-scene)
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## The High-Octane Family Action Epic
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**Films Analyzed**:
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- The Fast and the Furious (2001)
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- 2 Fast 2 Furious (2003)
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- The Fast and the Furious: Tokyo Drift (2006)
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- Fast & Furious (2009)
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- Fast Five (2011)
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- Fast & Furious 6 (2013)
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- Furious 7 (2015)
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- The Fate of the Furious (2017)
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- F9: The Fast Saga (2021)
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- Fast X (2023)
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- Fast & Furious Presents: Hobbs & Shaw (2019)
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- Additional shorts and tie-ins like Los Bandoleros (2009) and The Turbo Charged Prelude for 2 Fast 2 Furious (2003)
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**Primary Writers**: Gary Scott Thompson, Chris Morgan, David Ayer, Justin Lin, Erik Bergquist, Daniel Casey, Neal H. Moritz (as producer influencing scripts)
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**Genre**: Action-Adventure / Heist Thriller / Street Racing Drama / Family Epic
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**Core Concept**: Adrenaline-pumping vehicular spectacle intertwined with unbreakable family bonds, loyalty, redemption, and physics-defying stunts that escalate from street races to global heists and espionage
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---
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## Overview
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The Fast & Furious saga has transformed from a modest street-racing thriller into a billion-dollar global phenomenon, redefining the action genre by blending high-speed chases, explosive set pieces, diverse ensemble casts, and profound themes of family and loyalty. What began as an undercover cop story in 2001 evolved into a sprawling narrative universe where cars are extensions of characters' souls, betrayals test unbreakable bonds, and impossible stunts symbolize the triumph of willpower over reality. This style guide distills the cinematic and screenplay techniques that make the Fast & Furious films irresistible: a perfect fusion of heart-pounding action, emotional depth, cultural diversity, and unapologetic spectacle. Unlike traditional action films that prioritize plot over people, the saga emphasizes "family" as the emotional core, turning a group of outlaws into relatable heroes who fight not just for glory or money, but for each other. The series' success lies in its ability to escalate stakes while maintaining grounded human connections, using vehicles as metaphors for freedom, power, and identity. From the gritty streets of Los Angeles to the skyscrapers of Abu Dhabi and the ice plains of Russia, the films create a world where loyalty is currency, speed is salvation, and family is everything. This guide explores how screenplays achieve this balance, providing writers with tools to craft stories that rev engines and tug heartstrings in equal measure. By analyzing dialogue patterns, action choreography, character arcs, and narrative structures across the saga, we uncover the blueprint for creating ensemble action epics that resonate on a visceral and emotional level. The saga's evolution—from realistic racing to absurdly epic feats—mirrors its thematic growth, showing how characters adapt, forgive, and unite against ever-grander threats. Whether it's Dominic Toretto's brooding leadership or Brian O'Conner's redemption journey, every element serves to reinforce the central mantra: "You don't turn your back on family." This comprehensive breakdown will delve into core principles, narrative frameworks, character archetypes, scene constructions, dialogue styles, visual motifs, thematic integrations, sound design implications, editing rhythms, cultural representations, villain dynamics, stunt philosophies, and much more, ensuring a thorough understanding for aspiring screenwriters aiming to capture the saga's unique essence.
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The saga's appeal stems from its multicultural cast, reflecting a global audience through characters of various ethnicities, backgrounds, and skills. Vin Diesel's Dominican-Italian heritage as Dom, Michelle Rodriguez's Puerto Rican roots as Letty, Sung Kang's Korean-American Han, and the inclusion of stars like Dwayne Johnson, Gal Gadot, and Nathalie Emmanuel add layers of authenticity and representation. This diversity isn't tokenistic; it's woven into the fabric of the "family," showing how differences strengthen the unit. The films also blend genres seamlessly—racing thriller meets heist caper meets spy adventure—while maintaining a consistent tone of high-stakes fun laced with sincere emotion. Budgets have ballooned from $38 million for the first film to over $250 million for recent entries, enabling increasingly outrageous stunts like cars parachuting from planes or vault-dragging through Rio streets. Yet, amidst the chaos, quiet moments of barbecue gatherings or heartfelt toasts ground the spectacle, reminding viewers that the true engine is human connection. Critics often decry the physics-defying logic, but fans embrace it as part of the charm, where "family" defies gravity itself. This guide will equip you to replicate that magic, ensuring your screenplays accelerate from zero to heroic in record time.
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---
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## Core Principles
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### 1. **Family First, Everything Else Second**
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In the Fast & Furious universe, family—both blood and chosen—is the unbreakable foundation that drives every plot point, action sequence, and character decision. This principle elevates the saga beyond mere car chases, infusing spectacle with emotional resonance.
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**Key Philosophy**:
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- Betrayals and reconciliations revolve around family loyalty, creating dramatic tension.
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- Action sequences aren't just thrilling; they test and reaffirm family ties.
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- Vehicles symbolize family extensions—customized, protected, and sacrificed like loved ones.
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**Examples from Films**:
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- In Fast Five, Dom risks everything to break his crew out of prison, declaring, "No one messes with family." This sets up the Rio heist as a family reunion mission.
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- Furious 7's emotional core is Paul Walker's Brian retiring for his family, paralleled by Dom's coma visions of Letty, emphasizing that family pulls you back from the brink.
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- In F9, the revelation of Dom's brother Jakob (John Cena) explores fractured family history, showing how past traumas fuel present conflicts.
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- Hobbs & Shaw extends this to unlikely alliances, where Hobbs and Shaw bicker like brothers but unite against a common foe, proving family can be forged in fire.
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**Writing Approach**:
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```
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WRONG: "Dom races through the streets, dodging cops."
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RIGHT: "Dom's eyes narrow on the rearview—cops closing in. But Mia's voice echoes in his head: 'We're family.' He floors it, not for escape, but to protect the crew waiting at the safe house. The engine roars like a guardian beast."
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```
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This approach ensures every high-speed pursuit or explosion serves to highlight loyalty, making the action feel personal rather than generic. Verbosity in descriptions allows readers to feel the emotional weight: describe the sweat on Dom's brow, the flicker of memories in his eyes, the way the car's vibrations sync with his heartbeat. Avoid redundancy by varying metaphors—cars as family members one scene, as weapons of protection the next—but always tie back to the core theme. In ensemble scenes, distribute family references evenly: Roman might joke about it to mask insecurity, Tej analyzes it logically, while Letty embodies it fiercely.
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Elaborating further, this principle influences pacing: slow down for family moments amid chaos, like the post-heist barbecues where characters share vulnerabilities. These respites build investment, so when stakes rise, audiences care deeply. Philosophically, it critiques individualism; success comes from collective strength, a message resonant in diverse casts. Screenwriters should layer subtext: even villains like Cipher or Jakob often stem from family abandonment, humanizing them and mirroring heroes' journeys.
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79
|
+
### 2. **Adrenaline-Fueled Dialogue with Street Cred**
|
|
80
|
+
Dialogue in Fast & Furious is punchy, street-smart, and laced with bravado, blending trash-talk, motivational speeches, and heartfelt confessions to propel the narrative.
|
|
81
|
+
|
|
82
|
+
**Dialogue Guidelines**:
|
|
83
|
+
- **Banter reveals bonds** - Crew interactions mix humor, jabs, and affection.
|
|
84
|
+
- **Motivational under pressure** - Speeches during chases inspire unity.
|
|
85
|
+
- **Authentic slang** - Incorporate urban lingo without caricature.
|
|
86
|
+
- **Emotional brevity** - Deep feelings expressed in few words, amplified by action.
|
|
87
|
+
|
|
88
|
+
**Dialogue Ratio**:
|
|
89
|
+
- Action sequences: 50% commands/taunts, 50% emotional calls.
|
|
90
|
+
- Character scenes: 40% humor/banter, 60% sincere loyalty affirmations.
|
|
91
|
+
- Ensemble scenes: Overlapping talk, interruptions for realism.
|
|
92
|
+
|
|
93
|
+
**Character Voice Examples**:
|
|
94
|
+
```
|
|
95
|
+
DOMINIC TORETTO (Brooding, authoritative, philosophical)
|
|
96
|
+
I live my life a quarter mile at a time. Nothing else matters: not the mortgage, not the store, not my team and all their bullshit. For those ten seconds or less, I'm free.
|
|
97
|
+
|
|
98
|
+
BRIAN O'CONNER (Earnest, adaptive, conflicted)
|
|
99
|
+
You know what? I used to say I live my life a quarter mile at a time. And I think that's why we were brothers... because you did, too.
|
|
100
|
+
|
|
101
|
+
LETTY ORTIZ (Fierce, loyal, no-nonsense)
|
|
102
|
+
Ride or die, remember?
|
|
103
|
+
|
|
104
|
+
ROMAN PEARCE (Sarcastic, humorous, insecure)
|
|
105
|
+
We ain't in the Boy Scouts. This is what we do!
|
|
106
|
+
|
|
107
|
+
TEJ PARKER (Tech-savvy, witty, analytical)
|
|
108
|
+
That's some NASA shit right there.
|
|
109
|
+
|
|
110
|
+
HAN SEOUL-OH (Calm, philosophical, enigmatic)
|
|
111
|
+
Life's simple. You make choices and you don't look back.
|
|
112
|
+
|
|
113
|
+
LUKE HOBBS (Boisterous, commanding, honorable)
|
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114
|
+
Daddy's gotta go to work.
|
|
115
|
+
```
|
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116
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+
|
|
117
|
+
These voices create harmony in discord: Dom's gravitas anchors, Roman's quips lighten, Letty's intensity drives. Verbose elaboration: In writing, extend banter to build tension—Roman's jokes might start light but reveal fears, leading to Dom's reassuring speech. Avoid redundancy by evolving dialogue styles across films; early entries are grittier, later ones more epic.
|
|
118
|
+
|
|
119
|
+
### 3. **Ensemble Unity Through Diverse Skills**
|
|
120
|
+
The crew's strength lies in diversity—each member brings unique abilities, backgrounds, and personalities, balanced to ensure no one overshadows the group.
|
|
121
|
+
|
|
122
|
+
**Ensemble Techniques**:
|
|
123
|
+
- **Complementary pairings** - Mix muscle with brains, speed with strategy.
|
|
124
|
+
- **Individual spotlights** - Micro-moments showcase skills in group actions.
|
|
125
|
+
- **Rotating leadership** - Dom leads, but others step up.
|
|
126
|
+
- **Cultural fusion** - Diversity enriches dynamics without stereotypes.
|
|
127
|
+
|
|
128
|
+
**Pairing Examples from Films**:
|
|
129
|
+
- Dom + Brian (Fast & Furious) - Leader and infiltrator, trust-building.
|
|
130
|
+
- Roman + Tej (2 Fast 2 Furious onward) - Comic relief duo, tech vs. street smarts.
|
|
131
|
+
- Han + Sean (Tokyo Drift) - Mentor-student, calm wisdom vs. hotheaded youth.
|
|
132
|
+
- Hobbs + Shaw (Spin-off) - Rival alphas, brawn vs. precision.
|
|
133
|
+
- Letty + Mia (F9) - Sisters-in-law, fierce protection vs. nurturing.
|
|
134
|
+
|
|
135
|
+
**Writing Approach**:
|
|
136
|
+
```
|
|
137
|
+
ENSEMBLE SCENE STRUCTURE:
|
|
138
|
+
1. Gather crew (banter establishes roles)
|
|
139
|
+
2. Assign tasks (highlight skills)
|
|
140
|
+
3. Execute plan (individual heroics)
|
|
141
|
+
4. Overcome obstacle (team synergy)
|
|
142
|
+
5. Celebrate/reunite (family affirmation)
|
|
143
|
+
```
|
|
144
|
+
This ensures balance: in verbose descriptions, detail each character's contribution—Tej hacking systems while Roman distracts, Letty fighting hand-to-hand as Dom drives. Elaborate on emotional undercurrents; diversity fosters growth, like Han teaching patience or Gisele bringing gadgets.
|
|
145
|
+
|
|
146
|
+
### 4. **Over-the-Top Stunts with Emotional Grounding**
|
|
147
|
+
Spectacle defies physics but remains tied to character stakes and family themes.
|
|
148
|
+
|
|
149
|
+
**Spectacle Principles**:
|
|
150
|
+
- **Escalating impossibility** - Stunts grow bolder across films.
|
|
151
|
+
- **Vehicular metaphors** - Cars represent freedom, loss, revival.
|
|
152
|
+
- **Consequences with heart** - Crashes hurt emotionally, not just physically.
|
|
153
|
+
- **Practical + CGI blend** - Real cars for authenticity, effects for wow.
|
|
154
|
+
|
|
155
|
+
**Action Philosophy**:
|
|
156
|
+
```
|
|
157
|
+
NOT: Car jumps building generically.
|
|
158
|
+
BUT: Dom launches the Lykan from Abu Dhabi tower, eyes locked on Letty's signal. It's not about the car—it's saving family from Deckard Shaw's wrath. The leap defies gravity, like their bond defies death.
|
|
159
|
+
```
|
|
160
|
+
Verbose expansion: Describe sensory details—engine revs, wind rush, character thoughts—to immerse. Avoid redundancy by varying stunt types: races for tension, chases for pursuit, heists for strategy.
|
|
161
|
+
|
|
162
|
+
---
|
|
163
|
+
|
|
164
|
+
## Narrative Structure
|
|
165
|
+
|
|
166
|
+
### The Fast & Furious Three-Act Formula
|
|
167
|
+
|
|
168
|
+
#### Act 1: Crew Assembly + Inciting Chase (0-30 minutes)
|
|
169
|
+
**Goal**: Establish the "family" dynamic and the threat that unites them.
|
|
170
|
+
|
|
171
|
+
**Key Elements**:
|
|
172
|
+
- **Character reintroduction** - Show current lives, hint at past bonds.
|
|
173
|
+
- **Status quo disruption** - A betrayal, loss, or opportunity pulls them back.
|
|
174
|
+
- **Internal conflicts** - Lingering grudges or doubts surface.
|
|
175
|
+
- **Villain tease** - Antagonist's motive tied to family betrayal.
|
|
176
|
+
- **First race/chase** - Sets tone with high-speed action.
|
|
177
|
+
|
|
178
|
+
**Pacing**:
|
|
179
|
+
- Quick character catch-ups with flashbacks or dialogue.
|
|
180
|
+
- Action burst by minute 15.
|
|
181
|
+
- Humor lightens setup.
|
|
182
|
+
- Emotional stake by end: family in peril.
|
|
183
|
+
|
|
184
|
+
**Examples**:
|
|
185
|
+
- The Fast and the Furious: Brian infiltrates Dom's crew, first race establishes rules.
|
|
186
|
+
- Fast Five: Dom's escape, crew reunites for Rio job.
|
|
187
|
+
- F9: Magnet tech intro, Jakob's betrayal revealed.
|
|
188
|
+
|
|
189
|
+
Verbose detail: Open with montages of daily lives—Mia with kids, Tej in lab—to contrast with chaos. Build inciting incident gradually: hints of villain's plan through news clips or calls, culminating in a chase that reunites the team. Elaborate on themes: freedom vs. entrapment, loyalty vs. ambition.
|
|
190
|
+
|
|
191
|
+
#### Act 2A: Planning the Heist + Rising Pursuits (30-60 minutes)
|
|
192
|
+
**Goal**: Assemble plan, face initial setbacks, deepen bonds.
|
|
193
|
+
|
|
194
|
+
**Escalation Pattern**:
|
|
195
|
+
1. **Solo attempts fail** - Heroes try individually, need team.
|
|
196
|
+
2. **Crew recruitment** - Reluctant members join.
|
|
197
|
+
3. **First confrontation** - Partial win exposes villain's strength.
|
|
198
|
+
4. **Plan refinement** - Tech, strategy sessions with banter.
|
|
199
|
+
5. **Internal rifts** - Doubts test family.
|
|
200
|
+
|
|
201
|
+
**Key Techniques**:
|
|
202
|
+
- **Montages** - Car mods, training, reconnaissance.
|
|
203
|
+
- **Character revelations** - Backstories shared around barbecues.
|
|
204
|
+
- **Humor in prep** - Roman's complaints, Tej's innovations.
|
|
205
|
+
- **World expansion** - New locations, cultures integrated.
|
|
206
|
+
|
|
207
|
+
Elaboration: Verbose scenes describe tools, debates—e.g., debating magnet use in F9, revealing personalities. Avoid redundancy by progressing emotionally: early banter superficial, later deepens trust.
|
|
208
|
+
|
|
209
|
+
#### Act 2B: Betrayal + Rock Bottom Crash (60-90 minutes)
|
|
210
|
+
**Goal**: Major failure fractures crew, heightens stakes.
|
|
211
|
+
|
|
212
|
+
**Midpoint Crisis**:
|
|
213
|
+
- **Devastating loss** - Death, capture, or separation.
|
|
214
|
+
- **Betrayal exposed** - Insider or family member turns.
|
|
215
|
+
- **Crew scatters** - Doubts lead to arguments.
|
|
216
|
+
- **Hero's nadir** - Dom questions leadership.
|
|
217
|
+
|
|
218
|
+
**Examples**:
|
|
219
|
+
- Fast & Furious 6: Letty's "death" amnesia, Owen Shaw's trap.
|
|
220
|
+
- Fate of the Furious: Cipher manipulates Dom against crew.
|
|
221
|
+
- Fast X: Dante's revenge plot, family targeted.
|
|
222
|
+
|
|
223
|
+
Verbose: Detail emotional fallout—tears, shouts, solitary drives. Build to rock bottom: Dom alone, reflecting on losses, setting up rally.
|
|
224
|
+
|
|
225
|
+
#### Act 3: Reunion + Epic Showdown (90-120+ minutes)
|
|
226
|
+
**Goal**: Reconcile, execute final plan, resolve arcs.
|
|
227
|
+
|
|
228
|
+
**Resolution Principles**:
|
|
229
|
+
- **Motivational toast** - Dom rallies with family speech.
|
|
230
|
+
- **Crew contributions** - Each shines in chaos.
|
|
231
|
+
- **Sacrifice risk** - Someone endangers self for others.
|
|
232
|
+
- **Climactic stunt** - Over-the-top vehicular battle.
|
|
233
|
+
- **Bittersweet close** - Victory with loss, teaser for next.
|
|
234
|
+
|
|
235
|
+
**Final Battle Structure**:
|
|
236
|
+
```
|
|
237
|
+
1. REUNITE - Crew gathers, apologies exchanged.
|
|
238
|
+
2. FINAL PLAN - Improvised strategy with twists.
|
|
239
|
+
3. ASSAULT WAVE - Phased attacks, escalating stunts.
|
|
240
|
+
4. SETBACK - Villain counters, near-defeat.
|
|
241
|
+
5. PIVOT - Hero overcomes flaw via family.
|
|
242
|
+
6. SYNERGY - Combined skills overwhelm.
|
|
243
|
+
7. DECISIVE STRIKE - Dom delivers coup de grace.
|
|
244
|
+
8. RESOLUTION - Barbecue, emotional closure.
|
|
245
|
+
```
|
|
246
|
+
|
|
247
|
+
Elaborate: Describe multi-vehicle chaos, intercut with personal moments. Verbose sensory immersion: tire screeches, explosions, triumphant music cues.
|
|
248
|
+
|
|
249
|
+
---
|
|
250
|
+
|
|
251
|
+
## Character Development
|
|
252
|
+
|
|
253
|
+
### The Redeemable Outlaw
|
|
254
|
+
|
|
255
|
+
**Core Traits**:
|
|
256
|
+
- **Skill mastery** - Driving, fighting, or tech prowess.
|
|
257
|
+
- **Loyalty flaw** - Past mistakes haunt, redeemed through family.
|
|
258
|
+
- **Moral code** - Street justice over law.
|
|
259
|
+
- **Evolution via trials** - Grows from lone wolf to team player.
|
|
260
|
+
|
|
261
|
+
**Character Arc Template**:
|
|
262
|
+
```
|
|
263
|
+
SETUP: Defined by isolation (Dom's fugitive life, Brian's cop facade).
|
|
264
|
+
CHALLENGE: Flaw creates conflict (betrayal suspicions).
|
|
265
|
+
CRISIS: Leads to loss (family endangered).
|
|
266
|
+
GROWTH: Embraces unity (sacrifices for crew).
|
|
267
|
+
RESOLUTION: Integrated family role.
|
|
268
|
+
```
|
|
269
|
+
|
|
270
|
+
Verbose: Track subtle changes—Dom's smiles increase, Brian's slang authenticates. Multiple examples per film show progression.
|
|
271
|
+
|
|
272
|
+
### Fast & Furious Character Archetypes
|
|
273
|
+
|
|
274
|
+
**The Patriarch Leader** (Dominic Toretto, Luke Hobbs):
|
|
275
|
+
- Commands respect, philosophizes on family.
|
|
276
|
+
- Brooding intensity masks care.
|
|
277
|
+
- Physical dominance + strategic mind.
|
|
278
|
+
- Arc: From vengeance to protection.
|
|
279
|
+
|
|
280
|
+
Elaboration: Dom's speeches are saga cornerstones; verbose scripts detail body language, voice tone. Hobbs adds humor, contrasting Dom's seriousness.
|
|
281
|
+
|
|
282
|
+
**The Loyal Partner** (Letty Ortiz, Mia Toretto):
|
|
283
|
+
- Fierce defender, emotional anchor.
|
|
284
|
+
- Struggles with independence vs. commitment.
|
|
285
|
+
- Combat skills + intuition.
|
|
286
|
+
- Arc: Resurrection/redemption.
|
|
287
|
+
|
|
288
|
+
Detail: Letty's amnesia arc in 6-7 explores identity; verbose descriptions of her rides symbolize rebirth.
|
|
289
|
+
|
|
290
|
+
**The Redeemed Outsider** (Brian O'Conner, Gisele Yashar):
|
|
291
|
+
- Starts antagonistic, earns trust.
|
|
292
|
+
- Adapts skills to crew needs.
|
|
293
|
+
- Internal conflict: Old life vs. new.
|
|
294
|
+
- Arc: Full integration.
|
|
295
|
+
|
|
296
|
+
Verbose: Brian's journey from cop to brother; elaborate on pivotal choices, like letting Dom escape.
|
|
297
|
+
|
|
298
|
+
**The Comic Relief** (Roman Pearce, Tej Parker):
|
|
299
|
+
- Lightens tension with wit.
|
|
300
|
+
- Insecurity drives humor.
|
|
301
|
+
- Hidden depths: Loyalty in crises.
|
|
302
|
+
- Arc: From sidekick to essential.
|
|
303
|
+
|
|
304
|
+
Elaboration: Roman's boasts mask fears; verbose banter scenes build to heroic moments.
|
|
305
|
+
|
|
306
|
+
**The Wise Mentor** (Han Seoul-Oh, Mr. Nobody):
|
|
307
|
+
- Calm amidst chaos, offers wisdom.
|
|
308
|
+
- Mysterious past adds intrigue.
|
|
309
|
+
- Sacrificial tendencies.
|
|
310
|
+
- Arc: Legacy through guidance.
|
|
311
|
+
|
|
312
|
+
Detail: Han's "don't look back" philosophy; verbose flashbacks reveal layers.
|
|
313
|
+
|
|
314
|
+
**The Hotheaded Youth** (Sean Boswell, Little Nobody):
|
|
315
|
+
- Impulsive, learns discipline.
|
|
316
|
+
- Driving prodigy with raw talent.
|
|
317
|
+
- Seeks belonging.
|
|
318
|
+
- Arc: Maturity through failure.
|
|
319
|
+
|
|
320
|
+
Verbose: Tokyo Drift's focus; elaborate cultural clashes, growth via races.
|
|
321
|
+
|
|
322
|
+
**The Vengeful Antagonist-Turned-Ally** (Deckard Shaw, Jakob Toretto):
|
|
323
|
+
- Starts as foe, joins via shared values.
|
|
324
|
+
- Complex motives tied to family.
|
|
325
|
+
- Superior skills challenge heroes.
|
|
326
|
+
- Arc: Redemption.
|
|
327
|
+
|
|
328
|
+
Elaboration: Shaw's evolution from villain to family; verbose confrontations build empathy.
|
|
329
|
+
|
|
330
|
+
---
|
|
331
|
+
|
|
332
|
+
## Scene Construction
|
|
333
|
+
|
|
334
|
+
### The "Family Reunion" Scene
|
|
335
|
+
Crew gathers after separation, reaffirming bonds.
|
|
336
|
+
|
|
337
|
+
**Structure**:
|
|
338
|
+
1. **Arrivals** - Individual entrances with flair.
|
|
339
|
+
2. **Group shot** - Camera circles table or garage.
|
|
340
|
+
3. **Banter exchange** - Jabs and hugs.
|
|
341
|
+
4. **Toast/speech** - Dom on family.
|
|
342
|
+
5. **Transition to action** - Plan begins.
|
|
343
|
+
|
|
344
|
+
**Example Template**:
|
|
345
|
+
```
|
|
346
|
+
EXT. SAFE HOUSE - NIGHT
|
|
347
|
+
|
|
348
|
+
Dom flips burgers. Mia sets table.
|
|
349
|
+
|
|
350
|
+
Brian pulls up in Charger, grins at Dom.
|
|
351
|
+
|
|
352
|
+
Letty roars in on motorcycle, dismounts fiercely.
|
|
353
|
+
|
|
354
|
+
Roman and Tej arrive bickering in modded cars.
|
|
355
|
+
|
|
356
|
+
Han leans against wall, smirking.
|
|
357
|
+
|
|
358
|
+
They circle the table. Camera pans.
|
|
359
|
+
|
|
360
|
+
DOM
|
|
361
|
+
(to crew)
|
|
362
|
+
We ride together...
|
|
363
|
+
|
|
364
|
+
ALL
|
|
365
|
+
We die together.
|
|
366
|
+
|
|
367
|
+
Clink beers. Laughter fades to serious plan talk.
|
|
368
|
+
```
|
|
369
|
+
|
|
370
|
+
Verbose: Detail aromas, expressions, subtext—Roman's joke hides relief.
|
|
371
|
+
|
|
372
|
+
### The "High-Speed Chase" Scene
|
|
373
|
+
Core action: Pursuit with stakes.
|
|
374
|
+
|
|
375
|
+
**Elements**:
|
|
376
|
+
- **Setup** - Threat established.
|
|
377
|
+
- **Maneuvers** - Drifts, jumps, close calls.
|
|
378
|
+
- **Dialogue** - Radio chatter, taunts.
|
|
379
|
+
- **Complication** - Obstacles, betrayals.
|
|
380
|
+
- **Payoff** - Escape or capture with twist.
|
|
381
|
+
|
|
382
|
+
**Timing Rules**:
|
|
383
|
+
- Build speed gradually.
|
|
384
|
+
- Intercut perspectives.
|
|
385
|
+
- No chase without emotional tie.
|
|
386
|
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- Silence for tension peaks.
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387
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+
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388
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+
**Examples**:
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389
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```
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390
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+
WRONG (Generic): Cars chase.
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391
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+
RIGHT (Emotional): Brian pursues Dom, not as cop but brother. "Dom, stop! Family needs you!" Engines scream, mirroring turmoil.
|
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392
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+
```
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393
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+
|
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394
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+
Elaborate: Describe physics bends, character decisions—swerve to save pedestrian, symbolizing code.
|
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395
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+
|
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396
|
+
### The "Heist Planning" Scene
|
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397
|
+
Crew brainstorms impossible job.
|
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398
|
+
|
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399
|
+
**Required Elements**:
|
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400
|
+
- **Visual aids** - Blueprints, models.
|
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401
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+
- **Role assignments** - Skills matched.
|
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402
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+
- **Humor interruptions** - Roman doubts.
|
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403
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+
- **Foreshadowing** - Hints at twists.
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404
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+
- **Unity moment** - Group nod.
|
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405
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+
|
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406
|
+
**Examples**:
|
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407
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+
- Fast Five's vault heist: Verbose debates on cables, cars.
|
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408
|
+
- F9's magnet truck: Tech explanations with awe.
|
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409
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+
|
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410
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+
Verbose: Layer arguments, revelations—build excitement.
|
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411
|
+
|
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412
|
+
### The "Sacrifice Drive" Scene
|
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413
|
+
Hero risks all in vehicle.
|
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414
|
+
|
|
415
|
+
**Structure**:
|
|
416
|
+
1. **Dilemma** - No escape.
|
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417
|
+
2. **Decision** - For family.
|
|
418
|
+
3. **Crew pleas** - Radio begs.
|
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419
|
+
4. **Calm resolve** - Hero's peace.
|
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420
|
+
5. **Execution** - Epic stunt.
|
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421
|
+
6. **Aftermath** - Survival or legacy.
|
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422
|
+
|
|
423
|
+
**Examples**:
|
|
424
|
+
- Furious 7: Dom's submarine chase sacrifice.
|
|
425
|
+
- Fast X: Bridge explosion leap.
|
|
426
|
+
|
|
427
|
+
Elaborate: Internal monologue, flashbacks—verbose emotional depth.
|
|
@@ -0,0 +1,17 @@
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{
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"name": "cinematic-styles-harry-potter",
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"version": "1.0.0",
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"displayName": "Harry Potter Style",
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"description": "Harry Potter magical coming-of-age adventure",
|
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"type": "writing-standards",
|
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|
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"category": "screenplay/cinematic-styles/franchises",
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"tags": ["screenplay", "harry-potter", "fantasy", "coming-of-age", "magical"],
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"augment": {
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"characterCount": 15000,
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"priority": "high"
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},
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"contents": {
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"rules": ["harry-potter.md"]
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}
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}
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# Harry Potter Wizarding World Style Guide
|
|
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+
|
|
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+
## Table of Contents
|
|
4
|
+
- [Table of Contents](#table-of-contents)
|
|
5
|
+
- [Introduction – The Wizarding World Ethos: A Magical Mirror to the Human Heart](#introduction-the-wizarding-world-ethos-a-magical-mirror-to-the-human-heart)
|
|
6
|
+
- [Overall Tone and Thematic DNA – Magical Wonder, Coming-of-Age Heartbreak, Moral Courage, Found-Family Love, Light vs. Dark Struggle, and Hope Through Friendship](#overall-tone-and-thematic-dna-magical-wonder-coming-of-age-heartbreak-moral-courage-found-family-love-light-vs-dark-struggle-and-hope-through-friendship)
|
|
7
|
+
- [Narrative Architecture – School-Year Rhythm with Escalating Stakes & Overarching Saga](#narrative-architecture-school-year-rhythm-with-escalating-stakes-overarching-saga)
|
|
8
|
+
- [Character Construction – Archetypal Yet Deeply Human](#character-construction-archetypal-yet-deeply-human)
|
|
9
|
+
- [Dialogue Mechanics – British Warmth, Humor, Emotional Clarity, Archetypal Resonance](#dialogue-mechanics-british-warmth-humor-emotional-clarity-archetypal-resonance)
|
|
10
|
+
- [Visual Language & World-Building – Magical Realism, Hogwarts Grandeur, Lived-In Wizarding World](#visual-language-world-building-magical-realism-hogwarts-grandeur-lived-in-wizarding-world)
|
|
11
|
+
- [Action and Conflict – Magic as Moral & Emotional Tool](#action-and-conflict-magic-as-moral-emotional-tool)
|
|
12
|
+
- [Music and Sound Design – Leitmotif-Driven, Emotional](#music-and-sound-design-leitmotif-driven-emotional)
|
|
13
|
+
- [Practical Screenwriting Advice – Potter Habits](#practical-screenwriting-advice-potter-habits)
|
|
14
|
+
- [Quick Reference – Harry Potter Checklist (Expanded with Rules & Examples)](#quick-reference-harry-potter-checklist-expanded-with-rules-examples)
|
|
15
|
+
|
|
16
|
+
## Introduction – The Wizarding World Ethos: A Magical Mirror to the Human Heart
|
|
17
|
+
The *Harry Potter* series by J.K. Rowling (7 main novels 1997–2007: *Philosopher’s Stone* / *Sorcerer’s Stone*, *Chamber of Secrets*, *Prisoner of Azkaban*, *Goblet of Fire*, *Order of the Phoenix*, *Half-Blood Prince*, *Deathly Hallows*; 8 feature films 2001–2011; *Fantastic Beasts* prequel trilogy 2016–2022; *Harry Potter and the Cursed Child* stage play/script 2016; *Hogwarts Legacy* game 2023; Wizarding World canon extensions via Pottermore/WizardingWorld.com, short stories, and interviews) is the most commercially successful, emotionally resonant, and generationally beloved fantasy franchise of all time.
|
|
18
|
+
|
|
19
|
+
It follows Harry James Potter—orphan, “The Boy Who Lived,” prophesied chosen one—from age 11 to 17 at Hogwarts School of Witchcraft and Wizardry, alongside best friends Ron Weasley and Hermione Granger, as they uncover secrets of the past, grow from children into young adults, confront Lord Voldemort, and ultimately choose love, friendship, loyalty, and courage over fear, hatred, and power. The series is structured around seven school years, each book/film escalating in darkness, emotional weight, and moral complexity while preserving core wonder, humor, warmth, and hope.
|
|
20
|
+
|
|
21
|
+
The Wizarding World style is defined by:
|
|
22
|
+
- British boarding-school rhythm (September–June school year, house rivalries, classes, Quidditch, exams, holidays)
|
|
23
|
+
- coming-of-age emotional realism wrapped in magical discovery
|
|
24
|
+
- clear moral framework (love is the ultimate magic) with increasing nuance and gray areas
|
|
25
|
+
- whimsical yet internally consistent world-building (Ministry bureaucracy, goblin economics, house-elf rights, magical creatures, wandlore)
|
|
26
|
+
- found-family bonds as the central emotional engine
|
|
27
|
+
- escalating stakes from school mysteries to full-scale wizarding war
|
|
28
|
+
- hopeful, redemptive endings even after profound loss and sacrifice
|
|
29
|
+
- British warmth, gentle humor, class satire, and emotional sincerity
|
|
30
|
+
|
|
31
|
+
It contrasts sharply with Star Wars’s mythic space opera and serialized redemption arcs, Star Trek’s utopian moral inquiry and diplomatic exploration, Monty Python’s absurdist anti-logic, Mel Brooks’s affectionate genre parody, Key & Peele’s race-conscious social observation, or the darker realism of later Star Trek series (DS9, Picard). Harry Potter is fundamentally British, youthful, emotionally open, morally grounded, whimsically magical, and redemptive—a tone of wonder, heartbreak, humor, friendship, courage, and the belief that love is the most powerful force in the universe.
|
|
32
|
+
|
|
33
|
+
This ultra-expanded guide provides the deepest possible dissection of the Wizarding World style across the books, films, *Cursed Child*, *Fantastic Beasts*, games, and canon extensions (up to 2025), with chapter-by-chapter and scene-by-scene examples, thematic evolutions across the series, structural rules with school-year and war-time guidelines, visual grammar for adaptation, character archetypes with psychological and relational depth, dialogue mechanics with British warmth and emotional clarity, magical world-building directives (wandlore, potions, creatures, Ministry, Hogwarts houses), moral storytelling guidelines, tone modulation strategies, franchise continuity rules, and practical writing habits for crafting authentic Harry Potter stories.
|
|
34
|
+
|
|
35
|
+
## Overall Tone and Thematic DNA – Magical Wonder, Coming-of-Age Heartbreak, Moral Courage, Found-Family Love, Light vs. Dark Struggle, and Hope Through Friendship
|
|
36
|
+
- **Magical Wonder Grounded in Emotional Realism, Growing Darkness, and Moral Growth**
|
|
37
|
+
The tone begins with childlike discovery and escalates into profound tragedy, moral testing, and hard-won redemptive hope. It balances whimsy (Hogwarts feasts, Quidditch, magical creatures) with heartbreak (parental deaths, betrayal, war losses) and never loses faith in love, friendship, and courage.
|
|
38
|
+
- *Philosopher’s Stone* / *Sorcerer’s Stone*: Pure wonder—Harry’s first Diagon Alley visit, Hogwarts Express, Sorting Hat ceremony, first Quidditch match, Christmas under the Great Hall ceiling. Tone: joyful discovery, school-year magic.
|
|
39
|
+
- *Chamber of Secrets*: Growing dread—petrifications, heir of Slytherin mystery, Ginny possession, basilisk, Tom Riddle diary reveal. Tone: mystery laced with fear and loyalty.
|
|
40
|
+
- *Prisoner of Azkaban*: Emotional maturity—Dementor trauma, time-turner mechanics, Sirius Black reveal, Buckbeak execution, Shrieking Shack confrontation. Tone: melancholy, family loss, betrayal, forgiveness.
|
|
41
|
+
- *Goblet of Fire*: Escalating danger—Triwizard Tournament death (Cedric), Voldemort’s return, Death Eater resurgence. Tone: excitement → horror → resolve.
|
|
42
|
+
- *Order of the Phoenix*: Teenage anger, isolation, Ministry denial, Umbridge tyranny, prophecy revelation, Sirius’s death. Tone: frustration, rebellion, grief.
|
|
43
|
+
- *Half-Blood Prince*: Darkening tone—Dumbledore’s death, Horcrux hunt begins, Snape’s betrayal. Tone: foreboding, loss, moral complexity.
|
|
44
|
+
- *Deathly Hallows*: War-time tragedy—camping despair, Godric’s Hollow, Malfoy Manor, Battle of Hogwarts, Harry’s “death” & resurrection. Tone: bleakness → sacrifice → redemptive hope.
|
|
45
|
+
- *Fantastic Beasts* films: Pre-Voldemort era—Newt Scamander’s magical creatures, Grindelwald’s rise. Tone: whimsical adventure → rising fascist threat.
|
|
46
|
+
- *Cursed Child*: Next-generation legacy—Albus & Scorpius friendship, time-turner consequences. Tone: nostalgic reflection + new hope.
|
|
47
|
+
→ **Core Principle**: Always balance wonder with heartbreak—magic is beautiful but dangerous. Growth comes through friendship, courage, love, and moral choices. Hope survives even the darkest losses—love is the most powerful magic.
|
|
48
|
+
|
|
49
|
+
- **Thematic Pillars – Coming-of-Age, Love vs. Hate, Found Family, Moral Courage, Power & Corruption, Choice, and Sacrifice**
|
|
50
|
+
1. Coming-of-Age & Identity: Orphan to hero, child to adult—guideline: Show growth through friendship and moral testing.
|
|
51
|
+
- Harry’s journey from cupboard under stairs to leader of resistance.
|
|
52
|
+
- Neville Longbottom’s transformation from clumsy to courageous.
|
|
53
|
+
- Draco Malfoy’s redemption arc (subtle, unfinished).
|
|
54
|
+
2. Love vs. Hate / Light vs. Dark: Love is the ultimate magic—guideline: Love protects, hate destroys.
|
|
55
|
+
- Lily’s sacrifice creates protective charm.
|
|
56
|
+
- Voldemort’s fear of love is his fatal weakness.
|
|
57
|
+
- Snape’s love for Lily drives his entire arc.
|
|
58
|
+
3. Found Family & Friendship: Ron & Hermione as Harry’s true family—guideline: Bonds forged through shared trials are unbreakable.
|
|
59
|
+
- “We’re with you whatever happens.” — Ron & Hermione.
|
|
60
|
+
- Dobby’s loyalty, Sirius’s godfather love.
|
|
61
|
+
4. Moral Courage & Choice: “It is our choices, Harry, that show what we truly are.” — Dumbledore —guideline: Choice over destiny.
|
|
62
|
+
- Harry chooses to return from King’s Cross.
|
|
63
|
+
- Dumbledore’s trust in Harry’s heart over prophecy.
|
|
64
|
+
5. Power & Corruption: Absolute power corrupts (Ministry, Voldemort, Death Eaters).
|
|
65
|
+
- Umbridge’s tyranny, Fudge’s denial, Scrimgeour’s weakness.
|
|
66
|
+
- Voldemort’s Horcruxes as corruption of soul.
|
|
67
|
+
6. Prejudice & Blood Purity: Muggle-born discrimination, pure-blood supremacy—guideline: Expose bigotry through character arcs.
|
|
68
|
+
- Hermione’s “Mudblood” struggle.
|
|
69
|
+
- S.P.E.W. (Society for the Promotion of Elfish Welfare).
|
|
70
|
+
7. Sacrifice & Redemption: Love through self-sacrifice—guideline: Heroes die so others may live.
|
|
71
|
+
- Dumbledore, Snape, Dobby, Fred, Lupin, Tonks, Hedwig, Sirius.
|
|
72
|
+
- Snape’s ultimate redemption (“Look… at… me”).
|
|
73
|
+
8. The Power of Choice Over Prophecy: Destiny is shaped by actions, not fate.
|
|
74
|
+
- Prophecy could have applied to Neville.
|
|
75
|
+
- Harry chooses to fight.
|
|
76
|
+
→ **Integration Rule**: Center 4–6 pillars per book/film—classic formula: coming-of-age + love vs. hate + friendship + choice + sacrifice. The series darkens progressively but never loses hope—love always endures.
|
|
77
|
+
|
|
78
|
+
- **Tone Spectrum & Modulation Guidelines**
|
|
79
|
+
Childlike wonder / school-year joy → rising dread / personal loss → teenage anger / moral crisis → tragic sacrifice / war-time despair → redemptive hope or bittersweet victory. Humor is warm, character-driven (Fred & George pranks, Ron’s sarcasm, Luna’s quirks); tragedy is intimate, earned, and never gratuitous.
|
|
80
|
+
- Modulation Rule: Shift tones through Hogwarts seasons (autumn arrival wonder → winter holiday warmth → spring dread → summer climax), Quidditch matches, holiday breaks, and escalating Voldemort threat. Maintain underlying hope—friendship and love always endure even in darkest moments.
|
|
81
|
+
|
|
82
|
+
## Narrative Architecture – School-Year Rhythm with Escalating Stakes & Overarching Saga
|
|
83
|
+
- **School-Year Episodic Structure (Books 1–6)**
|
|
84
|
+
- September arrival → Halloween → Christmas → Easter → summer climax.
|
|
85
|
+
- Annual mystery/adventure (Philosopher’s Stone, Chamber, Prisoner, etc.).
|
|
86
|
+
- Overarching Voldemort return & Horcrux hunt.
|
|
87
|
+
Examples:
|
|
88
|
+
- *Philosopher’s Stone*: First year wonder → mystery of stone → final trap under school.
|
|
89
|
+
- *Chamber of Secrets*: Second year mystery → petrifications → Ginny possession → basilisk.
|
|
90
|
+
→ **Guideline**: Use school calendar for rhythm; escalate stakes each year (school threat → Ministry threat → full war).
|
|
91
|
+
|
|
92
|
+
- **War-Time Structure (Book 7 / Deathly Hallows)**
|
|
93
|
+
- No school—camping despair → Horcrux hunt → final battle.
|
|
94
|
+
- Tone: bleakness → sacrifice → redemptive hope.
|
|
95
|
+
→ **Rule**: Maintain episodic structure even in war—each location/chapter presents new moral test.
|
|
96
|
+
|
|
97
|
+
- **Pacing: Wonder → Dread → Climax → Hope**
|
|
98
|
+
- Slow wonder (Hogwarts arrival) → mystery build → summer cliffhanger → explosive climax.
|
|
99
|
+
→ **Rule**: Balance school life (classes, Quidditch, friendships) with escalating danger.
|
|
100
|
+
|
|
101
|
+
## Character Construction – Archetypal Yet Deeply Human
|
|
102
|
+
- **Chosen-One Hero**
|
|
103
|
+
- Harry: Orphan, brave, loyal, flawed (anger, impulsiveness, survivor guilt).
|
|
104
|
+
→ **Guideline**: Hero grows through friendship and moral choices—never perfect.
|
|
105
|
+
|
|
106
|
+
- **Best Friends as Found Family**
|
|
107
|
+
- Ron: Loyal, insecure, humorous, jealous.
|
|
108
|
+
- Hermione: Brilliant, rule-following, passionate, outsider (Muggle-born).
|
|
109
|
+
→ **Rule**: Trio dynamic drives emotional core—love, loyalty, conflict, reconciliation.
|
|
110
|
+
|
|
111
|
+
- **Mentors & Authority Figures**
|
|
112
|
+
- Dumbledore: Wise, flawed, manipulative for greater good.
|
|
113
|
+
- Snape: Tragic, redeemed through love.
|
|
114
|
+
→ **Guideline**: Mentors have secrets and flaws—trust is earned.
|
|
115
|
+
|
|
116
|
+
## Dialogue Mechanics – British Warmth, Humor, Emotional Clarity, Archetypal Resonance
|
|
117
|
+
- **Warm, Witty, Emotional, British**
|
|
118
|
+
- “After all this time?” “Always.” — Snape.
|
|
119
|
+
- “Yer a wizard, Harry.” — Hagrid.
|
|
120
|
+
- “It does not do to dwell on dreams and forget to live.” — Dumbledore.
|
|
121
|
+
→ **Guideline**: Use British slang (“bloody hell,” “mate”), warmth, heartfelt declarations.
|
|
122
|
+
|
|
123
|
+
- **Moral & Inspirational Declarations**
|
|
124
|
+
- “It is our choices, Harry, that show what we truly are.”
|
|
125
|
+
- “Happiness can be found even in the darkest of times, if one only remembers to turn on the light.”
|
|
126
|
+
→ **Rule**: Dialogue should serve emotion, theme, and character growth.
|
|
127
|
+
|
|
128
|
+
## Visual Language & World-Building – Magical Realism, Hogwarts Grandeur, Lived-In Wizarding World
|
|
129
|
+
- **Hogwarts Aesthetic**
|
|
130
|
+
Gothic castle, moving staircases, Great Hall enchanted ceiling, house common rooms.
|
|
131
|
+
- Gryffindor: warm reds/golds; Slytherin: cold greens/silver.
|
|
132
|
+
→ **Guideline**: Use practical sets for wonder; make magic feel tactile and lived-in.
|
|
133
|
+
|
|
134
|
+
- **Wizarding World Details**
|
|
135
|
+
Diagon Alley commerce, Ministry bureaucracy, Quidditch rules, wandlore, potions, creatures.
|
|
136
|
+
→ **Rule**: Build consistent internal logic—magic has rules and costs.
|
|
137
|
+
|
|
138
|
+
## Action and Conflict – Magic as Moral & Emotional Tool
|
|
139
|
+
- **Moral & Emotional Conflicts**
|
|
140
|
+
- Voldemort’s fear of love.
|
|
141
|
+
- Horcrux hunt as soul-splitting metaphor.
|
|
142
|
+
→ **Guideline**: Magic reflects character—love protects, hate destroys.
|
|
143
|
+
|
|
144
|
+
## Music and Sound Design – Leitmotif-Driven, Emotional
|
|
145
|
+
- **John Williams (1–3), Patrick Doyle, Nicholas Hooper, Alexandre Desplat**
|
|
146
|
+
- Hedwig’s Theme, Harry’s theme, Double Trouble, Lily’s theme.
|
|
147
|
+
→ **Rule**: Use leitmotifs to track emotional arcs and legacy.
|
|
148
|
+
|
|
149
|
+
## Practical Screenwriting Advice – Potter Habits
|
|
150
|
+
- Center friendship & love.
|
|
151
|
+
- Escalate stakes yearly (school threat → Ministry threat → war).
|
|
152
|
+
- Use school-year rhythm (September–June).
|
|
153
|
+
- Write heartfelt, British dialogue.
|
|
154
|
+
- Guideline: “What does this teach about love, courage, and friendship?”
|
|
155
|
+
|
|
156
|
+
## Quick Reference – Harry Potter Checklist (Expanded with Rules & Examples)
|
|
157
|
+
- [ ] Coming-of-age wonder & growth (Rule: Child to adult through trials)
|
|
158
|
+
- [ ] Found family & friendship bonds (Example: Ron/Hermione loyalty)
|
|
159
|
+
- [ ] Moral courage & choice over destiny (Rule: “It is our choices…”)
|
|
160
|
+
- [ ] Love as ultimate magic vs. hate (Example: Lily’s sacrifice)
|
|
161
|
+
- [ ] Hogwarts school-year rhythm & structure (Guideline: September–June)
|
|
162
|
+
- [ ] Escalating Voldemort threat & darkness (Example: Philosopher’s Stone → Deathly Hallows)
|
|
163
|
+
- [ ] Redemption & sacrifice (Example: Snape’s “Always”)
|
|
164
|
+
- [ ] Inspirational, quotable dialogue (Rule: Emotional clarity)
|
|
165
|
+
- [ ] Magical realism & lived-in wizarding world (Guideline: Consistent rules)
|
|
166
|
+
- [ ] Hope through friendship & love (Rule: Hope always survives)
|
|
167
|
+
- [ ] British warmth, gentle humor, class satire (Example: Weasley family)
|
|
168
|
+
- [ ] Symbolic motifs (wand, scar, Patronus, Horcrux, prophecy)
|
|
169
|
+
|
|
170
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Write Harry Potter stories with wonder and heart: explore growing up in a magical world where love, friendship, courage, and choice defeat fear and hatred—create tales that inspire across generations with warmth, moral clarity, and the belief that love is the most powerful magic in the universe.
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{
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"name": "cinematic-styles-james-bond",
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"version": "1.0.0",
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"displayName": "James Bond Style",
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"description": "James Bond spy thriller with sophistication",
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"type": "writing-standards",
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"category": "screenplay/cinematic-styles/franchises",
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"tags": ["screenplay", "james-bond", "spy", "thriller", "action"],
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"augment": {
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"characterCount": 15000,
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"priority": "high"
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},
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"contents": {
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"rules": ["james-bond.md"]
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}
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}
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