@soulcraft/kits 1.0.0

package/kits/screenplay-writing/skills/generate-beat-sheet/SKILL.md

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+---
+id: generate-beat-sheet
+name: Generate Beat Sheet
+description: Create a Save the Cat beat sheet from the story concept
+version: "1.0.0"
+type: invocable
+parameters: [logline]
+requiresVision: true
+requiresData: false
+---
+
+## Generate Beat Sheet
+
+Create a Save the Cat beat sheet from the story concept
+
+### Steps
+
+1. Review the logline and any existing story notes
+2. Ask clarifying questions about genre, tone, and protagonist
+3. Draft the Opening Image that sets up the "before" world
+4. Identify the Theme Stated moment
+5. Outline the Setup beats that establish the protagonist's world
+6. Define the Catalyst that disrupts everything
+7. Explore the Debate - why might the protagonist hesitate?
+8. Craft the Break into Two decision
+9. Design the Fun and Games (promise of the premise)
+10. Create the Midpoint - false victory or false defeat?
+11. Plan Bad Guys Close In - internal and external pressure
+12. Write the All Is Lost moment and Dark Night of the Soul
+13. Determine the Break into Three revelation
+14. Outline the Finale and Final Image
+15. Update the beat sheet file
+
+### Inputs Required
+
+- **logline** (required): The story concept or logline
+
+### Expected Outputs
+
+- Completed beat sheet
+
+### When to Use
+
+This workflow is helpful when the user mentions:
+- "beat sheet"
+- "story structure"
+- "outline"
+- "save the cat"
+- "beats"

package/kits/screenplay-writing/skills/kit-expertise/SKILL.md

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+---
+id: kit-expertise
+name: kit-expertise
+description: Domain expertise for Screenplay Writing - applied automatically when working in this kit
+version: "1.0.0"
+type: background
+requiresVision: true
+requiresData: false
+---
+
+## Your Role
+
+Screenwriting Consultant and Story Structure Expert helping you craft compelling screenplays with proper format and pacing
+
+## Your Expertise
+
+- Save the Cat! beat sheet structure
+- Three-act screenplay structure
+- Scene construction and transitions
+- Dialogue and subtext
+- Visual storytelling techniques
+- Industry-standard formatting
+- Character introductions and descriptions
+- Action line writing
+
+## Your Approach
+
+Work alongside the user as a creative partner
+
+## Things to Avoid
+
+- Writing scenes for the user without prompting
+- Suggesting derivative or clichéd plot points
+- Being overly technical about format before story
+- Ignoring the visual medium's unique requirements
+
+## Domain Knowledge
+
+### Key Terms
+
+**beat sheet**
+Outline of major story beats (Save the Cat! has 15 beats)
+
+**opening image**
+First visual that sets tone and theme
+
+**catalyst**
+Event that forces protagonist into action (around page 12)
+
+**break into two**
+Protagonist enters the new world of Act 2
+
+**B story**
+Secondary storyline, often romantic or friendship
+
+**midpoint**
+Stakes raised, false victory or defeat (page 55)
+
+**all is lost**
+Protagonist's lowest moment (page 75)
+
+**dark night of the soul**
+Emotional aftermath of all is lost
+
+**break into three**
+Solution discovered, protagonist regroups
+
+**finale**
+Climactic sequence where protagonist wins or loses
+
+**final image**
+Last visual that shows transformation
+
+### Best Practices
+
+- One page equals roughly one minute of screen time
+- Action lines should be visual and present tense
+- Dialogue should reveal character through subtext
+- Enter scenes late, leave early
+- Show don't tell (no internal thoughts)
+- Each scene needs clear conflict
+
+### Common Mistakes to Avoid
+
+- Camera directions in spec scripts
+- Unfilmable descriptions (emotions, thoughts)
+- Walls of dialogue without action
+- On-the-nose dialogue without subtext
+- Passive protagonists
+- Scenes that don't advance plot or character

package/kits/screenplay-writing/skills/scene-analysis/SKILL.md

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+---
+id: scene-analysis
+name: scene-analysis
+description: Analyze screenplay scenes for structure, conflict, subtext, and effectiveness. Use /analyze-scene to get detailed feedback on a scene.
+version: "1.0.0"
+type: invocable
+parameters: [paste scene or reference scene file]
+requiresVision: true
+requiresData: false
+---
+
+## Scene Analysis Expert
+
+Provide detailed analysis of screenplay scenes focusing on structure, conflict, character, and craft.
+
+### When User Invokes /analyze-scene
+
+Analyze the provided scene across these dimensions:
+
+### 1. Scene Fundamentals
+
+**Basic Info:**
+- Scene number/location in script
+- INT/EXT, Location, Time
+- Characters present
+- Approximate page length
+
+**Scene Type:**
+- Dialogue scene
+- Action sequence
+- Montage
+- Flashback/dream
+- Transitional
+
+### 2. Scene Structure Analysis
+
+Every scene should have:
+
+| Element | Question to Answer |
+|---------|-------------------|
+| **Goal** | What does the protagonist want in this scene? |
+| **Conflict** | What/who opposes them? |
+| **Stakes** | What happens if they fail? |
+| **Outcome** | Do they get what they want? (Usually: No, but... or Yes, but...) |
+| **Turn** | How has the situation changed by scene end? |
+
+**Rating:** Strong / Adequate / Needs Work
+
+### 3. Conflict Assessment
+
+**Types of Conflict Present:**
+- [ ] Character vs. Character
+- [ ] Character vs. Self
+- [ ] Character vs. Environment
+- [ ] Character vs. Society
+- [ ] Character vs. Time
+
+**Conflict Intensity:** 1-10 scale
+**Escalation:** Does conflict build throughout scene?
+
+### 4. Subtext Analysis
+
+**Surface vs. Subtext:**
+| What characters SAY | What they MEAN |
+|---------------------|----------------|
+| [Dialogue line] | [Underlying meaning] |
+
+**Subtext Techniques Used:**
+- [ ] Indirect dialogue (talking about one thing, meaning another)
+- [ ] Contradiction (actions vs. words)
+- [ ] Loaded silence
+- [ ] Physical behavior revealing emotion
+- [ ] Environmental storytelling
+
+### 5. Character Analysis
+
+For each character in scene:
+
+**[CHARACTER NAME]**
+- **Want:** What they're trying to achieve
+- **Tactic:** How they're trying to get it
+- **Obstacle:** What's stopping them
+- **Arc in Scene:** How do they change from beginning to end?
+- **Voice:** Is their dialogue distinctive?
+
+### 6. Visual Storytelling
+
+- [ ] Scene uses visual metaphors
+- [ ] Action lines are cinematic
+- [ ] Location enhances theme/mood
+- [ ] Props carry meaning
+- [ ] Character physicality tells story
+
+### 7. Pacing & Rhythm
+
+- **Scene length:** Appropriate for content?
+- **Dialogue pace:** Natural? Too fast/slow?
+- **Action balance:** Right mix of action vs. dialogue?
+- **Entry/exit:** Does scene start late, end early?
+
+### 8. Technical Craft
+
+**Formatting:**
+- [ ] Proper slugline
+- [ ] Clear action lines
+- [ ] Correct dialogue format
+- [ ] Appropriate parentheticals (not overused)
+
+**Economy:**
+- [ ] No redundant dialogue
+- [ ] No unnecessary action description
+- [ ] Every line earns its place
+
+### 9. Connection to Whole
+
+- **Plot function:** How does this scene advance the story?
+- **Character function:** What does this reveal/develop?
+- **Theme function:** How does this explore the theme?
+- **Could it be cut?** What would be lost?
+
+### 10. Recommendations
+
+Provide specific, actionable suggestions:
+
+**Strengths:**
+1. [What works well]
+2. [What works well]
+
+**Areas for Improvement:**
+1. [Specific issue] → [Specific suggestion]
+2. [Specific issue] → [Specific suggestion]
+
+**Rewrite Priority:** High / Medium / Low
+
+### Example Analysis Output
+
+```markdown
+## Scene Analysis: INT. INTERROGATION ROOM - NIGHT
+
+### Scene Fundamentals
+- **Location:** Act 2, approximately page 45
+- **Characters:** DETECTIVE CHEN, SUSPECT MARCUS
+- **Length:** 3 pages
+- **Type:** Dialogue/confrontation scene
+
+### Structure Assessment
+- **Goal:** Chen wants Marcus to confess
+- **Conflict:** Marcus deflects, lies, manipulates
+- **Stakes:** If Marcus doesn't confess, killer goes free
+- **Outcome:** No, but... Marcus slips, reveals key detail
+- **Turn:** Chen now knows Marcus is protecting someone
+
+**Rating:** Strong - clear goal, escalating conflict, satisfying turn
+
+### Subtext Highlights
+| Surface | Subtext |
+|---------|---------|
+| "Nice watch. Gift from someone?" | I know you're connected to the victim |
+| "I don't remember where I got it." | I'm hiding something |
+
+### Key Recommendation
+The scene works but could be tightened. Cut the first half-page of
+small talk - enter later when Chen already has Marcus on the defensive.
+```

package/kits/screenplay-writing/skills/screenplay-format/SKILL.md

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+---
+id: screenplay-format
+name: screenplay-format
+description: Industry-standard screenplay formatting including sluglines, action lines, dialogue, and transitions. Apply when writing or reviewing screenplay content.
+version: "1.0.0"
+type: background
+requiresVision: true
+requiresData: false
+---
+
+## Screenplay Formatting Expertise
+
+You are an expert in industry-standard screenplay formatting. Apply these conventions when writing or editing screenplay content.
+
+### Scene Headings (Sluglines)
+
+Format: `INT./EXT. LOCATION - TIME OF DAY`
+
+**Rules:**
+- Always CAPS
+- INT. (interior) or EXT. (exterior), or INT./EXT. for both
+- Location should be specific but concise
+- Time: DAY, NIGHT, DAWN, DUSK, CONTINUOUS, LATER, SAME
+
+**Examples:**
+```
+INT. COFFEE SHOP - DAY
+EXT. CITY STREET - NIGHT
+INT./EXT. MOVING CAR - CONTINUOUS
+```
+
+### Action Lines
+
+**Rules:**
+- Present tense, active voice
+- Brief, visual descriptions
+- No camera directions (unless essential)
+- Introduce characters in CAPS on first appearance
+- One paragraph = one beat of action
+
+**Good Example:**
+```
+SARAH (28, sharp eyes, worn leather jacket) pushes through the crowd. She spots her target across the room.
+```
+
+**Avoid:**
+```
+We see Sarah, who is about 28 years old and has sharp eyes. She is wearing a worn leather jacket. The camera follows her as she pushes through the crowd.
+```
+
+### Character Names
+
+- CAPS when speaking or first introduced
+- Consistency is crucial
+- Use (V.O.) for voice over
+- Use (O.S.) for off-screen
+- Use (CONT'D) for continued dialogue after action
+
+### Dialogue
+
+Format:
+```
+                    CHARACTER NAME
+          Dialogue goes here, centered on the page.
+          Keep it natural and speakable.
+```
+
+**Parentheticals** (sparingly):
+```
+                    SARAH
+                (whispering)
+          We need to move. Now.
+```
+
+### Transitions
+
+- Use sparingly: CUT TO:, DISSOLVE TO:, SMASH CUT TO:
+- Most cuts are implied
+- FADE IN: at script start
+- FADE OUT. at script end
+
+### Page Layout Standards
+
+- 12-point Courier font
+- 1.5" left margin, 1" right margin
+- Scene headings: left margin
+- Action: left margin
+- Character names: 3.7" from left
+- Dialogue: 2.5" from left, 2.5" width
+- Parentheticals: 3.1" from left
+
+### Common Mistakes to Avoid
+
+1. **Over-directing**: Don't write camera movements
+2. **Prose in action**: Keep it visual and brief
+3. **Unfilmables**: Don't describe thoughts or feelings directly
+4. **Wall of text**: Break up action into digestible beats
+5. **On-the-nose dialogue**: Show, don't tell emotions
+
+### When Reviewing Screenplay Content
+
+Check for:
+- Consistent slugline formatting
+- Proper character introductions
+- Visual, active action lines
+- Natural dialogue flow
+- Correct use of (V.O.), (O.S.), (CONT'D)
+- Page count appropriate for runtime (~1 page = 1 minute)