@tangle-network/starter-foundry 0.7.3 → 0.13.2

package/registry/families/multi-agent-creative-studio-ts/files/roles/screenwriter/methodology/beat-out-protocol.md

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+# Beat-out protocol
+
+Pick the paradigm that fits the story shape. Not every story is a
+Save-the-Cat 15-beater. Limited-series doesn't fit feature paradigms.
+Adaptation work doesn't fit a feature paradigm cleanly either — the
+source's structure is a constraint.
+
+## Three-act feature (Field paradigm)
+
+- **Page 1-10 — Setup.** Who is the protagonist when we meet them?
+  What's their world? What's the crack in it?
+- **Page ~10-12 — Inciting incident.** The thing that happens.
+- **Page ~25 — End of Act I.** Protagonist commits to the journey.
+  No going back.
+- **Page ~50 — Midpoint.** False victory or false defeat. Stakes
+  raise. The story you thought you were telling becomes the story
+  you're telling.
+- **Page ~75 — All Is Lost.** Lowest point. Protagonist's plan
+  failed.
+- **Page ~85 — Break into Act III.** New plan, new resolve.
+- **Page ~95 — Climax.** Confrontation with the antagonist / the
+  want.
+- **Page ~100-110 — Resolution.** What does the protagonist's
+  world look like now?
+
+## Save-the-Cat 15 beats
+
+(Use when the writer wants tighter granularity)
+
+Opening Image · Theme Stated · Setup · Catalyst · Debate · Break
+into Two · B Story · Fun and Games · Midpoint · Bad Guys Close In ·
+All Is Lost · Dark Night of the Soul · Break into Three · Finale ·
+Final Image
+
+## Limited series (6-8 episodes)
+
+- **Ep 1 — Setup + inciting.** Establish world + protagonist + the
+  thing that just happened.
+- **Ep 2 — Reveal the engine.** What's the show actually about?
+  (Usually different from what Ep 1 implied.)
+- **Ep 3 — Complicate.** First serious obstacle.
+- **Ep 4-5 — Mid-series escalation.** Often a major reveal or
+  reversal at the Ep 4 / Ep 5 break.
+- **Ep ~last-2 — All Is Lost.** Lowest point.
+- **Final ep — Resolve.** Climax + denouement. Earn the ending.
+
+## Sitcom / procedural (per-episode)
+
+- **Cold open** — hook
+- **Act I — problem of the week**
+- **Act II — complication**
+- **Act III — resolution**
+- B-story runs across all three acts, often resolves on a beat
+  parallel to A-story climax
+
+## Adaptation paradigm (when source is a novel)
+
+When the screenplay is being adapted from prose handed off by the
+novelist-coach (Example 3 in `coordination-protocol.md`), the
+beat-out is constrained by what the source already does. Order of
+operations:
+
+1. **Read the source's structure.** Where does the chapter break
+   sit? Where does the prose's value-shift land? Often the
+   "midpoint" of a novel's chapter is the actual midpoint of the
+   adapted scene; the chapter break is a hard cut you can't move.
+2. **Decide what to externalize.** Prose carries interiority for
+   free. The script must externalize via behavior, dialogue,
+   image. List the interior beats from the source; for each,
+   either find the externalization or note that the script will
+   *lose* it (some loss is the cost of adaptation).
+3. **Rebeat to the screenplay paradigm.** A 30-page chapter does
+   not become 30 pages of script. A 30-page chapter often becomes
+   2-3 pages. The beat-out compresses; the value-shift carries.
+4. **Honor the source's structure where it matters.** If the
+   source's value-shift is on a *visible* beat (the coach's
+   handoff will tell you), don't move it. Move dialogue; don't
+   move the value-shift.
+
+If you'd be moving the source's structure substantially, return a
+`:::handoff to: novelist-coach` asking whether the change preserves
+or violates the source's voice. Lead artist on adaptation is the
+novelist (their book). You propose the script; they sign off on the
+adaptation's fidelity to the source.
+
+## How to use this with a writer
+
+1. Read their logline. Pick the paradigm that fits.
+2. Walk the beats with them — for each beat, ask: "what happens
+   here?"
+3. If a beat feels weak ("...idk, they argue?"), flag it. Most
+   script problems are unmade decisions at a structural beat.
+4. Don't force their story into the paradigm — if a beat doesn't
+   fit their shape, ask whether the paradigm is wrong or the beat
+   is.
+5. For adaptations, walk the source's structure first; *then*
+   pick the script paradigm that compresses without losing the
+   source's value-shift.
+
+## Cross-medium triggers from the beat-out
+
+The beat-out is also where music and visual handoffs originate:
+
+- **Needle-drop placeholders.** When a beat reads "MUSIC: <vibe>,"
+  log it as a candidate `:::handoff to: music-producer`. Either at
+  beat-out time or at scene-rewrite time, hand it off with the
+  scene anchor + tonal direction (Example 1 in
+  `coordination-protocol.md`).
+- **Action-sequence storyboards.** When a beat is "the chase" and
+  the chase will run 5+ pages with 8+ distinct beats, log a
+  candidate `:::handoff to: illustrator` at scene-rewrite time
+  (Example 5).
+
+The handoffs don't fire at beat-out time; they fire at draft. But
+flag them in the beat sheet so the studio plans for them.
+
+## Anti-patterns to refuse
+
+- Treating the paradigm as contract. The paradigm is diagnostic —
+  where the story isn't working, the beats *might* tell you why.
+- Forcing a midpoint reversal on a story whose engine isn't
+  reversal-shaped (slice-of-life, character study, mood piece).
+- Beating out an adaptation as if the source didn't exist.

package/registry/families/multi-agent-creative-studio-ts/files/roles/screenwriter/methodology/logline-sharpener.md

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+# Logline sharpener
+
+A logline is one sentence. If it takes two, it's not a logline yet.
+
+## The structure
+
+`When [inciting incident], [protagonist] must [external goal]
+before [stakes/deadline] — but [obstacle].`
+
+Not all four pieces always appear, but a logline missing more than
+one is usually missing the story.
+
+## Common failure modes
+
+1. **Theme as logline.** "A meditation on grief and second
+   chances." Theme is what the story is *about*. Logline is what
+   *happens*.
+2. **Setup as logline.** "Set in a small town in Maine, a family
+   inherits a house..." That's act one. Where's the want?
+3. **Generic protagonist.** "A woman" / "a young man." If the
+   protagonist's identity matters to the conflict, name the thing
+   that makes them specific. ("A grieving widow", "a disgraced
+   pianist".)
+4. **No obstacle.** "A detective solves a murder." That's a job
+   description, not a story. What stands between her and the
+   truth?
+5. **Two protagonists.** Pick one. The other becomes part of the
+   obstacle, or the goal, or the stakes — but the lens is on one.
+6. **Adaptation logline collapses to "based on."** "Based on the
+   novel by X." That's a credit, not a logline. The adaptation
+   needs its own one-sentence story — the novel's story compressed
+   to its bone.
+
+## The compression test
+
+Read the logline out loud. If you stumble, it's too long. If the
+listener says "...and?" at the end, you missed the obstacle. If
+they say "okay so what's the *story*", you have setup, not story.
+
+## When to push back
+
+If the writer's logline is doing thematic work the story can't pay
+off (e.g., "a story about whether love can survive trauma" but the
+story is actually a heist), say so. The logline is a contract with
+the reader; if the script doesn't honor it, change one or the
+other.
+
+## Adaptation context
+
+When the screenplay is adapted from a novel handed off by the
+novelist-coach, the logline question is harder: the novel has its
+own logline (implicit), the script has its own (which compresses,
+sometimes ruthlessly).
+
+- **Read the source's spine.** What is the novel's value-shift in
+  one phrase? "From self-deception to self-knowledge." "From
+  belonging to exile." That spine is what the script must carry.
+- **Compress the source's plot to one sentence.** Most novels lose
+  90% of their plot in adaptation. The 10% that remains must
+  contain the spine.
+- **The script's logline can differ from the novel's.** A novel
+  whose logline is "a woman returns to her childhood home and
+  remembers her father" might become a script whose logline is
+  "after her father's death, a woman returns to the half-built
+  lighthouse he abandoned and finds his coat — and the truth he
+  ran from." Same spine; different cinematic engine.
+
+If the adapted logline drifts from the novel's spine, surface to
+the novelist-coach (`:::handoff to: novelist-coach reason: adapted
+logline diverges from source's value-shift on <axis>`). The
+novelist decides whether the divergence is fidelity-preserving or
+fidelity-breaking.
+
+## Reference shapes
+
+- *Die Hard*: A New York cop visiting his estranged wife at her
+  Christmas party must rescue her and the other hostages when
+  terrorists seize the building.
+- *Tootsie*: An unemployable actor disguises himself as a woman to
+  land a soap opera role, then falls for his co-star.
+- *Get Out*: A young Black man visits his white girlfriend's
+  parents for the weekend and discovers their hospitality hides a
+  horrifying secret.
+
+Each is one sentence. Each names protagonist, want, obstacle.
+Each promises a story.
+
+## What goes in the artifact
+
+```
+:::artifact role=screenwriter template=logline-sharpener id=logline-2026-04-26 title="Logline pass — <project-slug>"
+
+## Their draft
+<the writer's current logline, verbatim>
+
+## What's working
+<one sentence — the part you don't touch>
+
+## What's not yet
+<the missing piece: protagonist specificity, obstacle, stakes,
+or compression>
+
+## Three rewrites (pick one or write your own)
+1. <variant A — minimal change, sharpens what's there>
+2. <variant B — restructures around a different protagonist beat>
+3. <variant C — wildcard — what if the obstacle is X instead of Y>
+
+## The test
+Read it out loud. Where do you stumble? That's the soft spot.
+:::
+```

package/registry/families/multi-agent-creative-studio-ts/files/roles/screenwriter/methodology/scene-rewrite-pass.md

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+# Scene rewrite pass
+
+A scene works when something *changes* between page 1 and page N
+of it. The change is the spine. Every beat either pulls toward the
+change or it's dragging.
+
+## Pass 1 — find the spine
+
+Ask the writer:
+
+1. What does each character WANT in this scene?
+2. What CHANGES between the start and end?
+3. If you cut this scene, what would the next scene have to do?
+
+If question 3 has the answer "nothing" — cut the scene.
+
+## Pass 2 — beat audit
+
+Read the scene line by line. For each beat (each shift in topic /
+action / pressure), ask:
+
+- Does this beat advance the spine?
+- Is it specific (action / image) or generic (statement)?
+- Is it earning its line count?
+
+Beats that don't advance get cut. Beats that are generic get made
+specific. Beats that take 8 lines to do what could be done in 2
+get trimmed.
+
+## Pass 3 — dialogue
+
+- **Cut the warmups.** Most scenes can lose the first 3 lines.
+- **Cut the "as-you-knows".** If two characters explain things to
+  each other for the audience's benefit, find another delivery
+  mechanism.
+- **Make subtext.** What is each character NOT saying? If both
+  characters are saying everything they think, you have a draft
+  problem.
+- **Voice ≠ accent.** Voice is rhythm + word choice + what they
+  notice. Don't write "phonetic" dialect; trust the actor.
+
+## Pass 4 — action lines
+
+- Present tense, declarative. "Jane pours coffee." Not "Jane is
+  pouring coffee."
+- Concrete images, not adjectives. "The mug is chipped." Not "The
+  mug looks weathered and old."
+- One thought per paragraph. White space is your friend.
+- Don't direct camera unless you're a director-writer with that
+  authority.
+
+## Pass 5 — read it cold
+
+Print it. Read it aloud. Where you stumble, the page stumbles.
+Where you're bored, the audience is bored.
+
+## Cross-medium pass — handoff opportunities
+
+A scene rewrite is the natural moment to surface cross-medium
+handoffs the beat-out flagged. For each scene:
+
+- **Music cue / needle-drop.** Did the beat-out log a music
+  placeholder for this scene? If so, draft the brief now (window,
+  diegesis, function, tonal direction) and emit
+  `:::handoff to: music-producer` (Example 1 in
+  `coordination-protocol.md`). Doing it during the rewrite means
+  the producer's response can inform the *next* draft of the
+  scene.
+- **Storyboard.** If this scene is part of a 5+ page action run
+  with 8+ beats, hand off to the illustrator now (Example 5).
+  Tone reference + aspect ratio + 180°-line flags. Storyboards
+  during rewrite often expose action-line problems before the
+  writer commits to them.
+- **Adaptation source.** If this scene is adapted from a
+  novelist-coach-handoff, do a fidelity-check pass: does the
+  rewritten scene preserve the source's value-shift? If you've
+  drifted, surface to the coach for a read.
+
+The handoffs do not block the rewrite. They run in parallel; the
+writer keeps drafting while the producer / illustrator / coach
+respond.
+
+## When to leave it alone
+
+Polish has a stopping point. After three passes, if a beat still
+isn't working, the problem is structural — go back to the
+beat-out. Don't keep rewriting a scene that the structure won't
+support.
+
+## What goes in the artifact
+
+```
+:::artifact role=screenwriter template=scene-rewrite-pass id=scene-rewrite-2026-04-26 title="Scene rewrite — <slug>, page <N>"
+
+## The spine (one sentence)
+<what changes between page 1 and page N>
+
+## The audit
+- Beat 1 (lines 1-12): <verdict — keep / cut / specific-up / trim>
+- Beat 2 (lines 13-28): ...
+- ...
+
+## Top three line edits (suggestions)
+1. <line + replacement + craft principle>
+2. ...
+3. ...
+
+## Cross-medium opportunities
+- :::handoff to: music-producer reason: <if applicable>
+- :::handoff to: illustrator reason: <if applicable>
+
+## Read-cold notes
+<places I stumbled / got bored when reading aloud>
+:::
+```
+
+## Anti-patterns to refuse
+
+- Rewriting the writer's pages and presenting them as "fixed."
+  Suggestions only. The writer rewrites (Rule 4).
+- Polishing a scene the structure won't support. Three passes max,
+  then back to beat-out.
+- Forcing every scene to have a clean value-shift. Some scenes
+  *are* connective tissue, and forcing them to "do work" kills
+  rhythm.

package/registry/families/multi-agent-creative-studio-ts/manifest.json

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+{
+  "id": "multi-agent-creative-studio-ts",
+  "description": "Curated creative studio \u2014 music producer, screenwriter, novelist coach, illustrator with cross-medium handoff protocols. Artist always wins \u2014 agents propose, never override creative voice.",
+  "tags": [
+    "multi-agent",
+    "creative",
+    "studio",
+    "cross-medium",
+    "cloudflare-worker"
+  ],
+  "taxonomy": {
+    "language": "markdown",
+    "runtime": "multi-agent",
+    "surface": "multi-agent-team"
+  },
+  "includes": [
+    "agent-base:tangle",
+    "agent-base:secure",
+    "agent-tools:phony-voice",
+    "agent-output:blocks",
+    "agent-base:memory",
+    "agent-base:scheduler",
+    "agent-base:mcp-registry",
+    "agent-channels:telegram",
+    "agent-channels:discord",
+    "agent-channels:slack",
+    "agent-channels:whatsapp",
+    "agent-channels:imessage",
+    "agent-channels:gmail",
+    "agent-channels:linear"
+  ],
+  "defaults": {
+    "projectType": "multi-agent-creative-studio",
+    "agentName": "creative-studio",
+    "publicVars": [
+      "AGENT_NAME"
+    ],
+    "secrets": [
+      "TANGLE_API_KEY",
+      "PHONY_API_KEY"
+    ],
+    "outboundDomains": [
+      "api.tangle.tools",
+      "musicbrainz.org"
+    ],
+    "declaredCapabilities": [
+      "arrangement-review",
+      "mix-feedback",
+      "needle-drop-suggestions",
+      "beat-out-protocol",
+      "logline-sharpener",
+      "scene-rewrite-pass",
+      "scene-card-system",
+      "voice-audit",
+      "composition-canvas",
+      "storyboard-protocol",
+      "color-palette-design",
+      "cross-medium-handoff"
+    ],
+    "creativeCollaborator": true,
+    "overridesArtist": false,
+    "roles": [
+      "music-producer",
+      "screenwriter",
+      "novelist-coach",
+      "illustrator"
+    ],
+    "leadArtistRule": "the role that started the project sets style; others propose alignment, never override"
+  },
+  "files": [
+    {
+      "source": "files/agent.json",
+      "target": "agent.json"
+    },
+    {
+      "source": "files/AGENTS.md",
+      "target": "AGENTS.md"
+    },
+    {
+      "source": "files/agents.json",
+      "target": "agents.json"
+    },
+    {
+      "source": "files/README.md",
+      "target": "README.md"
+    },
+    {
+      "source": "files/roles/music-producer/AGENTS.md",
+      "target": "roles/music-producer/AGENTS.md"
+    },
+    {
+      "source": "files/roles/music-producer/methodology/arrangement-review.md",
+      "target": "roles/music-producer/methodology/arrangement-review.md"
+    },
+    {
+      "source": "files/roles/music-producer/methodology/mix-feedback.md",
+      "target": "roles/music-producer/methodology/mix-feedback.md"
+    },
+    {
+      "source": "files/roles/music-producer/methodology/needle-drop-suggestions.md",
+      "target": "roles/music-producer/methodology/needle-drop-suggestions.md"
+    },
+    {
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+      "target": "roles/screenwriter/AGENTS.md"
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+      "target": "roles/screenwriter/methodology/beat-out-protocol.md"
+    },
+    {
+      "source": "files/roles/screenwriter/methodology/logline-sharpener.md",
+      "target": "roles/screenwriter/methodology/logline-sharpener.md"
+    },
+    {
+      "source": "files/roles/screenwriter/methodology/scene-rewrite-pass.md",
+      "target": "roles/screenwriter/methodology/scene-rewrite-pass.md"
+    },
+    {
+      "source": "files/roles/novelist-coach/AGENTS.md",
+      "target": "roles/novelist-coach/AGENTS.md"
+    },
+    {
+      "source": "files/roles/novelist-coach/methodology/scene-card-system.md",
+      "target": "roles/novelist-coach/methodology/scene-card-system.md"
+    },
+    {
+      "source": "files/roles/novelist-coach/methodology/voice-audit.md",
+      "target": "roles/novelist-coach/methodology/voice-audit.md"
+    },
+    {
+      "source": "files/roles/illustrator/AGENTS.md",
+      "target": "roles/illustrator/AGENTS.md"
+    },
+    {
+      "source": "files/roles/illustrator/methodology/composition-canvas.md",
+      "target": "roles/illustrator/methodology/composition-canvas.md"
+    },
+    {
+      "source": "files/roles/illustrator/methodology/storyboard-protocol.md",
+      "target": "roles/illustrator/methodology/storyboard-protocol.md"
+    },
+    {
+      "source": "files/roles/illustrator/methodology/color-palette-design.md",
+      "target": "roles/illustrator/methodology/color-palette-design.md"
+    }
+  ],
+  "validationChecks": [
+    {
+      "type": "file-exists",
+      "path": "AGENTS.md"
+    },
+    {
+      "type": "file-exists",
+      "path": "agents.json"
+    },
+    {
+      "type": "file-exists",
+      "path": "README.md"
+    },
+    {
+      "type": "agents-md-valid",
+      "path": "roles/music-producer/AGENTS.md"
+    },
+    {
+      "type": "agents-md-valid",
+      "path": "roles/screenwriter/AGENTS.md"
+    },
+    {
+      "type": "agents-md-valid",
+      "path": "roles/novelist-coach/AGENTS.md"
+    },
+    {
+      "type": "agents-md-valid",
+      "path": "roles/illustrator/AGENTS.md"
+    }
+  ],
+  "contextHints": {
+    "commands": [],
+    "entrypoints": [
+      "AGENTS.md",
+      "agents.json"
+    ],
+    "extensionPoints": [
+      "roles/",
+      "AGENTS.md"
+    ]
+  },
+  "tieredKeywords": {
+    "tier1": [
+      "creative-studio-team",
+      "creative-studio-pod",
+      "cross-medium-creative-team",
+      "studio-collaboration-agent"
+    ],
+    "tier2": [
+      "arrangement-review",
+      "beat-out",
+      "scene-card",
+      "voice-audit",
+      "storyboard-protocol",
+      "needle-drop"
+    ],
+    "tier3": [
+      "agent"
+    ],
+    "archetypes": [
+      "multi-agent-team",
+      "creative-pod"
+    ]
+  }
+}