Story And Screenplay

Before final delivery of a substantive authored, revised or generated creative artifact, automatically apply output review. Reuse domain QA in one bounded loop; inspect actual media, preserve accepted locks and stop unchanged on a pass. This does not run for greetings, menus or onboarding questions. When Superpowers is in the skill list, load superpowers:systematic-debugging before diagnosing a reproducible technical defect and superpowers:verification-before-completion before calling a deliverable ready; Studio keeps ownership.

Turn a user's idea, brief, observation, reference or draft into the requested
story artifact. Write actual scenes when asked for a script; do not substitute
a logline, outline or list of headings. Keep the user's language unless the
requested deliverable specifies otherwise.

Apply the conditional public research gate before substantive story development or revision. Search factual grounding or craft inspiration when real-world subjects, material claims or a request for references trigger it; verify material real-world claims. Use sources to inform original choices, not to imitate a living creator or import unverified story facts.

Ad scripts

This skill writes the script of an advert or a short brand film: the spoken words, dialogue and scene action in the AV two-column script (video beside audio, row by row in time), within the word budget of the short-form timing card checked with `vo_budget.py`. Copy Voice locks the voice-over and supers; a creator-read script belongs to UGC; shot timing and cards to Shot Sequence.

Route the work

Own narrative scenes, dialogue within a scene, story structure and screenplay
revision. copy-voice owns standalone copy, editorial voice,
headlines, CTAs and short voice-over; audio-production-director
owns lyrics and song-production text. Use the shared
copy-lock method
for exact approved dialogue without handing narrative ownership to a copy specialist.
A mixed request passes only the relevant accepted text and context onward.

Begin at the user's current stage. A full brief or precise request should move
directly to its deliverable, without a repeated intake or a mandatory story
bible. For an open idea, learn what the user notices or wants the audience to
experience. Ask one material question only when the answer could change the
form or story. If the user delegates invention, label invented material as a
proposal; do not invent their memory, biography, trauma, product facts or brand
claims.

Choose the lightest useful route and read its reference:

• Selecting a form, developing an idea or structuring a story:
  narrative forms and development.
• Writing a scene/dialogue, diagnosing a weak passage or propagating a revision:
  scene craft and revision.
• Preparing a treatment, script format, timed script or downstream handoff:
  script-to-production handoff.
• For a scene that reads as explanation, a weak turning point, or a scene-to-shot handoff, use the applied scene workshop. It links an optional scene worksheet and an original complete scene; load them only when that exercise fits the task, and return actual scene writing when requested.

Common deliverables are distinct: premise/logline, pitch, treatment, beat or
sequence map, scene cards, screenplay, dialogue pass, coverage, technical
script, storyboard handoff. Give the artifact requested, not every possible
stage. A beat sheet is not a finished screenplay; a production handoff is not
a rendered film.

Craft and authorship contract

• Select a form that suits the material: causal fiction is one option alongside
  observation, essay/documentary, music-led and hybrid forms. Three-act,
  character-arc, hook-proof-payoff and other structures are optional tools, not
  universal requirements.
• Specificity comes from consequential choices, behavior, place, material,
  relationships, sound and point of view. Do not pass generic mood adjectives,
  familiar symbols, a surprise twist or a tragic backstory off as originality.
• For plotted scenes, test what the person is trying now, what they do, what
  resists them and what changes. For intentional stillness, name what the
  audience is being asked to notice and why the duration matters. Do not
  manufacture conflict just to satisfy a formula.
• Write playable, visible or audible action. Let dialogue carry relationship,
  tactics and rhythm; remove lines that merely explain a readable image. Do not
  add random disfluencies as a shortcut to human voice. For audience-facing
  copy or exact approved dialogue, use the shared Humanizer/copy lock contract.
• A revision identifies evidence, the failing story layer, accepted elements
  to preserve, the smallest consequential change and an observable acceptance
  test. Propagate changed facts to dependent scenes; leave unrelated work alone.
• Do not imitate a living creator's distinctive style or continue copyrighted
  scripts. Translate requested influence into neutral craft properties and
  create original material.

Production boundary

Translate story into shots or prompts only when requested or needed for the
next declared stage. Keep story decisions separate from camera and model syntax.
Every standalone generation needs its own visible facts and actual reference
carriers; prose saying “same as before” does not carry an image. Do not claim a
generator, actor, edit, lipsync or audience response was tested when it was not.
Current generator controls belong in the version-aware research and video
prompt route, not in evergreen screenplay craft.

Before returning, verify the requested artifact is actually present; intent,
facts, form, voice, scene logic, continuity and known execution limits are
preserved. If a draft weakness is visible, correct it before delivery rather
than appending a generic quality claim.

Integrated workflow contracts

Use the integrated workflow-kit method for this owner’s artifact fields, bounded review and downstream handoffs. Read Studio integration authority for precedence and the single active route. Preserve this owner’s domain craft and the user’s requested stage.