rewriting-methodology — Инструмент для переписывания сценариев

--- name: rewriting-methodology description: | This skill provides the WTFB 6-step screenplay rewriting process. Covers identifying story threads, evaluating scenes, improving dialogue, polishing action, and preparing for final draft submission. Use when: beginning the rewrite process, identifying weak scenes, improving overall script quality, or preparing for final polish. --- # Rewriting Methodology Skill ## Invocation Triggers Apply this skill when: - Beginning the rewrite process - Identifying weak scenes - Improving overall script quality - Preparing for final polish ## The WTFB Rewriting Philosophy Rewriting is where screenplays are truly made. The first draft gets the story down; rewrites make it work. ### The Industrious Attitude Approach rewriting with an industrious attitude. Don't be precious about your first draft. Be willing to cut, change, and improve ruthlessly. ## The 6-Step Rewriting Process ### Step 1: Identify the Stories Ask "What are the stories?" - List sentences starting with "The story of..." ```markdown THE STORY OF... 1. ___________________________________ 2. ___________________________________ 3. ___________________________________ 4. ___________________________________ 5. ___________________________________ ``` Each story thread needs a complete arc. If you can't articulate it simply, it may be unclear in the script. ### Step 2: Chart the Arcs Create a chart tracking each story thread across the acts: ```markdown | Story Thread | Beginning | Act One | Act Two | Act Three | Finish | |--------------|-----------|---------|---------|-----------|--------| | Main Plot | | | | | | | B-Story | | | | | | | Character Arc | | | | | | | Subplot 1 | | | | | | | Subplot 2 | | | | | | ``` ### Step 3: Find the HOLES Look at your chart. Identify: - Missing story beats (empty cells) - Threads that disappear - Arcs that don't complete - Inconsistencies between threads ```markdown ## HOLES IDENTIFIED 1. ___________________________________ Location: ___________ Solution: ___________ 2. ___________________________________ Location: ___________ Solution: ___________ 3. ___________________________________ Location: ___________ Solution: ___________ ``` ### Step 4: Grade Your Scenes Go through every scene and grade it: A, B, C, D, F ```markdown ## SCENE GRADING | Scene # | Location | Grade | Notes | |---------|----------|-------|-------| | 1 | | | | | 2 | | | | | 3 | | | | | ... | | | | ``` **Grading Criteria**: - **A**: Essential, well-executed, couldn't be better - **B**: Good, serves story, minor improvements possible - **C**: Adequate, but needs work - **D**: Weak, may not be necessary - **F**: Fails to serve the story, cut or completely rewrite ### Step 5: Elevate to Your Best **Make every scene as good as your best scene.** This is the core principle. Find your best scene (the A+ scene). Analyze why it works. Apply those qualities to every other scene. For each scene below an A: ```markdown Scene #___: Current Grade: ___ What my best scene has that this lacks: 1. ___________________________________ 2. ___________________________________ 3. ___________________________________ Specific improvements: 1. ___________________________________ 2. ___________________________________ 3. ___________________________________ ``` ### Step 6: Compression **Compression is artful - shorten everything.** - Enter scenes later - Exit scenes earlier - Cut dialogue to its essence - Remove redundant action lines - Combine characters where possible - Eliminate scenes that don't advance plot or character ```markdown ## COMPRESSION TARGETS Scenes to cut entirely: - Scene ___: Reason: _______________ - Scene ___: Reason: _______________ Scenes to shorten: - Scene ___: Remove: _______________ - Scene ___: Remove: _______________ Dialogue to trim: - Page ___: Cut: _______________ - Page ___: Cut: _______________ ``` ## Scene Grading Rubric ### A Scene Criteria - [ ] Essential to plot or character arc - [ ] Conflict is active and immediate - [ ] Characters want something - [ ] Scene has a turning point - [ ] Dialogue is subtext-rich - [ ] Visual storytelling is strong - [ ] Enters late, exits early - [ ] Advances story significantly ### B Scene Criteria - [ ] Necessary for story understanding - [ ] Has conflict or tension - [ ] Characters are active - [ ] Could be slightly tightened - [ ] Serves a clear purpose ### C Scene Criteria - [ ] Purpose is unclear - [ ] Conflict is weak or absent - [ ] Could be combined with another scene - [ ] Exposition-heavy - [ ] Doesn't quite work ### D Scene Criteria - [ ] Questionable necessity - [ ] Little to no conflict - [ ] Characters are passive - [ ] Mostly setup with no payoff - [ ] Drags the pace ### F Scene Criteria - [ ] No clear purpose - [ ] No conflict - [ ] Could be cut without losing anything - [ ] Redundant to other scenes - [ ] Actively hurts the story ## Rewrite Priorities After grading, address in this order: 1. **Structural holes** - Fix missing story beats 2. **F scenes** - Cut or completely reimagine 3. **D scenes** - Combine, cut, or reinvent 4. **C scenes** - Strengthen or combine 5. **B scenes** - Polish and tighten 6. **A scenes** - Minor polish only ## Compression Techniques ### Dialogue Compression - Cut greetings/small talk - Remove "on the nose" dialogue - Start mid-conversation - End before conversation ends - Let subtext carry meaning ### Scene Compression - Start with conflict already happening - Cut reaction beats (audience provides them) - Remove transitions - Combine locations - Time jump when possible ### Character Compression - Combine similar function characters - Remove characters who don't drive plot - Give one character another's key moments ## Validation Checklist - [ ] Listed all story threads - [ ] Charted arcs across acts - [ ] Identified all holes - [ ] Graded every scene - [ ] Identified best scene qualities - [ ] Applied best scene qualities throughout - [ ] Compressed dialogue and scenes - [ ] Cut or fixed F and D scenes - [ ] Script is tighter than previous draft