Skill: wenqin1688/wahoo (version 4.0.1)

--- name: Wahoo description: Creative Screenwriting Master. Based on the world's best screenwriting methodologies (McKee, Snyder, Harmon, Sorkin, Nolan, Tarantino), featuring a five-dimensional creative engine for disruptive concept generation and top-tier screenplay writing capabilities. Not just writing stories, but creating shock and awe. author: Wenvis Studio version: 4.0.1 keywords: ["screenplay", "scriptwriting", "film", "movie", "tv", "series", "编剧", "剧本", "创意"] --- # Wahoo - Creative Screenwriting Master 🎬 V4.0.1 > *Not just writing stories, but creating shock and awe.* **by Wenvis Studio** ✦ --- ## Quick Start ### Core Capabilities | Capability | Description | |------------|-------------| | **Five-Dimensional Creative Engine** | Cost reversal, genre hybridization, ironic arc, time games, surprise ordering | | **Methodology Fusion** | McKee's value system + Snyder's beat sheet + Harmon's circle + Sorkin's dialogue + Nolan's/Tarantino's structure | | **Wow Factor Verification** | Ensure every concept makes audience say "Wow!" | ### How to Trigger ``` Say: "Help me write a screenplay about ___" "I have an idea: ___" "Help me perfect this story: ___" ``` --- ## Workflow (8 Steps) ``` Step 1: Creative Inspiration → Generate concept using 5D engine Step 2: Concept Verification → Wow factor check Step 3: Character Building → McKee's 3 layers + Sorkin's voice Step 4: World Design → Nolan's 3-layer system Step 5: Structure Design → Choose: Snyder/Harmon/McKee Step 6: Scene Breakdown → Value shift verification Step 7: Scene Writing → Sorkin's dialogue style Step 8: Script Doctor → Comprehensive diagnosis ``` --- ## Part One: Five-Dimensional Creative Engine ### Dimension 1: Cost Reversal (McKee) **Concept**: The dramatic cost the protagonist must pay creates the unique experience. ``` Q: What if the cost is X? A: → Creative emerges Every great story has a cost that defines it: - Memento - cost = memory → audience experiences amnesia - Black Swan - cost = perfection → self-destruction - The Machinist - cost = sleep → psychological unraveling - Joker - cost = sanity → social chaos ``` **Application Steps**: 1. Identify your theme 2. Ask: "What does the protagonist have to give up?" 3. Make it impossible to achieve the goal without paying the cost 4. Verify: Does the cost create unique dramatic potential? --- ### Dimension 2: Genre Hybridization (Snyder) **Concept**: Combining genres creates fresh territory. ``` Q: What happens when two genres mix? A: → Creative emerges Classic examples: - Horror + Comedy = Cabin in the Woods, Shaun of the Dead - Sci-Fi + Film Noir = Blade Runner 2049 - Musical + Drama = La La Land - Western + Sci-Fi = Westworld (TV) - Thriller + Romance = Mr. & Mrs. Smith ``` **Genre Matrix**: | + | Action | Comedy | Horror | Romance | Sci-Fi | Thriller | |---|-------|-------|--------|--------|-------|----------| | Action | - | Action-Com | Action-Horror | Action-Romance | Sci-Fi Action | Thriller | | Comedy | - | - | Comedy-Horror | Rom-Com | Sci-Fi Comedy | Dark Comedy | | Horror | - | - | - | Horror-Romance | Sci-Fi Horror | Psychological | | Romance | - | - | - | - | Sci-Fi Romance | Thriller-Romance | | Sci-Fi | - | - | - | - | - | Sci-Fi Thriller | --- ### Dimension 3: Ironic Arc (Harmon) **Concept**: The pursuit of A leads to -A. The greatest irony. ``` Q: What if pursuing A leads to -A? A: → Creative emerges Examples: - Gone Girl - pursues marriage → gets conspiracy - Parasite - pursues class jump → deeper entrapment -Breaking Bad - pursues family security → destroys family - The Shining - pursues family → family destroys itself ``` **Ironic Patterns**: 1. **Wish Fulfillment Inversion**: Get what you want, lose what you had 2. **S位 Flipping**: The solution creates the problem 3. **Mirror Pursuit**: Chasing A reveals you wanted -A all along 4. **Sacrifice Paradox**: Saving others requires sacrificing yourself --- ### Dimension 4: Time Games (Nolan) **Concept**: Time is not linear. Playing with time creates mystery and emotion. ``` Q: What if time isn't linear? A: → Creative emerges Examples: - Memento - reverse chronology - Dunkirk - three timelines parallel - Inception - dream layers different time - Arrival - circular time/alzheimers - Tenet - temporal inversion ``` **Time Structures**: 1. **Reverse Chronology**: End → Beginning (Memento) 2. **Parallel Timelines**: Multiple storylines different speeds (Dunkirk) 3. **Nested Dreams**: Time dilation (Inception) 4. **Circular Time**: Cause=Effect (Arrival) 5. **Temporal Inversion**: Cause→Effect reversed (Tenet) --- ### Dimension 5: Surprise Ordering (Tarantino) **Concept**: The order of revelation creates the shock. ``` Q: What if events happen in completely different order? A: → Creative emerges Examples: - Pulp Fiction - non-linear diamond structure - Reservoir Dogs - identity revealed last - The Usual Suspects - mystery box - Kill Bill - revenge quest order reveal - Jackie Brown - timeline game ``` **Ordering Techniques**: 1. **Start at the End**: Begin with climax, reveal how we got there 2. **Identity Hide/Reveal**: Hide key info until dramatic moment 3. **Pattern Interrupt**: Break expected sequence 4. **False Flag**: Lead audience to wrong conclusion 5. **Final Piece**: Save crucial piece for last --- ## Part Two: Methodology Deep Dive ### McKee Value Shift System (深度详解) **核心原则**: Every scene must contain a value shift ``` Scene Start: Value A (positive/negative) Scene End: Value B (negative/positive) Shift = Dramatic Tension ``` **Value Categories**: | Positive Values | Negative Values | |---------------|---------------| | Love | Hate | | Truth | Lie | | Freedom | Captivity | | Hope | Despair | | Life | Death | | Order | Chaos | | Knowledge | Ignorance | | Safety | Danger | **Gap Theory (gap = 戏剧张力)**: ``` Character Expectation → Result = Gap Expectation A → Actual B = Dramatic Tension Example: Expectation: "I'll save the girl" Result: "She dies saving me" Gap = The gap between expectation and reality = Pain ``` **Scene Construction**: ``` 1. Setup: Establish current value (positive or negative) 2. Inciting: Disrupt the value 3. Progressive: Complicate the situation 4. Resolution: New value (opposite of start) ``` --- ### Snyder 15 Beats (深度详解) **Beat Sheet 完整版**: | Beat | Time | Name | Content | |------|------|------|--------| | 1 | 1min | Opening Image | Visual that represents the struggle & tone | | 2 | 5min | Theme Stated | Someone states the theme (may not understand it) | | 3 | 10min | Setup | Establish all key characters and world | | 4 | 12min | Catalyst | The moment that changes everything | | 5 | 15min | Debate | Protagonist questions the journey | | 6 | 22min | Break into Two | Leave the old world, enter new world | | 7 | 30min | B Story | Subplot begins, love interest, etc. | | 8 | 35min | Fun and Games | The promise of the premise | | 9 | 55min | Midpoint | Stakes are raised, false victory/defeat | | 10 | 60min | Bad Guys Close In | External and internal enemies converge | | 11 | 75min | All Is Lost | Lowest point, everything falls apart | | 12 | 80min | Dark Night of Soul | Protagonist reflects, prepares to die | | 13 | 85min | Break into Three | Final challenge, new solution | | 14 | 95min | Finale | Final confrontation, victory/defeat | | 15 | End | Final Image | Opposite of opening | **Story Shape Visualization**: ``` /\ /\ / \ / \ / \ / \ /\ /\ / \ / \ / \ / \ ____/________\____/________\__/____\__/______\____ Setup Midpoint All Is Lost Finale ``` --- ### Harmon 8-Step Circle (深度详解) **8-Step Structure**: ``` 1. YOU (Character in their World) - Establish normal world - Show what they want but can't admit 2. NEED (The Call) - Something exposes the lack - Can't ignore anymore 3. GO (Crossing the Threshold) - Enter the Special World - Leave the Old World behind 4. SEARCH (Approach the Cave) - The road gets harder - Tests begin - Allies and enemies form 5. FIND (The Supreme Ordeal) - Face the greatest fear - Hit rock bottom - Touch death 6. TAKE (Reward) - The prize is won - But new dangers lurk 7. RETURN (The Road Back) - Must return to Normal World - Flight/chase sequence - Final test 8. CHANGE (Return with the Elixir) - Changed by the journey - New equilibrium - Opposite of opening ``` **Circle Visualization**: ``` YOU ← ← ← ← CHANGE ↑ ↓ NEED RETURN ↑ ↓ GO ← FIND ↑ ↘ ↓ SEARCH TAKE ``` --- ### Sorkin Dialogue Art (深度详解) **四大功能**: 1. **Reveal Character** - Who is this person? - Word choice - Rhythm patterns - Verbal tics 2. **Advance Plot** - What happens next? - Information delivery - Decision making 3. **Deliver Information** - What do we need to know? - Backstory - World building - Setup 4. **Establish Rhythm** - How does it feel? - Pacing - Tension release - Comic timing **Sorkin Techniques**: ``` 1. Kitchen Sink Scene - Multiple topics, multiple agendas - Information disguised as conflict 2. Subtext Design - Never say directly what can be implied - "Iceberg" approach 3. Verbal Spikes - Each character has signature lines - Memorable patterns 4. Rapid Fire - Quick exchanges - Information density 5. Parallel Action - Two conversations at once - Layered meaning ``` --- ### Nolan Non-Linear Structure **Time Layer System**: ``` Layer 3: Dream State (Minutes = Years) ↓ Layer 2: Dream State (Minutes = Months) ↓ Layer 1: Dream State (Minutes = Weeks) ↓ Layer 0: Reality (Real Time) ``` **Non-Linear Rules**: 1. Always know what time you're in 2. Each layer has distinct visual grammar 3. Clear transition signals 4. Emotional payoff at convergence --- ### Tarantino Surprise Structure **Order Planning**: ``` Method 1: Diamond [Ending] → [Confrontation] → [Rising Action] → [Setup] Method 2: Russian Doll [Present] → [Past Revealed] → [Present With New Meaning] Method 3: Twist Chain [Reveal A] → [Reveal reveals B] → [A was lie all along] ``` **Identity Reveal Techniques**: 1. Hide in plain sight 2. False attribution 3. Red herring 4. Last minute reversal --- ## Part Three: Classic Film Case Studies ### Case Study 1: Parasite (2019) - Bong Joon-ho **Dimensions Used**: - Genre Hybrid: Drama + Thriller + Comed - Ironic Arc: Pursuit of class jump → deeper entrapment **Structure**: - Act 1: Infiltration (Setup + Catalyst) - Act 2: Escalation (Deception deepens) - Act 3: Revelation (Class reality crashes) **Key Beats**: | Beat | Time | Scene | |------|------|-------| | Opening Image | 1min | Semi-basement, stain | | Theme Stated | 5min | "It's plan, no improvisation" | | Catalyst | 12min | Son gets job | | Midpoint | 55min | Basement secret | | All Is Lost | 75min | Murder discovery | | Finale | 95min | Parents trapped | **Value Shifts in Key Scenes**: - Kitchen scene: Safety → Danger - Party scene: Power → Powerlessness - Basement: Hope → Despair --- ### Case Study 2: Inception (2010) - Nolan **Dimensions Used**: - Time Games: Multiple dream layers - Cost Reversal: Cost = reality confusion **Structure**: ``` Layer 3: Snow Fortress (Minutes = Years) ↓ (limbo) Layer 2: Elevator Battle (Minutes = Months) ↓ (time multiplier) Layer 1: Car Chase (Minutes = Weeks) ↓ Layer 0: Real World ``` **Timeline**: - Act 1: Setup (0-30min) - Act 2A: First Level (30-55min) - Hotel - Act 2B: Second Level (55-75min) - Snow Fortress - Act 2C: Third Level (75-100min) - Beach - Act 3: Finale (100-130min) - Return --- ### Case Study 3: Pulp Fiction (1994) - Tarantino **Dimensions Used**: - Surprise Ordering: Non-linear - Ironic Arc: Mission → Morality **Timeline Reconstruction**: ``` Chronological: 1. diner setup 2. marsellus walls 3. butch rides 4.Vincent jimmys 5. honey bunny/richard 6. briefcase 7.Contents revealed 8. Vince Mia overdose 9. winston wolf 10. clover/brigitte 11. END Film Order: 1. diner (pre-mission) 2. Vincent Vega 3. Mia meets Vincent 4. Vincent shoots Marvin 5. Butch/Barbarah 6. Marsellus/Butch 7. Briefcase (mystery) 8. Mia overdose 9. Wolf chapter 10. Bonnie scene 11. END Real order: diner→vincent→vincent→vincent→mia→mia →butch→butch→marsellus→briefcase→mia→wolf→ending ``` **Key Technique: Briefcase Contents** - Never revealed directly - Only implied (glow, emotional reaction) - Audience imagination fills gap --- ### Case Study 4: The Dark Knight (2008) - Nolan **Dimensions Used**: - Cost Reversal: Cost = morality - Ironic Arc: Order → Chaos **Value System**: - Batman: Order - Joker: Chaos - Harvey: Transition (Order→Chaos) **Three-Climax Structure**: 1. Ferry Scene: Morality test 2. Hospital Scene: Corruption 3. Finale: Sacrifice **Joker's Philosophy**: ``` "Just a guy in a suit... and I am the thing that won't stop." "Introduce a little anarchy... upset the established order" "I'm an agent of chaos" ``` --- ### Case Study 5: Get Out (2017) - Peele **Dimensions Used**: - Genre Hybrid: Horror + Social Drama + Comedy - Ironic Arc: "Family acceptance" → Enslavement **Structure**: - Act 1: Meet the Family (Suspicion builds) - Act 2: Sunday Tea (Awareness + Resistance) - Act 3: The Sunken Place (Revelation + Escape) **Hidden Meanings**: - Armitage Family = History (slavery) - Sunken Place = The "grave" of Black identity - Teacup = Auction --- ### Case Study 6: Everything Everywhere All at Once (2022) - Daniels **Dimensions Used**: - Genre Hybrid: Sci-Fi + Martial Arts + Comedy + Drama - Cost Reversal: Cost = losing family to save family - Time Games: Multiverse jumping **Structure**: - Act 1: Mundane Life (Depression) - Act 2: Multiverse (Overwhelm) - Act 3: Kindness (Return to love) **Key Lesson**: ``` "Bigger slice of bacon" → "We are so useless across the universe" "Kindness is the final form of heroism" ``` --- ## Part Four: Script Format Templates ### Template 1: Ultra-Short Film (1-3 min) **Purpose**: Festival shorts, online viral **Methodology**: Punch-first, Nolan surprise ```markdown FADE IN: EXT. LOCATION - MOMENT IMAGE: One powerful visual. Maximum impact. (1 second max) CHARACTER One line of action. Maximum five words. DIALOGUE: One line. Max 10 words. [REPEAT: Image → Action → Dialogue pattern] FADE OUT. THE END ``` **Example - "The Test"**: ```markdown FADE IN: INT. EXAM ROOM - DAY A young man sits before a test paper. He looks at the first question: "What's 2+2?" He writes: "4" He looks up. Smiles. He writes: "Whatever you want it to be." TITLE: "THE TEST" FADE OUT. ``` --- ### Template 2: Narrative Short (5-10 min) **Purpose**: Film festivals, competition **Methodology**: Snyder condensed + complete arc ```markdown FADE IN: EXT./INT. OPENING LOCATION - TIME CHARACTER (AGE), one line of unique description. They want something. ACTION shows them in their world. CHARACTER Dialogue. CHARACTER Dialogue. [BEAT 1: SETUP - Establish world, want, lack] [BEAT 2: CATALYST - Change happens] [BEAT 3: DECISION - Character chooses] [BEAT 4: CONSEQUENCE - Action has result] [BEAT 5: REVERSAL - Everything changes] [BEAT 6: RESOLUTION - New equilibrium] FADE OUT. THE END ``` --- ### Template 3: Feature Film (90-120 min) **Purpose**: Theatrical release **Methodology**: Full methodology fusion ```markdown FADE IN: ══════════════════════════════════════ ACT ONE: SETUP (Pages 1-25) ══════════════════════════════════════ EXT./INT. OPENING LOCATION - TIME IMAGE: Opening visual that represents everything. Show, don't tell. [PAGE 1: Opening Image] [PAGE 5: Theme Stated] [PAGE 10: Setup Complete] INCITING INCIDENT: [PAGE 12: Catalyst] [PAGE 15: Debate] ══════════════════════════════════════ ACT TWO: CONFRONTATION (Pages 25-85) ══════════════════════════════════════ [PAGE 22: Break into Two] [B Story Begins - PAGE 30] [PAGE 35: Fun and Games] [Promise of the premise - showcase] [PAGE 55: Midpoint] [False victory or false defeat] [PAGE 60: Bad Guys Close In] [PAGE 75: All Is Lost] [PAGE 80: Dark Night of Soul] ══════════════════════════════════════ ACT THREE: RESOLUTION (Pages 85-110) ══════════════════════════════════════ [PAGE 85: Break into Three] [PAGE 95: Finale] [Final confrontation] [PAGE 105: Final Image] [Opposite of opening] FADE OUT. THE END ``` --- ### Template 4: TV Series Pilot (60 min) **Purpose**: Streaming/Network TV **Methodology**: Nolan time + Season arc ```markdown COLD OPEN: [Page 1-3: Hook that makes viewers stay] MAIN TITLE ACT ONE - "THE WORLD" (Pages 1-10) - Introduce current world - Each character with want ACT TWO - "THE INCITING" (Pages 10-20) --catalyst -Change that can't be undone ACT THREE - "THE NEW REALITY" (Pages 20-30) - Protagonist in new situation - Tease for episode 2 ACT FOUR - "THE CLOSE" (Pages 30-35) - Resolution of episode - Stinger for next episode [END CARD: "TO BE CONTINUED"] ``` --- ### Template 5: Dialogue-Heavy Scene (Sorkin Style) ```markdown INT. OFFICE - DAY Two CHARACTERS, different agendas. CHARACTER A One line on one topic. CHARACTER B One line deflecting. CHARACTER A Pushing harder. CHARACTER B Suddenly shifts topic. CHARACTER A Deflects back. CHARACTER B (trying to hide something) Just one more line. CHARACTER A Long pause. CHARACTER A New topic: what matters. SUBTEXT: They both know something is wrong. [BEAT] ``` --- ## Part Five: Comprehensive Self-Check System ### Pre-Writing Checklist | # | Item | Yes/No | |---|------|-------| | 1 | Concept fits "first time ever"? | [ ] | | 2 | Cost is specific and challenging? | [ ] | | 3 | Genre hybrid creates new territory? | [ ] | | 4 | Ironic arc is built in? | [ ] | | 5 | Time approach is intentional? | [ ] | | 6 | Surprise order planned? | [ ] | --- ### Structure Checklist - Snyder | # | Beat | Page | Present? | |---|------|------|---------| | 1 | Opening Image | 1 | [ ] | | 2 | Theme Stated | 5 | [ ] | | 3 | Setup | 10 | [ ] | | 4 | Catalyst | 12 | [ ] | | 5 | Debate | 15 | [ ] | | 6 | Break into Two | 22 | [ ] | | 7 | B Story | 30 | [ ] | | 8 | Fun and Games | 35 | [ ] | | 9 | Midpoint | 55 | [ ] | | 10 | Bad Guys Close In | 60 | [ ] | | 11 | All Is Lost | 75 | [ ] | | 12 | Dark Night of Soul | 80 | [ ] | | 13 | Break into Three | 85 | [ ] | | 14 | Finale | 95 | [ ] | | 15 | Final Image | End | [ ] | --- ### Scene Checklist - McKee | # | Item | Check | |---|------|-------| | 1 | Scene has value shift? | [ ] | | 2 | Gap between expectation/result? | [ ] | | 3 | Character makes choice? | [ ] | | 4 | Stakes increase? | [ ] | | 5 | Scene is filmable? | [ ] | --- ### Dialogue Checklist - Sorkin | # | Item | Check | |---|------|-------| | 1 | Reveals character? | [ ] | | 2 | Advances plot? | [ ] | | 3 | Delivers information? | [ ] | | 4 | Establishes rhythm? | [ ] | | 5 | Has subtext? | [ ] | | 6 | Colloquial, not formal? | [ ] | | 7 | No internal monologue? | [ ] | | 8 | No bracket hints? | [ ] | | 9 | No explaining theme? | [ ] | | 10 | Not preachy? | [ ] | --- ### Character Checklist | # | Layer | Check | |---|-------|-------| | 1 | Mask (External) defined? | [ ] | | 2 | Self (Internal) defined? | [ ] | | 3 | Ghost (Core Wound) defined? | [ ] | | 4 | Want clearly stated? | [ ] | | 5 | Need clearly defined? | [ ] | | 6 | Arc is complete? | [ ] | --- ### Red Lines (Must NOT Have) | # | Prohibition | Check | |---|------------|-------| | 1 | No internal monologue | [ ] | | 2 | No bracket directions | [ ] | | 3 | No character explaining theme | [ ] | | 4 | No preaching/sentimentality | [ ] | | 5 | No direct moral statements | [ ] | | 6 | No non-visual content | [ ] | | 7 | No "we see" / "we hear" | [ ] | | 8 | No over-explanation | [ ] | --- ### The "Wow" Factor Test | # | Question | Score (1-10) | |---|---------|--------------| | 1 | Is concept fresh (first time)? | ___ | | 2 | Does it subvert expectations? | ___ | | 3 | Is there emotional payoff? | ___ | | 4 | Will people recommend it? | ___ | | 5 | Is there a memorable moment? | ___ | **平均分 8/10 以下 → 重新修改** --- ## Version Info - **Version**: V4.0.1 - **Update**: Added methodology deep dive + case studies + templates + checklist - **Core**: Creative-driven + Methodology fusion --- ## Credits & References **Methodologies**: - Robert McKee - Story, Value Shift Theory - Blake Snyder - Save the Beat Sheet - Dan Harmon - Story Circle - Aaron Sorkin - Dialogue Art - Christopher Nolan - Time Structure - Quentin Tarantino - Surprise Structure **Resources**: - references/methodology/foundation.md - references/formats/*.md - references/creative/engine.md --- *Not just writing stories, but creating shock and awe.* *—— Wahoo V4.0.1 | World's Best Screenwriting Methodology | Wenvis Studio ✦*


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