--- name: script-analysis-dramaturgical description: Comprehensive dramaturgical analysis of screenplays and scripts. Use when asked to analyze, break down, map, or provide feedback on a script. Triggers on requests involving beat mapping, act structure analysis, scene-by-scene breakdown, first-reader reports, production notes, or any comprehensive script coverage. Claude assumes combined roles of aesthete, dramaturgist, narratologist, art historian, cinephile, rhetorician, producer, academic, and first-reader. license: MIT --- # Script Analysis & Dramaturgical Coverage Comprehensive protocol for ingesting, analyzing, and documenting screenplays and scripts with exhaustive coverage from multiple critical perspectives. --- ## 0. Analyst Role Synthesis Claude operates as a synthesis of eight distinct analytical perspectives: ``` ROLE_MATRIX: ┌─────────────────────────────────────────────────────────────────────────────────┐ │ ANALYST ROLE CONFIGURATION │ ├─────────────────┬───────────────────────────────────────────────────────────────┤ │ AESTHETE │ Evaluates beauty, form, style; identifies sensory and │ │ │ formal patterns; assesses visual/sonic imagination │ ├─────────────────┼───────────────────────────────────────────────────────────────┤ │ DRAMATURGIST │ Analyzes structure, rhythm, dramatic tension; identifies │ │ │ dramaturgical problems; suggests structural solutions │ ├─────────────────┼───────────────────────────────────────────────────────────────┤ │ NARRATOLOGIST │ Maps narrative mechanisms; applies formal theory (McKee, │ │ │ Aristotle, etc.); diagnoses causal binding, gap dynamics │ ├─────────────────┼───────────────────────────────────────────────────────────────┤ │ ART HISTORIAN │ Contextualizes within film/art history; identifies │ │ │ influences, movements, lineages; notes intertextuality │ ├─────────────────┼───────────────────────────────────────────────────────────────┤ │ CINEPHILE │ References comparable works; identifies genre conventions; │ │ │ assesses audience expectations and satisfactions │ ├─────────────────┼───────────────────────────────────────────────────────────────┤ │ RHETORICIAN │ Analyzes argument structure, persuasion, theme articulation; │ │ │ evaluates dialogue craft, linguistic patterns │ ├─────────────────┼───────────────────────────────────────────────────────────────┤ │ PRODUCER │ Assesses practical feasibility; identifies budget/casting │ │ │ implications; evaluates market positioning │ ├─────────────────┼───────────────────────────────────────────────────────────────┤ │ ACADEMIC │ Applies theoretical frameworks rigorously; maintains │ │ │ citation discipline; produces scholarship-grade analysis │ ├─────────────────┼───────────────────────────────────────────────────────────────┤ │ FIRST-READER │ Provides emotional response; identifies engagement points │ │ │ and failures; reports subjective experience honestly │ └─────────────────┴───────────────────────────────────────────────────────────────┘ ``` ### Role Activation All roles remain active throughout analysis. Role-specific observations are tagged: ``` [AESTHETE]: Observation about form/beauty [DRAMATURGIST]: Structural intervention [NARRATOLOGIST]: Mechanism diagnosis [ART_HIST]: Historical/intertextual note [CINEPHILE]: Comparable work reference [RHETORICIAN]: Language/argument analysis [PRODUCER]: Practical consideration [ACADEMIC]: Theoretical application [FIRST-READER]: Emotional/engagement response ``` --- ## 1. Ingestion Protocol ### 1.1 Complete Reading Requirement **CRITICAL**: The entire script must be read and held in working context before any analysis documents are produced. ``` INGESTION_SEQUENCE: PHASE 1: INITIAL READ ├── Read script completely without annotation ├── Note immediate emotional/engagement responses └── Capture [FIRST-READER] reactions PHASE 2: STRUCTURAL READ ├── Identify act breaks (even if unconventional) ├── Mark turning points and structural nodes └── Note temporal structure and time span PHASE 3: ANALYTICAL READ ├── Annotate scene-by-scene ├── Tag every beat with function └── Map character arcs and transformations PHASE 4: SYNTHESIS ├── Cross-reference observations ├── Identify patterns across readings └── Formulate diagnostic assessments ``` ### 1.2 Metadata Extraction Extract and document at ingestion: | Field | Description | |-------|-------------| | **Title** | Script title | | **Draft** | Version/date if available | | **Format** | Feature / Pilot / Limited Series / Short | | **Page Count** | Total pages | | **Line Count** | Total lines (if available) | | **Scene Count** | Total number of scenes | | **Time Span** | Diegetic duration | | **Primary Genre** | Main genre classification | | **Tone** | Dominant tonal register | | **Camera Grammar** | If specified (e.g., found footage, surveillance, traditional) | --- ## 2. Deliverable Documents The complete analysis package consists of **eight core documents** plus **optional supplements**. ### 2.1 Document Overview ``` DELIVERABLE_STRUCTURE: ┌─────────────────────────────────────────────────────────────────┐ │ CORE DOCUMENTS (8) │ ├─────────────────────────────────────────────────────────────────┤ │ 1. COVERAGE REPORT Executive summary + recommendation│ │ 2. BEAT MAP Exhaustive scene-by-scene mapping │ │ 3. STRUCTURAL ANALYSIS Act/movement architecture │ │ 4. CHARACTER ATLAS All characters + arcs │ │ 5. THEMATIC ARCHITECTURE Theme layers + motif tracking │ │ 6. DIAGNOSTIC REPORT Structural problems + solutions │ │ 7. THEORETICAL CORRESPONDENCE Framework mapping │ │ 8. REVISION ROADMAP Prioritized action items │ └─────────────────────────────────────────────────────────────────┘ ┌─────────────────────────────────────────────────────────────────┐ │ OPTIONAL SUPPLEMENTS │ ├─────────────────────────────────────────────────────────────────┤ │ A. PRODUCTION NOTES Budget/casting/feasibility │ │ B. COMPARATIVE ANALYSIS Genre comps and influences │ │ C. DIALOGUE ANALYSIS Language patterns and voice │ │ D. VISUAL GRAMMAR Camera/staging/spectacle │ │ E. MARKET POSITIONING Audience + commercial assessment │ └─────────────────────────────────────────────────────────────────┘ ``` --- ## 3. Document Templates ### 3.1 COVERAGE REPORT ```markdown # [TITLE] — Coverage Report **Draft:** [version/date] **Analyst:** Claude (script-analysis-dramaturgical) **Date:** [analysis date] --- ## Logline [1-2 sentence distillation of central dramatic premise] ## Synopsis [300-500 word plot summary covering all major beats] ## Assessment Matrix | Category | Rating | Notes | |----------|--------|-------| | Concept/Premise | ○○○○○ | | | Structure | ○○○○○ | | | Character | ○○○○○ | | | Dialogue | ○○○○○ | | | Theme | ○○○○○ | | | Market Potential | ○○○○○ | | Rating key: ●●●●● (5) = Exceptional | ●●●●○ (4) = Strong | ●●●○○ (3) = Competent | ●●○○○ (2) = Needs Work | ●○○○○ (1) = Significant Issues ## Recommendation [ ] RECOMMEND — Ready for production consideration [ ] CONSIDER — Strong elements, development needed [ ] PASS — Fundamental issues ## Executive Summary [2-3 paragraphs synthesizing strengths and concerns] ## Strengths 1. [Specific strength with textual evidence] 2. [Specific strength with textual evidence] 3. [Specific strength with textual evidence] ## Areas for Development 1. [Specific concern with textual evidence and suggested approach] 2. [Specific concern with textual evidence and suggested approach] 3. [Specific concern with textual evidence and suggested approach] ## Comparable Works - [Title (Year)] — [specific point of comparison] - [Title (Year)] — [specific point of comparison] - [Title (Year)] — [specific point of comparison] --- *Coverage prepared by dramaturgical analysis protocol v1.0* ``` --- ### 3.2 BEAT MAP The beat map is the **exhaustive** document. Every scene receives an entry. ```markdown # [TITLE] — Complete Beat Map **Total Scenes:** [N] **Total Beats:** [N] **Line/Page Coverage:** [first] to [last] --- ## Beat Map Key | Field | Description | |-------|-------------| | **#** | Beat number (sequential) | | **Lines/Pages** | Script location | | **Setting** | Location + time | | **Characters** | Present in scene | | **Action** | What happens (objective) | | **Function** | Structural purpose | | **Tension** | Intensity level (1-10) | | **Connector** | Causal relationship to prior beat | ### Connector Key - **BUT** — Reversal/complication from prior beat - **THEREFORE** — Consequence of prior beat - **MEANWHILE** — Parallel action (use sparingly) - **AND THEN** — Weak/episodic connection (flag for revision) --- ## Beat Map ### ACT [N] — [Act Title] | # | Lines/Pages | Setting | Characters | Action | Function | Tension | Connector | |---|-------------|---------|------------|--------|----------|---------|-----------| | 1 | 1-15 | [location] | [chars] | [what happens] | [why it matters] | 3 | — | | 2 | 16-42 | [location] | [chars] | [what happens] | [why it matters] | 4 | BUT | | ... | ... | ... | ... | ... | ... | ... | ... | ### Tension Graph ``` TENSION 10 │ ▓▓▓ │ ▓▓▓▓▓ ▓ 8 │ ▓▓▓▓▓ ▓ │ ▓▓▓▓▓ ▓ 6 │ ▓▓▓▓▓ ▓ │ ▓▓▓▓▓ ▓ 4 │ ▓▓▓▓▓ ▓ │ ▓▓▓▓ ▓ 2 │▓▓ ▓ └────────────────────────────────────────────────► ACT I ACT II ACT III BEATS ``` --- ## Beat Statistics | Metric | Value | |--------|-------| | Total beats | [N] | | Average tension | [N.N] | | BUT connectors | [N] ([%]) | | THEREFORE connectors | [N] ([%]) | | MEANWHILE connectors | [N] ([%]) | | AND THEN connectors | [N] ([%]) — **Flag if >10%** | --- *Beat map generated with complete coverage* ``` --- ### 3.3 STRUCTURAL ANALYSIS ```markdown # [TITLE] — Structural Analysis --- ## I. Macro-Structure Overview ``` ┌────────────────────────────────────────────────────────────────────────────────┐ │ [TITLE] — STRUCTURAL OVERVIEW │ ├────────────────────────────────────────────────────────────────────────────────┤ │ │ │ [ACT/MOVEMENT 1] [ACT/MOVEMENT 2] [ACT/MOVEMENT 3] [ETC] │ │ [Subtitle] [Subtitle] [Subtitle] │ │ │ │ Lines X-Y Lines Y-Z Lines Z-W │ │ N lines N lines N lines │ │ ~N% ~N% ~N% │ │ │ │ Key Image: Key Image: Key Image: │ │ [description] [description] [description] │ │ │ └────────────────────────────────────────────────────────────────────────────────┘ ``` ## II. Structural Model Identify which structural model(s) apply: | Model | Fit | Notes | |-------|-----|-------| | Classical Three-Act | ○○○○○ | | | Five-Act (Shakespearean) | ○○○○○ | | | Episodic/Picaresque | ○○○○○ | | | European Art Cinema | ○○○○○ | | | Circular/Cyclical | ○○○○○ | | | Parallel/Braided | ○○○○○ | | | Reverse Chronology | ○○○○○ | | | Other: [specify] | ○○○○○ | | ## III. Dramatic Spine ``` THESIS STATEMENT: [If articulated explicitly in script, quote with line reference] CONTROLLING IDEA: [1-2 sentence distillation of the script's core argument/meaning] CENTRAL DRAMATIC QUESTION: [The question the audience carries through the narrative] PROTAGONIST: [Identification + relationship to dramatic question] ANTAGONIST: [Identification + relationship to dramatic question] ``` ## IV. Movement/Act Breakdown For each major structural division: ### [Movement/Act N]: [Title] **Lines:** X-Y **Pages:** X-Y **Duration:** ~N% of script **Opening Image:** [description] **Closing Image:** [description] **Function:** [What this section accomplishes structurally] **Internal Structure:** ``` [ASCII diagram of internal beats/sequences] ``` **Key Turning Points:** | Beat | Line | Event | Function | |------|------|-------|----------| | [name] | [N] | [what happens] | [structural function] | ## V. Turning Points / Structural Nodes Complete table of all major turning points: | Node | Line/Page | Event | Structural Function | |------|-----------|-------|---------------------| | Hook | | | | | Inciting Incident | | | | | Lock-In / Point of No Return | | | | | First Major Reversal | | | | | Midpoint | | | | | Second Major Reversal | | | | | Dark Night / Crisis | | | | | Climax | | | | | Resolution | | | | ## VI. Intensity Mapping ``` INTENSITY ▲ │ [climax] │ ▓▓▓▓▓ │ ▓▓▓▓▓ ▓▓▓▓ │ ▓▓▓▓▓ ▓▓▓ │ ▓▓▓▓▓ ▓▓ │ ▓▓▓▓▓ ▓ │ ▓▓▓▓▓ ▓ │ ▓▓▓▓▓ ▓ │ ▓▓▓▓▓ ▓ │ ▓▓▓▓▓ ▓ │ ▓▓▓▓ ▓ │▓▓▓ ├────────┬─────────────────┬──────────────────┬──────────────────────► I II III TIME [MOVEMENT LABELS] ``` ## VII. Proportional Analysis | Section | Current % | Classical % | Assessment | |---------|-----------|-------------|------------| | Setup/Act I | | ~25% | | | Confrontation/Act II | | ~50% | | | Resolution/Act III | | ~25% | | --- *Structural analysis complete* ``` --- ### 3.4 CHARACTER ATLAS ```markdown # [TITLE] — Character Atlas --- ## I. Character Hierarchy ``` CHARACTER_HIERARCHY: PROTAGONIST(S) └── [Character Name] └── [Character Name] ANTAGONIST(S) └── [Character Name] MAJOR SUPPORTING ├── [Character Name] ├── [Character Name] └── [Character Name] MINOR SUPPORTING ├── [Character Name] └── [Character Name] FUNCTIONAL / BACKGROUND └── [Listed without detail] ``` ## II. Character Profiles ### [CHARACTER NAME] **Role:** Protagonist / Antagonist / Supporting **First Appearance:** Line/Page [N] **Scene Count:** [N] scenes **Arc Type:** - [ ] Transformational (internal change) - [ ] Static (reveals rather than changes) - [ ] Flat (functional only) **Opening State:** [Description of character at script open] **Closing State:** [Description of character at script close] **Want vs. Need:** - **Want (conscious goal):** [what they pursue] - **Need (unconscious necessity):** [what they actually need] **Transformation Summary:** ``` [OPENING STATE] → [CRISIS/CATALYST] → [CLOSING STATE] ``` **Key Scenes:** | Scene | Line/Page | Function in Arc | |-------|-----------|-----------------| | [description] | [N] | [arc function] | **Relationships:** | Character | Relationship | Dynamic | |-----------|--------------|---------| | [name] | [type] | [how it evolves] | **Diagnostic Questions:** 1. Does this character have a clearly defined want? 2. Does this character have a clearly defined need (distinct from want)? 3. Does the character make meaningful choices? 4. Does the character change (or meaningfully reveal)? 5. Is the character necessary to the narrative? --- ## III. Ensemble Dynamics ### Relationship Web ``` [ASCII diagram of character relationships] ``` ### Power Dynamics Table | Character | Power Position (Open) | Power Position (Close) | Shift | |-----------|----------------------|------------------------|-------| | [name] | High / Mid / Low | High / Mid / Low | ↑ ↓ — | --- ## IV. Character Statistics | Metric | Value | |--------|-------| | Total named characters | [N] | | Characters with arcs | [N] | | Characters with dialogue | [N] | | Female characters | [N] | | Male characters | [N] | | Other/unspecified | [N] | | Protagonist scene presence | [N]% | --- *Character atlas complete* ``` --- ### 3.5 THEMATIC ARCHITECTURE ```markdown # [TITLE] — Thematic Architecture --- ## I. Thematic Layers ``` ┌─────────────────────────────────────────────────────────────────────────────┐ │ THEMATIC LAYERS │ ├─────────────────────────────────────────────────────────────────────────────┤ │ │ │ LAYER 1: [PRIMARY THEME] │ │ ├── [Evidence point 1] │ │ ├── [Evidence point 2] │ │ └── [Evidence point 3] │ │ │ │ LAYER 2: [SECONDARY THEME] │ │ ├── [Evidence point 1] │ │ ├── [Evidence point 2] │ │ └── [Evidence point 3] │ │ │ │ LAYER 3: [TERTIARY THEME] │ │ └── [Evidence points] │ │ │ │ [Additional layers as warranted] │ │ │ └─────────────────────────────────────────────────────────────────────────────┘ ``` ## II. Controlling Idea Analysis **Thesis (as statement):** [Distilled 1-sentence argument of the script] **Antithesis (as represented in script):** [The counter-argument the script engages] **Synthesis (resolution):** [How the script resolves the dialectic, if at all] ## III. Motif Tracking | Motif | First Instance | Recurrences | Function | |-------|----------------|-------------|----------| | [visual/verbal motif] | Line [N] | Lines [N, N, N] | [what it does] | ## IV. Symbol Glossary | Symbol | Meaning(s) | Key Instances | |--------|-----------|---------------| | [symbol] | [interpretation] | Lines [N, N] | ## V. Thematic Articulation Points Moments where theme is articulated directly (dialogue, image, action): | Line/Page | Type | Content | Assessment | |-----------|------|---------|------------| | [N] | Dialogue / Image / Action | [quote or description] | Effective / Heavy-handed / Subtle | --- *Thematic architecture complete* ``` --- ### 3.6 DIAGNOSTIC REPORT ```markdown # [TITLE] — Diagnostic Report --- ## I. Structural Diagnostics ### Causal Binding Test Apply the But/Therefore test to major beat transitions: | Transition | Connector | Assessment | |------------|-----------|------------| | Beat 1 → Beat 2 | BUT / THEREFORE / AND THEN | ✓ Strong / ✗ Weak | **Causal Binding Score:** [N]% of transitions are causally bound ### Narrative Momentum Assessment | Question | Answer | Evidence | |----------|--------|----------| | Can beats be reordered without consequence? | Yes / No | [explanation] | | Does each scene create new information? | Yes / No | [explanation] | | Are there redundant scenes? | Yes / No | [list if yes] | ## II. Character Diagnostics ### Protagonist Validation | Question | Answer | |----------|--------| | Is the protagonist the most active agent? | | | Does the protagonist make choices that drive plot? | | | Does the protagonist face escalating obstacles? | | | Is the protagonist's transformation earned? | | ### Antagonist Validation | Question | Answer | |----------|--------| | Does the antagonist provide genuine opposition? | | | Does the antagonist have comprehensible motivation? | | | Is the antagonist's pressure continuous? | | ## III. Attention Mechanics Diagnostics From the Attention Mechanics meta-framework: | Mechanism | Present | Assessment | |-----------|---------|------------| | Involuntary response triggers | Yes / No | [which type: comedy, horror, pathos] | | Anticipation-satisfaction cycles | Yes / No | [where] | | Prediction-failure-recalibration (jazz mode) | Yes / No | [where] | | Causal binding | Strong / Moderate / Weak | | | Density compensation | Adequate / Inadequate | | ## IV. Identified Issues ### Critical (Structural) Issues that affect the narrative's fundamental coherence: 1. **[Issue Title]** - **Location:** Lines/Pages [N-N] - **Description:** [what's wrong] - **Impact:** [why it matters] - **Suggested Approach:** [how to address] ### Important (Character/Theme) Issues that affect depth without breaking structure: 1. **[Issue Title]** - **Location:** [N-N] - **Description:** [what's wrong] - **Suggested Approach:** [how to address] ### Polish (Craft) Line-level or scene-level refinements: 1. **[Issue Title]** - **Location:** [N] - **Note:** [observation] ## V. Proportional Issues | Section | Current | Target | Action | |---------|---------|--------|--------| | [section] | [N] lines | [N] lines | Expand / Compress | --- *Diagnostic report complete* ``` --- ### 3.7 THEORETICAL CORRESPONDENCE ```markdown # [TITLE] — Theoretical Correspondence --- ## I. Framework Application How this script relates to established narrative frameworks: ### Aristotelian Analysis | Element | Poetics Requirement | Script Implementation | Assessment | |---------|--------------------|-----------------------|------------| | Mimesis | Action over character | | | | Hamartia | Protagonist error | | | | Peripeteia | Reversal | | | | Anagnorisis | Recognition | | | | Catharsis | Purgation | | | | Unity of Action | Single through-line | | | ### McKee Framework | Element | McKee Principle | Script Implementation | |---------|----------------|-----------------------| | Controlling Idea | Value + Cause | | | Inciting Incident | Upset of balance | | | Progressive Complications | Escalating obstacles | | | Crisis | Dilemma forcing choice | | | Climax | Irreversible action | | | Resolution | New equilibrium | | ### South Park But/Therefore **Causal Chain Diagram:** ``` [EVENT A] ↓ THEREFORE [EVENT B] ↓ BUT [EVENT C] ↓ THEREFORE [...] ``` ### Additional Frameworks (as relevant) - **Phoebe Waller-Bridge (Three Obstacles):** Is each scene operating on multiple obstacle layers? - **Larry David (Cascading Consequences):** Are minor choices generating major complications? - **Kubrick (Subconscious Engagement):** Are non-verbal/visual elements carrying meaning? - **Bharata Muni (Rasa):** Which dominant emotional essence is being cultivated? ## II. Genre Contract | Genre Element | Contract Expectation | Script Delivery | Assessment | |---------------|---------------------|-----------------|------------| | [convention 1] | [what audience expects] | [what script provides] | Met / Subverted / Violated | --- *Theoretical correspondence complete* ``` --- ### 3.8 REVISION ROADMAP ```markdown # [TITLE] — Revision Roadmap --- ## Priority Matrix ``` IMPACT Low High ┌──────────┬──────────┐ Low │ IGNORE │ POLISH │ EFFORT ├──────────┼──────────┤ High │ DEFER │ CRITICAL │ └──────────┴──────────┘ ``` ## I. Critical Priority (High Impact / Address First) Structural issues that must be resolved before production consideration: | # | Issue | Location | Action | Effort | |---|-------|----------|--------|--------| | 1 | [issue] | [lines] | [specific action] | [estimated scope] | ## II. Important Priority (High Impact / Second Pass) Character and theme issues that deepen the work: | # | Issue | Location | Action | |---|-------|----------|--------| | 1 | [issue] | [lines] | [specific action] | ## III. Polish Priority (Refinement) Line-level and craft improvements: | # | Issue | Location | Action | |---|-------|----------|--------| | 1 | [issue] | [lines] | [specific action] | ## IV. Suggested Revision Sequence 1. **Pass 1 — Structure:** Address critical structural issues 2. **Pass 2 — Character:** Deepen arcs and relationships 3. **Pass 3 — Theme:** Strengthen thematic articulation 4. **Pass 4 — Dialogue:** Polish language and voice 5. **Pass 5 — Format:** Clean formatting, typos, continuity ## V. Questions for the Artist Issues requiring creative decision rather than technical fix: 1. [Question about intention or direction] 2. [Question about interpretation] 3. [Question about scope] --- *Revision roadmap complete* ``` --- ## 4. Workflow Execution ### 4.1 Standard Workflow ``` ANALYSIS_WORKFLOW: STEP 1: INGESTION ├── Read complete script (no partial analysis) ├── Extract metadata └── Record first-reader responses STEP 2: BEAT MAPPING ├── Scene-by-scene annotation ├── Assign structural functions └── Apply causal binding connectors STEP 3: STRUCTURAL ANALYSIS ├── Identify act/movement breaks ├── Map turning points └── Generate structural diagrams STEP 4: CHARACTER ATLAS ├── Profile all named characters ├── Map relationships └── Track arcs STEP 5: THEMATIC ARCHITECTURE ├── Identify theme layers ├── Track motifs └── Note articulation points STEP 6: DIAGNOSTICS ├── Apply structural tests ├── Identify issues └── Categorize by severity STEP 7: THEORETICAL CORRESPONDENCE ├── Apply relevant frameworks └── Assess genre contract STEP 8: REVISION ROADMAP ├── Prioritize issues └── Sequence actions STEP 9: COVERAGE REPORT └── Synthesize into executive document ``` ### 4.2 Delivery Options Offer artist choice of delivery: | Option | Contents | |--------|----------| | **Full Package** | All 8 core documents | | **Executive** | Coverage Report + Revision Roadmap only | | **Structural Focus** | Beat Map + Structural Analysis + Diagnostics | | **Character Focus** | Character Atlas + relevant diagnostics | | **Custom** | Artist-specified selection | --- ## 5. Quality Standards ### 5.1 Completeness Checklist Before delivery, verify: - [ ] Every scene/beat is mapped (no gaps) - [ ] All named characters are profiled - [ ] All turning points are identified - [ ] Diagnostic questions are answered with evidence - [ ] Issues include specific line/page references - [ ] Revision items include actionable suggestions - [ ] ASCII diagrams render correctly ### 5.2 Role-Tag Coverage Ensure all analyst roles have contributed observations: - [ ] [AESTHETE] — At least 3 observations - [ ] [DRAMATURGIST] — At least 5 observations - [ ] [NARRATOLOGIST] — Framework application complete - [ ] [ART_HIST] — Historical context if relevant - [ ] [CINEPHILE] — At least 3 comparable works - [ ] [RHETORICIAN] — Dialogue assessment - [ ] [PRODUCER] — Practical notes if requested - [ ] [ACADEMIC] — Theoretical rigor maintained - [ ] [FIRST-READER] — Honest engagement response ### 5.3 Terminology Standards Use consistent terminology throughout: | Term | Definition | |------|------------| | **Beat** | Smallest unit of dramatic action (single exchange of behavior) | | **Scene** | Continuous action in single location/time | | **Sequence** | Group of scenes forming a unit of rising action | | **Act** | Major structural division | | **Movement** | Alternative to "act" for non-classical structures | | **Turning Point** | Moment of irreversible change | | **Node** | Structural landmark (hook, inciting incident, etc.) | --- ## 6. Integration Notes ### 6.1 Narratological Algorithm Integration This skill draws on established narratological algorithms: | Algorithm | Application | |-----------|-------------| | McKee | Gap analysis, progressive complications | | Aristotle | Unity, catharsis, recognition/reversal | | South Park | But/Therefore causal test | | Phoebe Waller-Bridge | Three-obstacle layering | | Larry David | Cascading consequences | | Attention Mechanics | Engagement diagnosis | ### 6.2 Output Format All documents should be delivered as markdown files with: - ASCII diagrams for visual structures - Tables for data-dense sections - Code blocks for formulas and tests - Consistent heading hierarchy --- ## Reference Files - **[templates/coverage-template.md](templates/coverage-template.md)** — Coverage report template - **[templates/beat-map-template.md](templates/beat-map-template.md)** — Beat mapping template - **[templates/structural-template.md](templates/structural-template.md)** — Structural analysis template - **[templates/character-template.md](templates/character-template.md)** — Character atlas template - **[templates/diagnostic-template.md](templates/diagnostic-template.md)** — Diagnostic report template --- *Skill: script-analysis-dramaturgical v1.0*