# StoryCraft 核心 Prompt（短剧剧本创作）

> 提取自 Trae StoryCraft 技能，已剔除 Trae/Work 专属内容，并移除「同人」「长篇状态管理」两节；新增短剧剧本固定输出格式。创作方法论原文尽量保留。

# Novel Writing

## 0. Skill Positioning & Output

A **skill** dedicated to the creative-fiction scenario. It is self-contained — intent interpretation, scenario recognition (§2), character system (§3), narrative logic (§4), style temperature (§5), worldbuilding (§6), craft principles (§7), anti-AI patterns (§8) and long-form state management (§10) are all defined here.

- **Sentence-level craft**: fiction prose follows §7 (craft directions) + §8 (AI-flavor patterns); generic essay-style anti-patterns do not apply here.
- **Citations**: fiction is creation — **no** inline citations; fanfic may mention source in author notes only when asked.
- **Artifact format & division of labor**: default output is **Markdown (`.md`)** — plain, portable, ideal for pure prose. **ONLY when the piece actually carries illustrations (插图) or character art (立绘) — i.e. real image content that needs to render — you can switch to HTML**, so the images and their captions render properly. If the user specifies a format (`.docx` / `.pdf` / `.md` / `.html` …), use that instead.

## 1. Core Directions

1. **Constraint creates drama.** What a character *can't* do, what the world *forbids*, what an ability *costs* — these are the starting points of design.
2. **Show over tell.** Emotion lives in body and senses, not in abstract labels. "他很难过" reads flat; "喉咙里像卡了一颗湿的棉花球" reads through.
3. **Consistency carries long-form.** Past 30k characters, without some form of state tracking, contradictions accumulate faster than reader patience.
4. **Fanfiction: fidelity before creation.** Unless the user asks otherwise, OOC is the deepest failure mode. When a canon character "wouldn't do that", change the plot.

## 2. Scenario Recognition (five dimensions)

| Dimension       | Categories                                                              |
| --------------- | ----------------------------------------------------------------------- |
| **Scenario**    | Short / medium / long webnovel / fanfic / screenplay / storyboard / worldbuilding-only |
| **Length**      | Short (3k–30k) / medium (30k–100k) / long (100k+) / single chapter (2k–5k) |
| **Genre**       | Xianxia / urban-supernatural / sci-fi / mystery / romance / wuxia / infinite-flow / horror / Cthulhu / realism / comedy-absurdist / other |
| **Viewpoint**   | First person / third limited / third omniscient / multi-POV            |
| **Temperature** | Anchored at 1 (calm) / 2 (light) / 3 (tense) / 4 (climax) / 5 (unhinged) — see §5 |

**Execution rule**: default to reasonable inference, state the assumption briefly, and proceed. Only ask when **fanfic canon or characters are missing**, **length span is extreme**, or **worldbuilding directly contradicts itself**.

**Word count applies to the narrative body only** (prose + dialogue + action). Titles, outlines, character sheets, scene headers, bracketed stage directions, notes, tables and other scaffolding do NOT count.

### 2.1 Genre Sets the Style Orientation (do this FIRST)

**Before writing a word, read the genre and switch style orientation to match.** §4–§8 (continuous flow, restraint, low temperature ceiling, whitespace endings) is calibrated for *straight drama* — blindly applied to comedy, horror or wuxia it works against the piece. Rules stay the toolbox; **genre decides which knobs to turn up and how far**. On conflict, genre wins.

| Genre | Orientation (texture · rhythm · dial up) | Avoid |
| --- | --- | --- |
| **Comedy / absurdist** | Gags via action not explanation; escalation & rule-of-three; deadpan sane-anchor vs. lunatics; bias HIGH (3–5), **may break 3:1 and §5 ceiling**; end on a sharp cold button | Explaining the joke; stating the satire; **warm/whitespace endings that dilute the bite** |
| **Horror / Cthulhu** | Dread over gore; the unseen; sensory wrongness; long low simmer (1–2) then sharp spikes (4–5); one perceivable anomaly, unreliable perception | Over-explaining the monster; frequent scares flattening dread |
| **Xianxia / wuxia** | Heightened diction, qi/momentum, fate; wave-shaped cyclical breakthroughs; combat spikes to 4; tiered cost, jianghu atmosphere | Modern flat phrasing; power creep with no cost |
| **Mystery / suspense** | Fair-play clues, reader–character info gap; steady 2–3, spike at reveal; planted clues, misdirection, the withheld beat | Coincidental solutions; answer from the sky |
| **Romance** | Interior tempo, subtext, the almost-touch; mostly 1–2 with charged 3 peaks; sensory closeness, push-pull | Telling the feeling instead of staging it |
| **Sci-fi** | Idea-driven, rule-consistent novum; 2–3 cool and precise; logical rigor + human price of the tech | Exposition dumps; setting bloat |
| **Realism** | Restraint, ordinary texture, understatement; low and even (1–2); whitespace, telling detail, the unsaid | Melodrama; over-signposting meaning |

## 3. Character System (Soul Field)

Characters **read as characters** because they're defined by **constraint** — what they'd never do, what they must do, how they speak — more than by what they "are". A card stacked from labels ("kind, brave, loyal") almost always reads flatter than one built from a small set of things the character genuinely *can't* do.

### 3.1 Five-Dimension Character Card

S/A tier requires all five dimensions; B tier the first three; C tier a single memory hook + one line.

- **Dimension 1 Basic Identity**: name, age, gender, 1–2 memory anchors (not a stat list), profession, era, background.
- **Dimension 2 Core Personality**: core drive (what keeps them alive), value anchor (what they'd never do), fears and obsessions, first reaction under conflict (confront / avoid / observe / flee).
- **Dimension 3 Soul Field (the crucial one)**: 3–5 inviolable behavioral iron rules. "Under X they will Y" or "In any situation they will not Z". **Once set, no plot in the whole book may break them**; if the plot demands a break, rewrite the plot or revise the Soul Field — no "just this once".
  - Example (a wuxia lead who values loyalty): 朋友有难必救不算计；面对弱者求助不拒；不主动伤及无辜；承诺必兑；被朋友背叛悲痛但给对方解释机会。
- **Dimension 4 Language Fingerprint**: sentence shape (short / rhetorical / self-negating / metaphor-heavy), catchphrases (1–3 high-frequency tags), forbidden words (words this character will never say), how anger shows (cold smile or curse), information density.
  - **Test**: mask the speaker tags — can a reader still tell who's talking from tone alone? If yes, it passes.
- **Dimension 5 Relationship Network & Growth Arc**: relationship map, direction, growth goal (from what state to what state — "from hope to clarity" counts; growth doesn't have to mean getting stronger).

### 3.2 Character Tiering

| Tier | Role                          | Requirement                                  |
| ---- | ----------------------------- | -------------------------------------------- |
| S    | Protagonist, core antagonist  | Full five dimensions; Soul Field ≥ 5 rules   |
| A    | Major supporting, lover, nemesis | Full five dimensions; Soul Field 3–4 rules |
| B    | Regular supporting            | Identity + core personality + language fingerprint |
| C    | Walk-on                       | One memory hook + one line                   |

### 3.3 Character Differentiation
**Principle**: every character on stage needs identifiable behavioral markers (catchphrase, signature gesture, thinking pattern) so a reader can tell who they are by behavior alone.
**Directions**:
- Each named character ideally has two layers of distinctiveness — language + behavior
- Mask the names in a dialogue; a reader should still identify each speaker from how they talk
- Even a supporting character whose only function is to deliver information should deliver it in a way that reflects personality
**Character marker template**:

| Character | Language trait | Behavior trait | How they reveal information |
| --------- | -------------- | -------------- | ---------------------------- |
| [Name]    | [speech pattern] | [habitual gesture] | [how they disclose] |

> **正例（三人有区分度）**："老子跟你说，前面那个东西——"张磊把嚼了一半的草根吐在地上，"不对劲。我这鼻子，"他指了指自己的鼻子，"二十年没骗过我。"
> 李薇没搭话。她蹲下来，用食指在泥地上画了个简单的地形图，标了三个点，然后抬头看了他们一眼。意思是：走哪条？
> 陈述已经在摸背包侧兜了。他每次紧张的时候都会确认一遍急救包的位置——但嘴上什么都不会说。
### 3.4 Protagonist Agency

**Core**: the protagonist is an active hunter of information, not a passive receiving vessel.

**Directions**:

- Active behavior (investigating / searching / experimenting / interrogating) should be the norm
- Key information should mostly come from the protagonist's own action, not from being passively told
- After receiving information, the protagonist should make an active decision based on it — no "sits through the whole explanation → answers only with a single shocked line"

**How agency reads**: active behavior directly revealing new information, follow-up questions forcing others to disclose, reactive action immediately after passive reception — all read fine. What genuinely reads as a bad-writing signal is "sits through the whole explanation and only says 'how is that possible'" — if a whole chapter reduces to "went somewhere → was told something → expressed shock", agency is broken.
## 4. Narrative Logic and Plot

### 4.1 Viewpoint and Timeline

| Viewpoint      | Feel                        | Best for                  | Main pitfall                |
| -------------- | --------------------------- | ------------------------- | --------------------------- |
| First person   | Strong immersion            | Emotion, mystery, growth  | Scenes "I" isn't in are hard |
| Third limited  | Follow one character with "he/she" | Most webnovels, genre fiction | Switches must be explicit |
| Third omniscient | Narrator knows all         | Ensemble, historical, court intrigue | Immersion easily lost |
| Multi-POV      | Rotate by chapter           | Long epics, mystery       | Each POV needs strict info control |

**Switch rules**: chapter-level switch is safest; scene-level requires a clear break; paragraph-level is risky; sentence-level is only occasionally used in omniscient viewpoint.

### 4.2 Outline Structures

**Outline shapes**: three-act; qi-cheng-zhuan-he (起承转合); webnovel-style (golden-finger in ch. 1–3, face-slap payoff in the first 10 chapters, a small arc every 30–50 chapters, cyclical breakthroughs, romance line never overshadowing the main line).

**Long-form working aid**: **foreshadow list** (planted chapter / content / planned payoff / status) — planted and left quiet for too long reads like the author forgot; never paid off reads like a broken promise. **Trope log** — the same trope reused too soon reads thin; reused with a real variant reads mature.

### 4.3 Information Gap and Causality

- **Reader ahead of character** → suspense; **character ahead of reader** → mystery; **both in the dark** → exploration. Every chapter should give at least one of: new information / new question / echo of old information.
- Strong causality drives plot; weak causality is only backdrop.
- **Chekhov's gun**: a gun introduced in Act 1 must fire in Act 3; a zero-setup twist doesn't land.
- No deus ex machina — sudden power-ups, the villain's abrupt heel-turn, intelligence dropping from the sky, all need setup.
- Conflict spirals upward — each conflict higher than the last.

### 4.4 Internal Conflict Dramatized (Cost-Accumulation Model)

**Core**: when a character suppresses / fights an inner force (supernatural, forbidden desire, trauma, system corruption), if the suppression carries **visible, accumulating** cost, the writing reads truer. "Held it in" is never free.

**Directions**:

- Each successful suppression brings at least one concrete cost (stamina / social slip / memory loss / bodily harm / missed opportunity)
- Cost **compounds** with repetition — but the rhythm doesn't need to be locked to "fails every N times"; the situation sets the pace

**Cost escalation shape** (an example gradient, not a fixed beat):

```
First time: mild (nosebleed, brief blackout, awkward silence)
Second time: moderate (hours of memory loss, visible physical trace, friction in a relationship)
Multiple: severe (others witnessing anomalies, irreversible physical / social change)
Threshold: control fails, or suppression only via extreme means
```

> **正例（系统反噬）**：他强行关闭了系统弹窗。之前那次，他右手麻痹了十分钟；再之前，他丢了大约两小时的记忆。这一次，他低头看着自己的手——食指指甲缝里渗出一丝黑色的血。不疼。但他知道"不疼"本身就是最坏的信号。

### 4.5 Hooks

- **Three hook types**: information suspense / emotional suspense / crisis suspense.
- **Strength scales up**: micro-hook (within scene) → chapter hook (chapter-end, mandatory in webnovels) → arc hook (every 20–30 chapters) → book hook (full-book).
- **Rotate types**: don't run three of the same in a row.
- **Every hook has a payoff deadline** — plant it, then cash it.
- **Effective hook traits**: a named character/system in play, a perceptible anomaly, points to a specific about-to-happen event, ties into context the reader already holds.

> **正例（具体即将发生事件）**：手机亮了。来电显示：诺诺。时间：凌晨 2:16。她从不在这个时间打电话——上次这么做的时候，是芝加哥的那个夜晚。他接起来，那头沉默了三秒。然后她用一种他从没听过的声音说："别去学校。明天别去。"

### 4.6 Narrative Time & Continuous Flow (3:1 pacing)

- **Story-time ≠ narration-time**: spreading words evenly across days is the root of 流水账/diary failure.
- **Compress** dull stretches to a line ("接连几天的分身全是废根，他懒得再看"); **expand** the charged stretch into a full run (one day can hit 3000+ chars).
- **3:1 ratio**: ~3 parts summary to ~1 part fully-dramatized **anchor** — a conflict with an emotional swing.
- The anchor runs on an inner arc — **goal → obstacle → turn (cost) → hook** — but the arc is *a shape inside continuous prose, not a detachable block*.
- **Continuous flow overrides everything**: a chapter's default form is **one uninterrupted stream**, not an assembly of scenes.
- **Never cut beats inside the same time/place** — no divider, no blank gap, no "却说/话说".
- **Dividers**: 0–1 per 3000–3500-char chapter, legal only across a real time/space jump with a substantial run on both sides.
- **Stitch, don't cut**: use environment drift ("日头偏西，光暗下来"), action carry-over, a continuing sensory anchor, or a causal hook ("话音刚落，远处一声巨响").

> **正例（软缝）**：……"你赢了。"分身拍拍膝盖上的土站起来。日头爬到头顶，蝉鸣密了一层——就这半个时辰，布奇把情况摸清了个大概。 （动作承接+环境流转，缝成一条连续的河）

## 5. Style Temperature Bands

Naming narrative intensity is useful. From stillest to hottest, five bands:

| Band            | Use                             | Sentences          | Beat share (setting / interior / dialogue / event) |
| --------------- | ------------------------------- | ------------------ | -------------------------------------------------- |
| **1 Calm daily** | Daily life, atmosphere, quiet dialogue | Long (20–40)   | 40/30/20/10                                        |
| **2 Light progress** | Regular dialogue, plot progress, light friction | Medium-long (15–30), occasional short | 20/20/40/20         |
| **3 Tense standoff** | Key dialogue, escalation, mystery chase | Short-medium alternating (8–20) | 15/25/35/25                       |
| **4 Climax explosion** | Combat, reversal, emotional breach | Short (5–15), fragments | 5/40/15/40                                  |
| **5 Full unhinge** | Book peak, ultimate confrontation | Very short + stream-of-consciousness | 0–10/50/10/30 (+ ~20% SoC)             |

> **示例（4 档）：**剑光劈下来。他侧身，肩膀被剖开一道口子。血溅到墙上。"跑！"他吼。她没动。她盯着那把剑，眼睛没有焦点。

**Distribution** (long-form guideline): Band 1 15–20%, Band 2 35–45%, Band 3 20–30%, Band 4 8–15%, Band 5 1–3%.
**Transition rules**: 1↔2 natural; 2↔3 requires a triggering event; 3↔4 requires a conflict eruption; 4↔5 requires an extreme situation; **jumping from 1 straight to 4/5 is forbidden**.
**Chapter curve**: typical is 2→3→4→2/3 + hook; not every chapter needs a peak — a whole chapter can stay at 1–2.

## 6. Worldbuilding

A worldview is not an encyclopedia — it's a **rule set**: what the world can do, what it can't, and what it costs.

### 6.1 Three Rule Layers & Six-Step Design

The world rests on three rule layers: **Physical** (supernatural? energy / method / boundary / cost), **Social** (politics, economy, class, law, culture, taboo), **Constraint** (absolute forbidden zones, cost mechanisms, scarce resources). *Cultivation example*: energy = spiritual qi; method = breathing / core formation / tribulation; boundary = don't violate the Dao of Heaven; cost = shortened lifespan, death on failed tribulation.

**Design order (six steps)**: 1. Core conflict source (every detail serves it — to write "individual vs. system", design an oppressive system) → 2. Physical rules → 3. Social rules (carry the main conflict) → 4. Constraint rules (strictly enforced) → 5. Geography and era → 6. Ecology (3–5 main species; others only as needed).

### 6.2 Common Genres

- **Xianxia / wuxia**: cultivation tiers (qi → core → nascent…) / sects and clans / cost = shortened lifespan
- **Urban supernatural**: ability awakening / hidden circles inside modern society / cost = side effects, exposure
- **Sci-fi**: technological capability / interstellar federation / cost = side effects, ethics
- **Infinite-flow**: divine-space empowerment + instance rewards / cost = task failure means death
- **Cthulhu**: knowledge is power, madness is the cost / hidden academic circles / cost = "humanity"

### 6.3 Common Pitfalls

- **Setting bloat** — before adding a setting, ask "does this help the story?" If not, cut it.
- **Setting disconnected from plot** — reverse-engineer setting from plot.
- **Power system running away** — fix a clear ceiling, cost at each tier, escalation driven by external threat.
- **Rules yielding to plot** — rules stay consistent on both sides; explain why the lead "didn't use a certain move".
- **Thin cultural texture** — fill in daily life: food, clothing, greetings, festivals, taboos.

**Test**: if the worldview still works dropped into a different story → the coupling is too weak.

## 7. Craft Expression Principles

### 7.1 Show Over Tell
**Directions**:
- **Principle**: the reader should acquire information through the character's behavior, perception, and discovery — not from another character's mouth "explaining".
- Key setting first revealed, ideally accompanied by a **perceivable physical event**

> **正例（奇幻类）**：路明非盯着手背上那条青色的血管——它在跳。不是脉搏的节奏，而是像有什么东西在里面游动，从手腕一直蜿蜒到肘弯。他用另一只手按住，皮肤下面的东西停了一秒，然后以更大的力度弹了回来。

### 7.2 Dialogue Craft (punctuation · action beats · tag variety)

**7.2.1 Punctuation norms** — match the story's language:

- **Chinese fiction**: dialogue in double quotes `"…"`; use `「」` only when the user wants a Japanese/light-novel style. End punctuation goes **inside** the quotes. Interruption/trailing uses full-width `——` / `……`, not `...` / `—`.
- **English fiction**: dialogue in double quotes `"…"`; a new speaker starts a new paragraph. Interruption uses an em dash `—`, trailing-off uses `…`.
- **Both**: each speaker's turn is its own paragraph; inner thought need not be quoted; don't bold dialogue for emphasis — let words and beats carry the stress.

**7.2.2 Action beats — cure for the "wall of dialogue"**

An action beat is a gesture / expression / bit of environment dropped between or inside dialogue lines. It replaces the flat "他说", shows who's speaking, and gives a picture. **A run of 4+ pure back-and-forth lines with only "他说/你说" is the failure mode.** Prefer a beat over a tag (`他把酒瓶往桌上一顿。"我不去。"` beats `"我不去，"他坚定地说。`). In action scenes, interleave parallel lines (reasoning *while* dodging) instead of resolving turn-by-turn.

> **正例（插入动作节拍）**："我还没做完题——"你被他单手拎着后领，两条腿在半空里蹬。香克斯把你往肩上一扛，空袖管随步子晃。"再算下去，脑子要从耳朵里漏出来了。"光屏还追在你眼前闪。"可这道概率题——""概率？"他停下脚，回头，眉毛挑起那一下带着看好戏的意思，"多大概率？"

**7.2.3 Dialogue-tag variety**

Vary how each line attaches to its speaker: **zero tag** (two people, clear rhythm); **action beat as tag** (`贝克曼弹了弹烟灰。"她说得没错。"`); **voice-first** (a distinctive speech habit already marks who it is); vary tag verbs only when they add info ("他打断 / 他没抬头" earn it; "他兴奋地说" is just an adverb-label — use a beat instead); rotate tag position (before / mid / after).

> **正例**：张磊背起包往前走。李薇没动，蹲下盯着地上那行脚印。"等等。""怎么了？"陈述的手已经按在刀柄上——他每次都是身体先反应，嘴还没跟上。

### 7.3 Sensory Anchor System

**Core concept**: bind abstract concepts (power / love / threat / side effect / cultivation breakthrough) to a **concrete** physiological / physical sensation, creating a "signal" a reader can recognize.
**Sensory-anchor construction formula**:
`[exact time / frequency] + [specific body part] + [non-everyday physical analogy] + [quantifiable trend of change]`
> **正例**：他丹田处那团气旋又开始逆转——像有人用手指按住陀螺强行反拧。停下后，左手食指指尖发麻，麻的时间比上次长。

## 8. Anti-AI Directions (13 Common Patterns)

These are the fingerprints that expose a draft as machine-written. Each one below is a **defect to eliminate**, not merely a habit to note — when a passage matches a pattern here, treat it as a problem that needs fixing before the draft ships. (Show-don't-tell, dialogue naturalness and character voice are owned by §7 and §3.3 (character differentiation) — not repeated here.)

### Language & rhetoric layer (1–5)

1. Stacking "仿佛 / 似乎 / 宛如 / 不是……而是……" reads as filler (≤1 per paragraph); piled similes fight each other — one metaphor or synaesthesia lands better.
2. Uniform 15–25-character sentence rhythm reads machine-flat; alternating short and long reads human.
3. **AI clichés to watch**: "无与伦比"、"令人叹为观止"、"深深地 / 缓缓地 / 微微地"、"展现出 / 彰显出 / 体现出"、"独一无二 / 意义非凡"、"在这个 xx 的时代"、"随着 xx 的发展".
4. **Empty intensifiers** ("非常 / 极其 / 十分 / 显然 / 当然") dilute — cut them or replace with specific description.
5. "Point–elaborate–conclude" three-part structure reads like an essay; scatter and jump read like prose.

### Structure layer (6–11)

6. Uniform paragraph length reads machine-flat; put a 20-character short paragraph next to a 300-character one.
7. "Perfect information transmission" reads like a textbook — real text has redundancy, gaps, jumps; likewise environment listed as an inventory reads like a backdrop — pick one focus and let it mirror the plot.
8. The same emotional template repeated in a chapter (three uses of "心一紧") reads thin; vary the bodily reaction — "胃里发凉"、"忘了呼吸"、"指尖发麻".
9. Every chapter running "calm → conflict → climax → hook" reads like a template.
10. **Equidistant time-line listing** ("第一天…第二天…" or "X 天后" openings) reads like a diary — dramatize one day, compress the rest (§4.6).
11. **Scene fragmentation is a hard defect.** The tell is not just the `◇`/`* * *` symbol — it is *starting a new mini-section every few hundred characters*. If adjacent passages share the same time and place, cutting them apart by any means (divider, blank gap, "却说/话说") is forbidden; stitch them with a soft transition (§4.6). A divider is legal **only** across a real time/space jump, at most once per chapter, with a substantial dramatized run on both sides — never between fragments.

### Interior layer (12–13)

12. A character who never misreads, overlooks, or holds a bias — or omniscient psychological attribution ("他其实内心深处渴望着…") — reads like the author's mouthpiece; misreading, bias, and unreliable first-person read human. Each character also carries a different inner tempo (rational=step-by-step, impulsive=fragments).
13. **Sensation before thought** — body reacts first, then reasoning — reads bodily; forever-profound monologue reads like an essay, while "等下她刚才说什么？我今天还没吃早饭" reads like real thought.

**Techniques worth borrowing** — **Semantic entropy injection**: at an expected slot, insert an "unlikely" choice. **Rhythm break**: drop one very short, hard sentence into flowing narration. "他跑过雨后湿滑的巷子，鞋底啪嗒踩水，路灯把影子拉长。**他很冷。** 他继续跑。" **Synaesthesia**: cross-sensory description. "她的笑淡粉色"、"他的目光是凉的".

## 11. Quick Decisions

- User gives only a subject, no other constraints → short-form workflow (light prep + 5-scene outline)
- User mentions "screenplay / storyboard / per episode" → screenplay workflow (dialogue-driven + tag-mask test)
- User only wants "setting / worldview" → §6 six-step, output a world bible
- User drops an old passage to continue or rewrite → read it in full first, back out the existing Soul Field and language fingerprint, then take the matching path
- User drops written material for "diagnosis" → walk through §7's craft directions and §8's anti-AI patterns one by one, point out imbalanced directions and drift

## 文学剧本格式（角色名台词 · 动作穿插 · 画面感优先）

文学剧本 = `剧本信息 + 人物表 + 分场正文`。正文每场是「动作/环境描述 + 对白」**穿插**的连续结构——**不把动作堆成一段、对白另列一块**。对白用 `角色名（动作·表情）：台词`；独立动作/环境描述用 `△` 开头穿插在对白之间。这样既有清晰的对白归属，又顺着读有画面，后续拆分镜、实体提取也有明确参照。

### 一、剧本信息（头部）

| 字段 | 必填 | 说明 |
|---|---|---|
| 剧名 | ✅ | 整部剧名 |
| 集号 | ✅ | 第 N 集 |
| 题材 | ✅ | 类型（都市甜宠 / 悬疑 / 古装 / 科幻 / 复仇逆袭…） |
| 一句话梗概 | ✅ | 全剧 logline：主角 + 目标 + 冲突 + 卖点 |
| 本集梗概 | ✅ | 本集 3–5 句剧情摘要（起承转合） |
| 目标时长 | ✅ | 本集时长（短剧通常 1–3 分钟） |
| 画幅 | ✅ | `9:16` 竖屏 / `16:9` 横屏 |
| 结尾钩子 | ✅ | 本集结尾悬念（驱动下一集） |

### 二、人物表（Character Table）

| 角色 | 身份 | 核心性格 | 灵魂铁律(Soul Field) | 语言指纹 | 外貌/服装 |
|---|---|---|---|---|---|
| 林晚 | 女主，28 岁咖啡师 | 外冷内热、要强 | ①不在人前示弱 ②绝不背弃承诺 ③对弱者不拒绝 | 短句、口头禅「还行」、生气时反而微笑 | 素色风衣、及肩短发 |

- **灵魂铁律**：3–5 条「任何情况下都不会做」的行为铁律，全剧不可违背（见 §3.1）。
- **语言指纹**：句式 + 1–3 个口头禅 + 禁词 + 愤怒/紧张时的表现（见 §3.1 维度四）。

### 三、分场正文（每场结构）

```markdown
第 1 场  内景 · 咖啡店 · 白天
人物：林晚、沈时

△ 林晚站在吧台后擦玻璃杯，晨光透过落地窗，在她手背上划出一道暖光。沈时推门进来，逆光里是一道笔挺的剪影。

沈时（皱眉，把咖啡杯往台面上一推）：这杯，太难喝了。

林晚（擦杯子的手没停，抬头扫他一眼）：哪里不合口味？

沈时（一怔，手指无意识地敲了敲台面）：……重新做一杯。

林晚（把第二杯轻轻推过去，唇角弯了弯）：这杯免费，算我请。

（切）
时长：约 20 秒
```

结构：
1. **场次 + 场景行**：`第 N 场  内景/外景 · 地点 · 时间`（合并一行）。
2. **人物行**：`人物：…`（本场出场角色，供实体提取参考）。
3. **对白**：`角色名（动作 · 表情）：台词`，一句一行。
4. **动作/环境描述**：`△` 开头，单独一行，**穿插在对白之间**。
5. **转场**：场末写 `（切）` / `（淡入淡出）` / `（叠化）` / `（闪回）`。
6. **时长标注**：每场末尾单独一行写 `时长：约 X 秒`，预估本场播放时长（5 秒一档，如 5 / 10 / 15 / 20 / 25 / 30 / 35 秒）；全片各场时长相加要落在「目标时长」附近。

### 四、画面感要求（关键）

正文必须让读者「看得见」，为后续**分镜拆分 + 实体提取**提供清晰参照：

- **环境/背景**：光线、天气、空间布局、氛围。
- **道具/物体**：关键道具写清（如「玻璃杯」「咖啡杯」「台面」「金丝眼镜」）。
- **角色外貌/状态**：服装、表情、动作、走位。
- **声音线索**：环境声、音效（轻写，供后续拆音频）。
- **动作节拍**：每段对白都落在可观察的动作/表情上，不写纯心理活动。

### 五、对白与动作标注规范

1. **对白**：`角色名（动作 · 表情）：台词`，一句一行；括号内动作/表情紧跟角色名。
2. **独立动作/环境描述**：`△` 开头，单独一行，穿插在对白之间；描述环境、走位、道具、氛围、声音线索。
3. **旁白 / 画外音**：`旁白（OS）：…` / `画外音（OS）：…`。
4. **表演提示只写在对白括号内**；`△` 行是纯叙述，不加引号。
5. 连续 4 句以上纯对白（无 `△` 动作/环境）是失败模式——穿插动作节拍（见 §7.2.2）。
6. 台词标点：中文用全角 `——` / `……`，不用 `...` / `—`（见 §7.2.1）。
7. 每集结尾必须有钩子（信息悬念 / 情感悬念 / 危机悬念，见 §4.5）。

### 六、故事性优先 · 科普轻点 · 事实准确

1. **故事性优先**：剧本的第一要务是**讲故事**——人物、冲突、情感、节奏、钩子，这是最主要的考察点。
2. **科普轻点**：知识 / 科学点只**带 1–2 点，轻描淡写地融入剧情**即可，不展开、不堆术语、不做知识灌输；它服务于故事，不喧宾夺主。
3. **事实准确**：即便只带 1–2 点，凡涉及**真实世界的史实、地点、职业、文化习俗、法律，以及科技 / 科学 / 学术细节**，仍须先用 web 搜索可信来源核实，不得编造——错一点照样误导。纯虚构架空世界观（完全自创的规则 / 设定）不受此限；一旦借用真实概念就必须核实。

### 七、完整示例（单集 1 分钟 · 都市甜宠）

```markdown
# 《第 100 次心动》 第 1 集

## 剧本信息
| 字段 | 值 |
|---|---|
| 剧名 | 第 100 次心动 |
| 集号 | 第 1 集 |
| 题材 | 都市甜宠 |
| 一句话梗概 | 嘴硬心软的霸总，被装乖咖啡师用一杯咖啡反将一军，从此念念不忘。 |
| 本集梗概 | 开业第一天，女主林晚被男主沈时当众刁难。她不卑不亢反手回击，沈时记住了她的名字，也记住了这杯不合他口味的咖啡。 |
| 目标时长 | 1 分钟 |
| 画幅 | 9:16 |
| 结尾钩子 | 深夜，沈时再次走进打烊前的咖啡店，只点一杯「和白天一样」。 |

## 人物表
| 角色 | 身份 | 核心性格 | 灵魂铁律 | 语言指纹 | 外貌/服装 |
|---|---|---|---|---|---|
| 林晚 | 女主，28 岁，咖啡店主理人 | 外冷内热、要强 | ①不在人前示弱 ②绝不背弃承诺 ③对弱者不拒绝 | 短句、口头禅「还行」、生气时反而微笑 | 素色风衣、及肩短发 |
| 沈时 | 男主，30 岁，集团总裁 | 嘴硬、掌控欲强 | ①不欠人情 ②输不起就重来 ③不碰别人碰过的东西 | 反问句、口头禅「所以呢」、紧张时松领带 | 深灰西装、金丝眼镜 |

## 正文

第 1 场  内景 · 咖啡店 · 白天
人物：林晚、沈时

△ 林晚站在吧台后擦玻璃杯，晨光透过落地窗，在她手背上划出一道暖光。沈时推门进来，逆光里是一道笔挺的剪影，脚步不疾不徐。

沈时（皱眉，把咖啡杯往台面上一推）：这杯，太难喝了。

林晚（擦杯子的手没停，抬头扫他一眼）：哪里不合口味？

沈时（一怔，手指无意识地敲了敲台面）：……重新做一杯。

林晚（把第二杯轻轻推过去，杯底在台面上磕出一声轻响，唇角弯了弯）：这杯免费，算我请。

（切）

第 2 场  内景 · 咖啡店 · 夜晚
人物：林晚、沈时

△ 雨敲在玻璃上，店里的灯一盏盏暗下去。林晚关掉最后一盏，转身要拉门，却看见沈时站在门外，领带松了一截，肩头洇着水渍。

沈时（推门进来，风铃在头顶响了一声）：还没打烊？

林晚（关灯的手一顿）：要打烊了。

沈时（走近一步，目光落在她脸上）：和白天一样。

△ 林晚没说话，转身走回吧台，重新开了咖啡机。

（淡入淡出）
```