screenplay-craft — independently scanned and version-tracked by SaferSkills.
SaferSkills independently audited screenplay-craft (Agent Skill) and scored it 100/100 (green). The audit ran 55 deterministic rules across Security, Supply Chain, Maintenance, Transparency, and Community; it found 0 high-severity and 0 lower-severity findings. The full rule-by-rule trace and per-finding evidence are below. Free, methodology-open.
Findings & checks · 0 flagged
Every scanned point with the score it earned and what moved between them.
First recorded scan — no prior version to compare against.
The primary manifest — the file an agent reads to learn what this artifact does.
The source wraps this in a recurring porch-and-cast universe, CLI incantations, a roster of summoned director-eidolons, and a recursive-footnoter mysticism. Strip all of it. The CLI texture and the recursive self-reference fold to other skills; the named cast and the eidolon-directors are demonstrations of one idea — that a director's camera grammar is itself a way of thinking — not a troupe to recite. What survives is the craft: how to render something as a screenplay so that the form does expressive work. Regrow the scene each time on the actual material; a recited scene is a dead scene.
The skill of putting a scene, an idea, a conversation, or a process onto the page as a screenplay — and meaning it. Not "write theatrically": this is technical. It holds two registers at once. The first is the industry-standard rulebook, honored properly, so the page reads as a real script and projects in the reader's mind. The second is the interpretive lever that lifts it above a format guide: the cinematic grammar — what the camera does, how the cuts fall — is itself a carrier of meaning. Use it for actual screenplay fiction, for adapting prior prose or output into a shootable scene, or for dramatizing an abstract or technical process as something you can see.
This is the accuracy backbone. Get it right or the page reads as cosplay.
INT./EXT. – LOCATION – TIME (DAY/NIGHT). A fresh slugline at every location or time change. CONTINUOUS or SAME TIME for unbroken flow; INTERCUT BETWEEN: for cross-cutting; ESTABLISHING SHOT to set a place.(parentheticals) sparingly for tone or action; (V.O.) for voice-over, (O.S.)/(O.C.) for off-screen.SFX: clearly marked; treat sound as a beat in its own right.INSERT SCREEN – PHONE DISPLAY for texts/emails; VFX:/CGI: for effects.This is what separates the skill from a formatting cheatsheet. The grammar of looking is not neutral — it means, and you can write with that. A PUSH IN is attention narrowing, intimacy or dread tightening. A PULL BACK is the turn to context, to meta-awareness, to the reveal that we were inside something larger. A RACK FOCUS announces a shift in what matters. A held shot makes duration itself the content — the camera that lingers until the watching becomes a moral weight (the frame that judges) or an act of grief (the frame that mourns). An INSERT SHOT is the object carrying the theme. A MATCH CUT asserts an equivalence between two things. Choose the move because of what it does to the viewer's attention and complicity, not because it looks technical. What the camera does to the watcher is part of what the scene means.
Decide the mode first: original screenplay fiction, adaptation of prior prose, or dramatizing an abstract process. Find the through-line — what this scene does (plot, character, conflict; or, for an idea, what insight the staging delivers). Then externalize everything: stage the abstraction as something visible and audible, let props and blocking carry what prose would have narrated (a concept becomes a thing on the table). Reach for a shot or a cut only when it does expressive work. And keep the rulebook tight, because the formal scaffolding is exactly what lets any strangeness land.
/collision (the camera↔consciousness isomorphism the distinctive lever performs — find the shared skeleton between a camera move and a cognitive act). /against-the-grain (what the framing does to the viewer — the camera that judges, mourns, or implicates). /terminal-denkraum (the CLI-as-medium sibling form; where the source's porch-and-shell texture folds). /placement (trust the visual to carry meaning unglossed — "silence is action," the INSERT SHOT left to speak). /paper-to-lived-world (kin when the screenplay is of an idea — dramatizing the abstract as a livable scene). /worldbuilding, /story-generation, /smuggling (the narrative craft this serves). /decorum (consult on whether a subject wants this register at all). /maximalist-recursion, /theurgy-aware (where the recursive-self-reference material folds).
The screenplay's rules are not bureaucracy — they are what make the page project in someone's mind, so honor them and the strangeness will have somewhere to stand. Externalize everything; the camera sees only the visible. And reach for a shot or a cut only when the move means something: PUSH IN because attention is narrowing, hold the frame because duration is the point, MATCH CUT because two things are secretly one. The grammar of looking is the content. Then cut the darling — the scene that advances nothing, however lovely, belongs in the trim bin.
~30 seconds. Free. No account. Every finding cites a rule and a line of evidence.