Crafts precise one-sentence loglines for feature films or TV pilots, capturing protagonist, inciting incident, conflict, and stakes in under 40 words. Useful for distilling story concepts and preparing pitches.
How this skill is triggered — by the user, by Claude, or both
Slash command
/autopunk-media-skills:logline-writerThe summary Claude sees in its skill listing — used to decide when to auto-load this skill
Crafts a precise, irresistible one-sentence logline for a feature film or TV pilot that captures protagonist, inciting incident, central conflict, and stakes in under 40 words.
Crafts a precise, irresistible one-sentence logline for a feature film or TV pilot that captures protagonist, inciting incident, central conflict, and stakes in under 40 words.
Required: The protagonist (role or identity, not name), the inciting incident or central situation, and what is at stake Optional: Genre or tone; the antagonistic force; the ironic or thematic twist that makes the concept distinctive; what the writer most wants to preserve in the logline
Three numbered logline variants (one per line), each under 40 words, with a two-word label (e.g., Dramatic, Ironic, Compressed). Followed by a brief diagnostic note (2–3 sentences) identifying the weakest element and what would sharpen the concept. No preamble. No "here are some options" framing.
Format: Feature film Premise: A hostage negotiator discovers, mid-negotiation with a bank robber, that her estranged teenage son is one of the hostages. The robber figures this out halfway through and uses it against her. Genre: Thriller Tone: Tense, emotional, character-driven. Think Dog Day Afternoon meets Prisoners. Writer note: "I want to keep the irony of her professional competence being destroyed by her personal failure."
Dramatic An elite hostage negotiator must talk a desperate bank robber into releasing his hostages — while concealing from her supervisor that her estranged son is among them and the robber already knows.
Ironic She has talked down armed men in fourteen cities. She has never successfully talked to her own son. Today she has to do both, simultaneously, while a gunman watches.
Compressed A hostage negotiator discovers her estranged son is trapped inside — and the robber knows it.
Diagnostic note: The core irony is strong and clearly stated. The weakest element is stakes: what specifically happens if she fails? If her son dies, that is a stake — but what makes this beyond a tragedy is the professional/personal collision. Clarify whether the external stake is her career (she'll be pulled off the case if discovered), her son's life, or both — and the logline sharpens further. The "estranged" detail is doing a lot of work; a single additional word indicating why they're estranged (if that's a plot element) would make the irony land harder.
npx claudepluginhub ur-grue/autopunk-media-skills --plugin autopunk-media-skillsCrafts 4-6 precise logline options for documentary projects, calibrated for festival, broadcaster, press, or social contexts. Useful when preparing pitches or refining vague loglines.
Outlines story structure using beat sheets and three-act framework for screenplays, novels, and narratives.
Guides screenplay writing with 3-act structure, sequence method, scene formatting, dialogue rules, and A/B story weaving.