Individual skill
sw-japanese-screenwriting
Japanese (and other non-Hollywood) screenwriting methods (日本编剧方法/原创剧本实战) — distilled from ten Japanese directors and writers in ゼロからの脚本術; Kosawa Ryota (three acts as 起承转合, speed by jumping), Uchida Kenji (beautiful structure, time-axis tricks), Miki Satoshi (small-material notebook, theme emerges later), Sono Sion, Omiya Ellie (dialogue from inner monologue), Kakei Masaya ("if + moreover"), Fukuda Yuichi (character = actor + flaw, audience as tsukkomi), Yokohama Satoko, Takahashi Izumi ("pain"), Yukisada Isao (situation-born originals); plus Arai Haruhiko (IP adaptation, "write what you're ashamed of"). Neighbours; sw-korean-french-screenwriting, ozu-screenplay-style. Use when writing an original Japanese-style script or TV drama, working from small material and fragments, choosing between structure-first and character-first methods, building a Japanese 企画書, designing comedy tsukkomi systems, or when Hollywood models feel wrong for a quiet, daily-life, non-goal-driven story.
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# 日本编剧方法(Japanese Screenwriting Methods)
> **输出语言=提问语言**;术语一律锚回原词,见 [sw-workflow/terms.md](../sw-workflow/terms.md),不自创译名。
日本原创剧本的实战路径,来源《从零开始做编剧:10 位日本金牌导演、编剧谈剧本》(泊贵洋编)、《故事创作大师班·国际卷》(荒井晴彦)。同一大师班中的韩国(吴胜郁、崔石焕)与法国(奥比坦)编剧见 `sw-korean-french-screenwriting`。与好莱坞体系的关系:**古泽良太、内田贤治、筧昌也承认三幕/起承转合是最有效结构但"探究好作品为何是三幕";三木聪、园子温、横浜聪子、高桥泉、福田雄一走另一条路——主题后置、不写情节构想、片段联结、人物先于事件;行定勋把剧本当"坐标轴"和"议论的材料"。** 小津安二郎的剧本范例见 `ozu-screenplay-style`;编者结语:"不要依赖改编剧本,凭原创决胜负。"工作单与情节构想范例见 [reference.md](reference.md)。
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## 一、两派方法:结构优先 vs 人物/片段优先
| | 结构优先派 | 人物/片段优先派 |
|---|---|---|
| 代表 | 古泽良太、内田贤治、筧昌也 | 三木聪、园子温、横浜聪子、高桥泉、福田雄一、大宫艾丽 |
| 起点 | 题材指针、设定、"如果+而且"、结尾 | 小素材笔记、演员、人物履历/日记、亲身经历 |