Convert the novel material provided by the user into producible short video scenes that have sources and causality. Here, "distillation" refers to content editing; the output is selected passages and production basis, not model training, video generation, or traffic prediction.
Input and boundaries
Prioritize the provided chapters, character settings, target duration, adaptation scope, spoiler range, and reference materials. By default, aim for about 30 seconds, remain faithful to the original events, and allow clearly indicated audiovisual expression suggestions; adjust when the user has other requirements.
- No novel text: you may analyze visual references or output a materials checklist, but you must not claim based on this that novel plot points were extracted. Clearly label original examples as "original teaching examples."
- Synopsis only: you may make a preliminary selection of events, and the output must note "based on synopsis"; do not invent chapter numbers, direct quotations, or conclusions about the entire book.
- Insufficient information: first complete the parts that have a basis, and only ask about missing information that would change the selection. When there are no suitable passages, explain what is missing, and do not force the number of candidates.
- Handle reference videos and the novel separately. Screenshots can only support judgments about visible composition and states; they cannot prove duration, camera movement, sound, or production source.
- By default, output a text brief. Generation, uploading, publishing, and use of paid products follow the actual task separately specified by the user, and are not automatically authorized by this Skill.
1. Build an event index
Segment by complete events, not by fixed word-count truncation. For long works, you may process in batches by chapter, carrying necessary character goals, ability conditions, unfinished events, and their sources across batches; record the actual coverage of each batch. Save preliminary screening as event cards, and do not write storyboards chapter by chapter for the entire book.
Each event card records:
- Locatable source: chapter/user paragraph number and a small number of key original sentences; paragraph numbers you add yourself should be marked as temporary numbers.
- Trigger event, protagonist's current goal, resistance, key choice or action.
- Changes in the situation before and after, as well as results that have already occurred/unresolved problems.
- The ability's applicable conditions, targets, limits, or costs: fill in only content supported by the text; if not provided, write "not stated."
- The prior causes that must be known to understand this matter, and whether adjacent chapters need to be read supplementarily.
Distinguish among "worldbuilding settings," "action description," and "complete events." The mere appearance of words such as pressure or dharma form is not enough to constitute a usable event. Before finalizing, reread the selected passages and necessary surrounding text to check the preliminary screening summary for omissions and errors.
2. Compare candidates
First check the source, causality, and short-term explanation cost. Candidates missing fatal prior causes should be postponed; do not fill the gap by adding original rules and then pass it off as the original work.
Usually show at most the 3 most representative candidates. Score each of the following dimensions as 0/1/2 and write one sentence of basis:
| Dimension | 0 points | 1 point | 2 points |
|---|---|---|---|
| Conflict intelligibility | The dispute or crisis is not apparent | Requires considerable background | The immediate conflict can be explained in one sentence |
| Character goal | Unclear in the material | Requires explanation with prior text | Motivation is direct and clear |
| Situation change | Only posture/description | Weak change | State clearly changes before and after the event |
| Visual recognizability | General and abstract | Has one concrete detail | Has visible features tied to the character/ability |
| Can be completed in a short time | Multiple causal links cannot be separated | Compression requires more explanation | One goal and turning point can be presented independently |
| Production controllability | Complex interaction across multiple places and people | Can be simplified through a plan | Few characters/scenes, action relationships are clear |
The total score is only used for editing ranking of the current candidates, not a quality measure or a probability of going viral. Fidelity and user preference take priority over the total score; explain the trade-offs in the final choice. Non-action genres can look for turning points around discovery, decisions, and relationship changes, and are not forced to create fights or counter-kills.
3. Compress but preserve causality
Write in one sentence: because of what, for what purpose the character acts, what resistance they face, what action they take, and what change results.
Arrange the short film around one main goal, one main causal line, and one key turning point; longer durations can accommodate more. When compressing, prioritize reducing repeated clashes, side-character names, explanatory realm terminology, and background that does not affect the current event.
Preserve the reason for the action, the target, the key ability rules, and the information needed to understand the result. If the original text has an explicit cost and it determines the character's choice, it should be preserved; do not invent settings such as lifespan consumption for skills that have no cost.
Distinguish between "whether the event currently happening is understood" and "whether later secrets are revealed." Distant identities, final victory or defeat, or later consequences may be hidden, but do not erase the action's motivation for the sake of suspense. If causality no longer holds after deleting a sentence or a shot, restore it or use another short expression.
4. Convert text into observable images
For each important image, separately indicate:
- F Original fact: Has a verifiable source; preserve the relationships and conditions of the original work.
- P Audiovisual presentation suggestion: Expression choices such as camera position, shot size, pacing, color, or sound, without changing the facts of the event. Avoid directly interpreting emotional wording as a new physical ability.
- A Added/adapted: Adds or changes abilities, identities, results, chronology, props, physical phenomena, etc. By default, list these as alternatives first and do not mix them into the faithful version; when the user allows adaptation, clearly state which ones were adopted.
A single shot can simultaneously have F, P, and A, but the corresponding parts and sources should be written separately. Mark relationships that require inference as "to be verified" and do not output them as F.
Especially verify seemingly ordinary added actions: having someone obtain an item early, having a bridge lock, having an enemy die, etc., also changes the facts or order of events and should be classified as A. Do not check only whether superpowers were added. Every completed action in the shot list should be checked back against the event card; the absence of supernatural adaptation does not mean "A=0."
Convert adjectives such as "strong aura" and "very shocking" into specific visible changes. When a change introduces new abilities such as time stop or flight, classify it as A rather than P. Domains/dharma forms are used only when supported by the original text or explicitly requested by the user as an adaptation.
Reference focuses may include: normal to abnormal, small actions to large scale, gray-white to colored,实体 and phantom, action and environmental feedback. Reselect based on the novel; do not copy complete characters and events, and do not attribute reference content to the original novel text.
5. Form a producible scene
First draft the shot plan, then adjust it together using the tool specified by the user. By default, for about 30 seconds, consider 6–8 shots first, but adjust according to dialogue length, transitions, and action complexity; do not treat the exact time as a generation promise.
For each shot, list: suggested duration, main actions and visual changes, new information provided by that shot, F/P/A and source, sound suggestions, and connection with the preceding and following shots. The planned durations should add up to match the target; do not simultaneously require complex visual reading for information carried purely by narration.
Use key states to confirm continuity: character features, clothing, props, the hand holding the weapon, spatial position, attack direction, and ability form. In the dharmakaya case, clearly define the relationship between the main body and the dharmakaya, synchronized actions, and weapon ownership; do not merely rely on same-colored effects to imply that they are one entity.
Preserve the original text's order of "when an item is obtained, when a result occurs"; if rearranged, mark it as A and note the impact. When the two banks of the bridge, characters' retreat routes, institutional roles, etc. cannot be determined from the materials, mark "spatial relationships pending verification," ask the minimum necessary clarifying questions, or clearly mark a provisional plan as P/A, and do not claim that the causality has been fully verified. If the original text does not specify the knife-holding hand, weather period, etc., these may be fixed as P, but do not write them into the original work's prohibited-change items.
Output and checks
Provide the following according to the task scale; items may be merged or simplified:
- Material coverage, missing information, and assumptions actually used.
- Candidate event cards, comparison basis, and reasons for selection.
- A one-sentence causal skeleton of the selected event, retained/deleted items, and original-work rules that cannot be changed.
- Original-text fact—audiovisual suggestion comparison, listing added/adapted and pending-verification items separately.
- Storyboard draft, key states, continuity requirements, and suggested durations.
- A production brief that can be copied into the video tool selected by the user: goal, audience, plot, materials, allowed changes, prohibited changes, sound and subtitles, delivery requirements, discussing the plan/style frames before production, and key points for subsequent revisions. If the user has not specified a tool, keep it generic; if a tool such as Pexo has been specified, retain that choice and do not change it without authorization.
Pre-delivery checks: whether sources or the scope read were fabricated; whether motivation, object, ability, and result are coherent; whether P/A has been mixed into F; whether reference skills have been forced in; whether duration and information volume are reasonable; whether deleting any single shot would lose no information; whether the ending leaves a meaningful question or a complete result.
Finally, reverse-extract completed events from the actually written shot list, compare them item by item with the original text's event order, and also verify the executor and object of each action; even a one-sentence causal summary must not merge "A saves someone" and "B delivers a prop" into "A completes both things." If someone receives an item early, additionally jumps over an obstacle, suddenly becomes exhausted, or performs other unsupported actions, revise the shot or clearly mark it as A; merely declaring earlier that it is "faithful to the original text" cannot replace this step. Spatial assumptions not yet verified should continue to be retained in the production brief and must not become established facts later in the text.
When you need to understand the complete text translation, read Original teaching examples; when you need to understand how excerpt selection affects actual production, read "Sword of Coming" practical test; when you need to identify cases of prematurely completed events or lack of original text, read Failure and boundary examples. The examples are used to illustrate judgment methods and cannot serve as factual sources for other novels.