Help us improve
Share bugs, ideas, or general feedback.
Writes structured dramatic character profiles covering psychology, backstory, want, need, flaw, wound, and voice for screenwriters developing characters across a full draft.
npx claudepluginhub ur-grue/autopunk-media-skills --plugin autopunk-media-skillsHow this skill is triggered — by the user, by Claude, or both
Slash command
/autopunk-media-skills:character-profile-writerThe summary Claude sees in its skill listing — used to decide when to auto-load this skill
Writes a structured dramatic character profile — covering psychology, backstory, want, need, flaw, wound, and voice — that a screenwriter can use throughout a full draft.
Develops psychologically compelling characters by mapping want vs. need, wound, defence mechanism, and defining contradiction. Triggers when a character feels flat or unconvincing.
Generates standalone web novel character sheets: profiles, relationship networks, growth arcs (full novel), and per-25-chapter changes. Use for character sheets, diagrams, growth curves, antagonist design.
Writes a screenplay scene in industry-standard format (slugline, action lines, dialogue) from a scene brief and character notes, ready to drop into a draft.
Share bugs, ideas, or general feedback.
Writes a structured dramatic character profile — covering psychology, backstory, want, need, flaw, wound, and voice — that a screenwriter can use throughout a full draft.
Required: Character's role in the story; their external goal in the story (the want); a brief description of who they appear to be on the surface Optional: Genre and tone; the protagonist's relationship to this character (lead, antagonist, ally, mirror); any fixed biographical facts; what the writer already knows about their backstory or arc; character traits to avoid
Five headed sections: Wound & Flaw, Want & Need, Backstory (150–200 words, scene-ready), Voice Signature (3–5 specific characteristics with illustrative micro-dialogue), Ghost & Arc (what haunts them, where they start, where they end). Total length: 500–700 words. Tone: development notes — precise, psychologically grounded, zero waffle.
Role: Protagonist — a 44-year-old female detective homicide investigator in a mid-sized city Genre: Crime drama, grounded and procedural, character-driven External goal in story: Catch the person responsible for a series of staged suicides Surface description: Competent, respected, calm under pressure. Keeps everyone at arm's length. Works every case harder than required. Relationship notes: Divorced, one adult estranged daughter, one younger partner she's mentoring Tone reference: The Wire, Mare of Easttown
CHARACTER PROFILE — DET. RUTH CALLOWAY
Wound & Flaw
Ruth's wound is specific and private: when she was 16, her younger brother Denny took his own life three days after she dismissed what she now recognizes were clear signals. She told him he was being dramatic. She was 16 and overwhelmed and wrong, and she has never stopped adjudicating that verdict. Her flaw — the maladaptive behavior the wound produced — is a compulsive certainty in her own professional judgment combined with a complete inability to hear distress in the people she loves. She reads strangers with precision and the people closest to her not at all.
Want & Need
Want: Solve the case. More specifically: prove that these deaths were not suicides, that someone decided for those people that their lives were finished. This is the conscious engine of the story.
Need: Accept that she cannot posthumously correct what happened to Denny, and that her daughter — who is alive and asking for contact — is not a case she can close by working harder. She needs to be present rather than vigilant.
Backstory
Ruth grew up in a working-class household where her parents' marriage was a cold war conducted through chores and silences. She became competent early — the kid who handled logistics, managed Denny, and never asked for anything — because asking felt dangerous. She joined the force at 22, made detective at 29, was promoted to homicide at 33. Her marriage to a high-school coach lasted eleven years; he left citing emotional unavailability, a charge she found professionally interesting and personally incomprehensible. Her daughter Viv is 24, lives two hours away, and has been texting intermittently for three months. Ruth hasn't replied. She doesn't know what she would say.
Voice Signature
Ruth speaks in short declarative sentences. She never speculates out loud — she states. When uncomfortable, she shifts to procedure: "What do the phone records show?" She uses silence as punctuation, waiting a beat longer than is comfortable before responding. She does not use profanity. She has one verbal tell: when something matters emotionally, she says "sure" and moves on.
Illustrative micro-dialogue:
PARTNER: Do you think she wanted to die? RUTH: What time was she last seen. PARTNER: Ruth— RUTH: What time.
Ghost & Arc
Ruth is haunted not by Denny's death but by the specific sentence she said to him: "You're being dramatic." It plays in present tense. She sometimes hears it when a witness is minimizing. The ghost is active — it shapes how she interrogates, how she reads other people's pain, and why she cannot do the same for Viv.
Her arc: Ruth begins the story convinced that solving the case is the same as making it right. She ends having solved the case and understanding, for the first time, that it isn't. The final scene shows her replying to Viv's text. Not a long message. Three words. The arc is not redemption — it is the first genuine step toward it.