ZenStory AI

Practical guide · 实用指南

Adapt a novel into a short drama: episodes, scripts and storyboards

用 AI 把小说改成短剧：分集、剧本与分镜怎么衔接

Source checked 2026-09-12 · 源码核对日期

Start with the source story and the decisions an adaptation may change—not a request to turn every chapter into an episode. Drama Skills can help analyze the source, plan episode handoffs, write a pilot and develop its visual specifications and storyboard. It is an open-source agent skill suite, not a one-click finished-video service. This guide stops at a text handoff and uses an original editorial example to show how prose becomes visible action.

从原著和允许改动的范围开始，而不是直接要求“每章变一集”。Drama Skills 可以辅助原著分析、分集交接规划、试写一集，以及视觉设定和分镜设计。它是开源 Agent 技能合集，不是一键交付成片的视频服务。本指南止步于文本交付，并用一个原创编剧示例说明：怎样把小说文字变成观众看得见的行动。

Drama SkillsSource on GitHub

Before you start · 开始之前

Steps · 操作步骤

  1. Separate source facts from adaptation decisions Ask the agent to retain source locations, established facts, allowed changes and unresolved questions. Identify what already works on screen, what needs an observable carrier such as an action or prop, and what exists only as prose. Original ideas can be developed too, but proposed additions must not be attributed to a novel that never contained them. If you have not yet decided whether the novel is suitable, start with short-drama-novel-analyze for a source triage; use short-drama-develop to develop the chosen adaptation direction.
  2. Cut episodes around dramatic results, not chapter numbers Use an episode map: incoming state, immediate goal, opposition, turn, local result and the pressure inherited by the next episode. A long chapter may support several episodes; several chapters may serve one dramatic result. Preserve causality when compressing or reordering events. If the selected source cannot support the requested count without invention, surface that choice rather than padding.
  3. Write one pilot before scaling the series Ask for the first episode’s screenplay from the accepted map. Replace important internal reasoning with actions, dialogue, evidence or a visual/sound cue the audience can understand. Do not simply read the novel aloud over images. Review who wants what, what changes in the scene and why the final beat creates a real next question; then apply those decisions to later episodes.
  4. Record reusable visual facts Define recurring characters, locations and props before relying on them across shots. For the example below, the oil-stained left sleeve, damaged clock corner and position of the consignment slip are continuity facts; “make it cinematic” is not. If a director’s statement is proposed, accept the intended visual direction before treating it as binding. Optional look exploration does not require commissioning images.
  5. Turn the accepted scene into a storyboard Each shot should have a purpose, a source in the screenplay, duration, visible action and start/end states. A frozen keyframe describes a boundary frame, normally the shot’s start; it is not the whole movement and not an already-created picture. Distinguish a planned reference from an actual image that has been inspected and bound for use.
  6. Keep text handoff separate from media production Deliver the requested screenplay, visual specification and storyboard first; add image/video prompts only when needed. If you later commission media, choose available providers and review the actual assets and scope. The documented production flow prepares a preview and requires explicit confirmation before running external generation. A local skill installation is not a promise of free or offline model work.
  1. 先把原文事实与改编决定分开 要求保留来源位置、已成立的事实、可改范围和待确认问题。分清哪些内容已经能直接拍，哪些需要动作、道具等可见载体，哪些只存在于小说叙述中。原创点子也能开发，但新增设定必须标为改编选择，不能说成原著里本来就有。 还没决定这本小说是否适合改编，可以先让 short-drama-novel-analyze 做原著快评；确定方向后，再由 short-drama-develop 推进开发。
  2. 按戏剧结果切集，不按章节号平均分 使用分集地图，记录进入状态、当前目标、阻力、转折、局部结果和下一集继承的压力。一章可以支持多集，几章也可能共同完成一个戏剧结果；压缩或调整事件顺序时，要保住因果。如果所选原文不足以支撑目标集数，应明确提出取舍，而不是灌水或悄悄编造。
  3. 先写一集，再扩展整季 根据已接受的分集地图，只写第一集剧本。把关键心理活动换成观众能够理解的动作、对白、证据或视听线索，不要只是给小说朗读配图。先读清楚“谁想要什么、场内改变了什么、最后一拍为什么留下真正的新问题”，再把确认后的创作决定带到后续各集。
  4. 先记录能复用的视觉事实 跨镜头反复出现的角色、场景和道具，需要明确可见规格。以下示例中，左袖油渍、座钟缺角、委托单位置是连续性事实；“拍得有电影感”不是。如果提出导演阐述，先由创作者接受视觉方向，再把它作为下游约束；可选的画风探索不要求立刻付费生成图片。
  5. 从已接受的场次拆分镜 每个镜头都应有职责、剧本来源、时长、可见动作和起止状态。冻结关键帧描述一个边界画面，默认是镜头起点，不代表整个运动过程，更不代表图片已经存在。未来计划使用的参考与已经检查、绑定的真实图片，要分开记录。
  6. 把文本交付与媒体制作分开 先交付所需的剧本、视觉设定和分镜，确实需要时再加图片、视频提示词。以后决定制作媒体时，再选择可用供应商、检查实际素材和执行范围。文档规定外部生成先准备预览、再明确确认、最后运行。技能装在本地，不代表模型工作免费或离线。

Example · 示例

Suggested request in Claude Code after setup (replace the path):
/short-drama
Use /ABS/my-authorized-story.txt for a short-drama adaptation.
First identify source facts, proposed changes and open questions.
Plan the first three episodes for a 60–90 second target each; explain if the source needs a different split.
Keep the protagonist’s motivation and the agreed ending. Do not add a hidden villain as an established source fact.
Write only episode 1 after I accept the map. Then develop that episode’s visual facts and storyboard when requested.
Stop at text files. Do not generate images, video, voices or music.

ORIGINAL EDITORIAL EXAMPLE — written for this guide, not tool output or a timed film.
Source fragment:
When an auction-house courier arrived to collect a repaired clock, Shen Ning recognized her father’s handwriting underneath it. She believed he would never have sold it. The courier needed her handover signature for an auction starting in twenty minutes; the consignment slip carried her mother’s signature.

Adaptation choice:
Keep the handwriting, deadline and signature. Replace the long internal doubt with an inspection she can perform in front of the courier. The invented sleeve/clock details below are staging choices, not extra source facts.

Scene excerpt:
INT. REPAIR SHOP — EVENING
Shen turns the clock over and rubs dust from the inscription with her left sleeve.
SHEN: He wrote that last character backwards. Every time.
COURIER: Twenty minutes. I need your signature.
He slides a slip onto the right side of the workbench.
Shen reaches for the pen, sees the consignor’s signature and stops.
SHEN: My mother sent this?

Four-shot handoff excerpt (not a full episode or a production-ready storyboard):
01 — Clock underside: dusty writing partly visible; sleeve wipes it clean. Reveal the recognizable clue.
02 — Two-shot: Shen holds the clock; courier checks the time. Establish the opposing deadline.
03 — Slip insert: paper arrives on the right of the bench; a finger stops beside the signature. Reveal the new fact.
04 — Shen’s reaction: pen held above paper; her gaze lifts to the courier. End on the question, not a generic shocked face.

Continuity notes: oil stain on Shen’s left sleeve; clock missing its upper-right ornament; slip stays to the right of the clock. No reference images have been generated or bound.
在 Claude Code 完成安装后，可这样请求（替换路径）：
/short-drama
用 /ABS/我有权改编的故事.txt 开发短剧。
先区分原文事实、拟改内容和待确认问题。
先规划前三集，每集目标 60–90 秒；如果原文更适合其他切法，说明理由。
保留主角动机和已约定的结局，不把新增幕后反派写成原著事实。
我接受分集地图后，只写第一集剧本；之后按请求补该集视觉事实与分镜。
止步于文本文件，不生成图片、视频、配音或音乐。

原创编剧示例——为本指南编写，不是工具实测输出，也不是已计时成片。
源故事片段：
拍卖行的取件员来到维修铺，要取回修好的旧座钟。沈宁在钟底认出了父亲的字，她不相信父亲会卖掉它。取件员催她签交接单，拍卖二十分钟后就要开始；委托单上却签着母亲的名字。

改编选择：
保留字迹、倒计时和签名。把内心怀疑改成当着取件员的面检查座钟；下方袖口与座钟缺角是新增调度细节，不冒充原文事实。

剧本片段：
内景·维修铺·傍晚
沈宁翻过座钟，用左袖擦掉刻字上的灰。
沈宁：最后这个字，他每次都写反。
取件员：二十分钟。我还等你签字呢。
他把委托单推到工作台右侧。
沈宁伸手拿笔，看见委托人签名，停住。
沈宁：是我妈送来的？

四镜交接片段（不是完整单集，也不是可直接投产的完整分镜）：
01 座钟底部特写：灰尘遮着刻字，袖口擦过，字迹显露。职责是交付可识别的线索。
02 双人中景：沈宁抱着钟，取件员看时间。职责是让保留证据与交还座钟的压力同场成立。
03 委托单特写：纸从桌右推入，手指停在签名旁。职责是交付改变判断的新事实。
04 沈宁反应：笔尖悬在纸上，她抬眼看取件员。用有对象的问题结束，不只写“震惊表情”。

连续性备注：沈宁左袖有油渍；座钟右上角装饰缺失；委托单留在座钟右侧。此处尚未生成或绑定任何参考图片。

Expected files · 预期文件

Verify the result · 验证结果与边界

Sources and version notes · 来源与版本说明