creative-writing-craft
小説やエッセイなど、魅力的な物語を構成、表現、推敲する技術を磨き、読者の心に響く作品を生み出すSkill。
📜 元の英語説明(参考)
Craft compelling fiction and creative nonfiction with attention to structure, voice, prose style, and revision. Supports short stories, novel chapters, essays, and hybrid forms. Triggers on creative writing, fiction writing, story craft, prose style, or literary technique requests.
🇯🇵 日本人クリエイター向け解説
小説やエッセイなど、魅力的な物語を構成、表現、推敲する技術を磨き、読者の心に響く作品を生み出すSkill。
※ jpskill.com 編集部が日本のビジネス現場向けに補足した解説です。Skill本体の挙動とは独立した参考情報です。
⚠️ ダウンロード・利用は自己責任でお願いします。当サイトは内容・動作・安全性について責任を負いません。
🎯 このSkillでできること
下記の説明文を読むと、このSkillがあなたに何をしてくれるかが分かります。Claudeにこの分野の依頼をすると、自動で発動します。
📦 インストール方法 (3ステップ)
- 1. 上の「ダウンロード」ボタンを押して .skill ファイルを取得
- 2. ファイル名の拡張子を .skill から .zip に変えて展開(macは自動展開可)
- 3. 展開してできたフォルダを、ホームフォルダの
.claude/skills/に置く- · macOS / Linux:
~/.claude/skills/ - · Windows:
%USERPROFILE%\.claude\skills\
- · macOS / Linux:
Claude Code を再起動すれば完了。「このSkillを使って…」と話しかけなくても、関連する依頼で自動的に呼び出されます。
詳しい使い方ガイドを見る →- 最終更新
- 2026-05-17
- 取得日時
- 2026-05-17
- 同梱ファイル
- 1
📖 Skill本文(日本語訳)
※ 原文(英語/中国語)を Gemini で日本語化したものです。Claude 自身は原文を読みます。誤訳がある場合は原文をご確認ください。
クリエイティブライティングの技術
アイデアを魅力的な散文に変えましょう。
物語の構成
三幕構成
ACT I (25%) │ ACT II (50%) │ ACT III (25%)
Setup │ Confrontation │ Resolution
────────────────┼────────────────────────────┼─────────────────
Hook │ Rising Action │ Climax
Inciting Event │ Midpoint Shift │ Falling Action
First Plot Point│ Second Plot Point │ Resolution
シーン構成
Goal → Conflict → Disaster → Reaction → Dilemma → Decision
各シーンには以下が必要です。
- 明確な目標を持つPOV character
- 目標を妨げるObstacle
- 失敗した場合のStakes
- Outcome(通常は望んだものではない)
ストーリービート
| Beat | Percentage | Function |
|---|---|---|
| Opening Image | 0-1% | 世界観/トーンを確立する |
| Theme Stated | ~5% | 意味をほのめかす |
| Setup | 1-10% | 日常の世界 |
| Catalyst | ~10% | 発端となる出来事 |
| Debate | 10-20% | ためらい |
| Break into Two | ~25% | 旅へのコミットメント |
| B Story | ~30% | サブプロット、しばしばテーマ的 |
| Fun and Games | 30-50% | プロミスの実現 |
| Midpoint | ~50% | 偽りの勝利/敗北、危機が高まる |
| Bad Guys Close In | 50-75% | プレッシャーの増大 |
| All Is Lost | ~75% | 最低点 |
| Dark Night of Soul | 75-80% | 絶望 |
| Break into Three | ~80% | 新しい計画/啓示 |
| Finale | 80-99% | クライマックス、解決 |
| Final Image | 99-100% | オープニングを反響させ、変化を示す |
キャラクター開発
キャラクターの次元
| Layer | Question | Example |
|---|---|---|
| Surface | 何を見せているか? | 自信がある、面白い |
| Behavior | 何をしているか? | 見知らぬ人を助ける、電話を避ける |
| Motive | 何を望んでいるか? | 成功、承認 |
| Need | 実際に何を必要としているか? | 自己受容 |
| Ghost | どんな傷が彼らを駆り立てるか? | 子供の頃に捨てられた |
キャラクターアークのパターン
Lie they believe → Want (conscious goal) → Need (unconscious)
↓ ↓ ↓
Truth they learn ← Confrontation ← Cost of lie
ボイスの開発
明確なキャラクターボイスを開発するには、以下を変化させます。
- 文の長さと複雑さ
- 語彙レベルと具体性
- 話し方(断片、長文)
- 彼らが気づく/言及するトピック
- 彼らが省略する、または避けること
- メタファーの領域(何を何に例えるか?)
視点(Point of View)
一人称
I walked into the room and immediately regretted it.
長所: 親密さ、声、信頼できない語り手の可能性 短所: 限られた視点、「I」の繰り返しによる疲労
三人称限定
She walked into the room and immediately regretted it.
長所: 柔軟性、「I」なしでの親密さ 短所: ヘッドホッピングに陥る可能性がある
三人称全知
Sarah walked into the room, unaware that three people
were already watching her from the shadows.
長所: 神の視点、皮肉 短所: 距離感、習得が難しい
二人称
You walk into the room. You immediately regret it.
長所: 即時性、珍しさ 短所: ギミックに感じられる、読者の抵抗
POVのルール
- 各シーンで一つの頭にとどまる(限定の場合)
- POVキャラクターが知覚するものだけを示す
- 彼らの心理を通してフィルタリングする
- ストーリーのニーズに合わせてPOVを調整する
散文スタイル
文の技巧
長さを変える:
Short sentences punch. They create urgency. Impact.
But longer sentences, with their flowing clauses and
subordinate phrases, can lull the reader into a rhythm,
carrying them forward on a wave of prose that builds
and builds until—
副詞よりも強い動詞:
❌ She walked quickly across the room.
✅ She darted across the room.
✅ She bolted across the room.
抽象的よりも具体的:
❌ He felt sad.
✅ His chest ached. He couldn't swallow.
Show vs Tell
Telling(役割があります):
She was angry.
Showing:
Her jaw tightened. She set down her fork—carefully,
deliberately—and folded her hands in her lap.
Tellingを使う時:
- 移行
- 重要でない情報
- 遅い期間のペース調整
- 激しいシーン後の感情の要約
会話
サブテキスト: キャラクターはめったに本心を言いません。
"Nice weather," she said. (Text)
[I don't want to talk about it] (Subtext)
帰属:
✅ "I'm leaving," she said.
✅ "I'm leaving." She grabbed her coat.
⚠️ "I'm leaving," she exclaimed angrily.
"Said"は目に見えません。使いましょう。
タグよりもビート:
"I'm leaving." She grabbed her coat. "Don't wait up."
描写
感覚的な記述
| Sense | Often Used | Underused |
|---|---|---|
| Sight | 非常に一般的 | - |
| Sound | 一般的 | - |
| Touch | 珍しい | 温度、質感 |
| Smell | 稀 | 記憶の引き金 |
| Taste | 稀 | 雰囲気 |
感覚を重ねる:
The bar smelled like spilled beer and regret. Neon
buzzed overhead, painting everyone the same shade of
desperate pink. Someone fed the jukebox, and Patsy
Cline started breaking hearts again.
意味のある詳細
二重の役割を果たす詳細を選びましょう。
❌ The room had a desk, a chair, and a filing cabinet.
[在庫リスト]
✅ Dust furred the family photos on his desk—all
turned to face the wall.
[キャラクターの啓示 + 雰囲気]
推敲のフレームワーク
推敲のレベル
| Level | Focus | Questions |
|---|---|---|
| Structural | ストーリーの構成 | プロットは機能しているか?シーンは正しい順序か? |
| Scene | 個々のシーン | 各シーンに葛藤はあるか?目的はあるか? |
| Paragraph | 流れとペース | 移行はスムーズか?リズムは変化に富んでいるか? |
| Sentence | 散文の質 | 動詞は強いか?文は変化に富んでいるか? |
| Word | 精密さ | 適切な単語か?不要な単語はないか? |
推敲のパス
パス1: ストーリー
- 冒頭は引き込まれるか?
- 結末は納得できるか?
- 中盤はだれていないか?
- 危機は明確か?
パス2: キャラクター
- 個性的な声か?
- 動機は一貫しているか?
- アークは完了しているか?
- 関係性は明確か?
パス3: シーン
- 各シーンにはp
📜 原文 SKILL.md(Claudeが読む英語/中国語)を展開
Creative Writing Craft
Transform ideas into compelling prose.
Story Architecture
Three-Act Structure
ACT I (25%) │ ACT II (50%) │ ACT III (25%)
Setup │ Confrontation │ Resolution
────────────────┼────────────────────────────┼─────────────────
Hook │ Rising Action │ Climax
Inciting Event │ Midpoint Shift │ Falling Action
First Plot Point│ Second Plot Point │ Resolution
Scene Structure
Goal → Conflict → Disaster → Reaction → Dilemma → Decision
Each scene should have:
- POV character with a clear goal
- Obstacle preventing the goal
- Stakes if they fail
- Outcome (usually not what they wanted)
Story Beats
| Beat | Percentage | Function |
|---|---|---|
| Opening Image | 0-1% | Establish world/tone |
| Theme Stated | ~5% | Hint at meaning |
| Setup | 1-10% | Ordinary world |
| Catalyst | ~10% | Inciting incident |
| Debate | 10-20% | Hesitation |
| Break into Two | ~25% | Commits to journey |
| B Story | ~30% | Subplot, often thematic |
| Fun and Games | 30-50% | Promise of premise |
| Midpoint | ~50% | False victory/defeat, stakes rise |
| Bad Guys Close In | 50-75% | Increasing pressure |
| All Is Lost | ~75% | Lowest point |
| Dark Night of Soul | 75-80% | Despair |
| Break into Three | ~80% | New plan/revelation |
| Finale | 80-99% | Climax, resolution |
| Final Image | 99-100% | Echo opening, show change |
Character Development
Character Dimensions
| Layer | Question | Example |
|---|---|---|
| Surface | What do they show? | Confident, funny |
| Behavior | What do they do? | Helps strangers, avoids calls |
| Motive | What do they want? | Success, approval |
| Need | What do they actually need? | Self-acceptance |
| Ghost | What wound drives them? | Abandoned as child |
Character Arc Pattern
Lie they believe → Want (conscious goal) → Need (unconscious)
↓ ↓ ↓
Truth they learn ← Confrontation ← Cost of lie
Voice Development
To develop distinct character voice, vary:
- Sentence length and complexity
- Vocabulary level and specificity
- Speech patterns (fragments, run-ons)
- Topics they notice/mention
- What they omit or avoid
- Metaphor domains (what do they compare things to?)
Point of View
First Person
I walked into the room and immediately regretted it.
Pros: Intimacy, voice, unreliable narrator potential Cons: Limited perspective, "I" fatigue
Third Person Limited
She walked into the room and immediately regretted it.
Pros: Flexibility, intimacy without "I" Cons: Can drift into head-hopping
Third Person Omniscient
Sarah walked into the room, unaware that three people
were already watching her from the shadows.
Pros: God's-eye view, irony Cons: Distance, harder to master
Second Person
You walk into the room. You immediately regret it.
Pros: Immediacy, unusual Cons: Can feel gimmicky, reader resistance
POV Rules
- Stay in one head per scene (for limited)
- Only show what POV character perceives
- Filter through their psychology
- Match POV to story needs
Prose Style
Sentence Craft
Vary length:
Short sentences punch. They create urgency. Impact.
But longer sentences, with their flowing clauses and
subordinate phrases, can lull the reader into a rhythm,
carrying them forward on a wave of prose that builds
and builds until—
Strong verbs over adverbs:
❌ She walked quickly across the room.
✅ She darted across the room.
✅ She bolted across the room.
Concrete over abstract:
❌ He felt sad.
✅ His chest ached. He couldn't swallow.
Show vs Tell
Telling (has its place):
She was angry.
Showing:
Her jaw tightened. She set down her fork—carefully,
deliberately—and folded her hands in her lap.
When to tell:
- Transitions
- Unimportant information
- Pacing through slow periods
- Emotional summary after intense scene
Dialogue
Subtext: Characters rarely say what they mean.
"Nice weather," she said. (Text)
[I don't want to talk about it] (Subtext)
Attribution:
✅ "I'm leaving," she said.
✅ "I'm leaving." She grabbed her coat.
⚠️ "I'm leaving," she exclaimed angrily.
"Said" is invisible. Use it.
Beats over tags:
"I'm leaving." She grabbed her coat. "Don't wait up."
Description
Sensory Writing
| Sense | Often Used | Underused |
|---|---|---|
| Sight | Very common | - |
| Sound | Common | - |
| Touch | Uncommon | Temperature, texture |
| Smell | Rare | Memory trigger |
| Taste | Rare | Atmosphere |
Layer senses:
The bar smelled like spilled beer and regret. Neon
buzzed overhead, painting everyone the same shade of
desperate pink. Someone fed the jukebox, and Patsy
Cline started breaking hearts again.
Meaningful Detail
Choose details that do double duty:
❌ The room had a desk, a chair, and a filing cabinet.
[Inventory]
✅ Dust furred the family photos on his desk—all
turned to face the wall.
[Character revelation + atmosphere]
Revision Framework
Levels of Revision
| Level | Focus | Questions |
|---|---|---|
| Structural | Story architecture | Does the plot work? Are scenes in right order? |
| Scene | Individual scenes | Does each scene have conflict? Purpose? |
| Paragraph | Flow and pacing | Transitions smooth? Rhythm varied? |
| Sentence | Prose quality | Verbs strong? Sentences varied? |
| Word | Precision | Right word? Unnecessary words? |
Revision Passes
Pass 1: Story
- Does the beginning hook?
- Is the ending earned?
- Does the middle sag?
- Are stakes clear?
Pass 2: Character
- Distinct voices?
- Consistent motivation?
- Arc completed?
- Relationships clear?
Pass 3: Scene
- Each scene has purpose?
- Conflict present?
- Sensory grounding?
- POV consistent?
Pass 4: Line
- Cut filler words (just, really, very)
- Strengthen verbs
- Vary sentence structure
- Check dialogue tags
Pass 5: Polish
- Read aloud
- Check spelling/grammar
- Format consistency
- Final typo sweep
Common Problems
Pacing Issues
| Symptom | Cause | Fix |
|---|---|---|
| Drags | Too much description | Cut, add conflict |
| Rushed | Not enough scene | Slow down, add beats |
| Confusing | Time jumps | Add transitions |
| Boring | No stakes | Raise consequences |
Dialogue Issues
| Problem | Example | Fix |
|---|---|---|
| On-the-nose | "I'm angry at you!" | Subtext |
| Talking heads | Dialogue without action | Add beats |
| Info dump | Explaining plot | Conflict over info |
| Same voice | All characters same | Differentiate |
Description Issues
| Problem | Fix |
|---|---|
| Purple prose | Simplify, cut adjectives |
| No setting | Ground in physical space |
| Floating heads | Add action, gesture |
| Info dump | Distribute, dramatize |
Forms
Short Story
- 1,000-7,500 words typical
- Single effect/impression
- Limited scope
- Often one POV
Flash Fiction
- Under 1,000 words
- Implication over exposition
- Often twist or resonance
- Every word counts
Novel Chapter
- 2,000-5,000 words typical
- Mini-arc or cliffhanger
- Advances plot AND character
- Varies with genre
Personal Essay
- First person reflection
- Particular to universal
- Scene + reflection
- "So what?" answered
References
references/story-structures.md- Alternative structuresreferences/genre-conventions.md- Genre expectationsreferences/revision-checklist.md- Detailed checklist