Un libro

El Framework book es para un libro que estás escribiendo. Para hacer legible su forma, este ejemplo lo apunta a uno que ya conoces: Harry Potter y la piedra filosofal.

El árbol

DirectorioBook/
- README.md
- Directorio_eidos/
  - Directorioshapes/
    frame.premise.md
    frame.reader.md
    frame.voice.md
    frame.market.md
    chapter.full.md
    chapter.sketch.md
  - Directorioroles/ framework-owner, editor, reader, collaborator
    …
  - Framework.md
  - me.md personal, en gitignore
- Directorioframes/
  - index.md
  - premise.md
  - reader.md
  - voice.md
  - market.md
- Directoriochapters/
  - index.md
  - Directorioprivet-drive/
    the-boy-who-lived.md
    the-vanishing-glass.md
    letters-from-no-one.md
  - Directoriodiagon-alley/
    the-keeper-of-the-keys.md
    diagon-alley.md
  - Directoriohogwarts/
    the-sorting-hat.md
    the-mirror-of-erised.md
  - Directoriothe-stone/
    through-the-trapdoor.md
    the-man-with-two-faces.md
- outline.md un documento de nivel superior

El libro no tiene partes oficiales, así que este Framework inventa cuatro que coinciden con cómo se mueve de verdad la historia. Eso es una decisión del Framework: el estándar nunca nombra una agrupación por ti.

Qué encuadra

Frame	Qué zanja
premise	Qué dice el libro, y por qué tiene que existir
reader	Para quién es, y qué cambia para esa persona
voice	Persona, tiempo verbal, registro y las reglas que mantiene la prosa
market	Estantería, comparables y cómo llega a los lectores

voice es el que no tiene contraparte en un Framework de software o de investigación, y se gana su sitio: tercera persona limitada, pasado, pegada al punto de vista de un niño, con el lector aprendiendo el mundo exactamente como lo hace él. Cada capítulo se juzga contra eso. Una escena que se sale de lo que él sabe rompe el libro, y voice es donde esa regla se escribe una vez en lugar de rediscutirse capítulo a capítulo.

Qué declara el Framework

### chapters

The book's units, one per chapter, grouped by part.

- **Leaf:** [chapters/index.md](../chapters/index.md)
- **Flavors:**
  - [full](shapes/chapter.full.md) — the complete chapter shape (default).
  - [sketch](shapes/chapter.sketch.md) — Intent, Open Questions,
    What Happens, Out of Scope; grow into full.
- **Canvas:** card from `## Intent`
- **Parts:**
  - **privet-drive** — the ordinary world, and the letters that break it.
  - **diagon-alley** — crossing over; the world revealed.
  - **hogwarts** — school, friendship, and the first hints of the plot.
  - **the-stone** — the descent, and what waits at the bottom.

El shape de chapter

## Intent → ### Assumptions → ## Open Questions → ## What Happens → ## What the Reader Leaves With → ## Out of Scope → ## Dependencies → ## Notes & Decisions.

Dos secciones hacen el trabajo que hacen los criterios de aceptación en una spec:

## What Happens son los sucesos: la trama del capítulo, sin más.

## What the Reader Leaves With es lo que de verdad importa, y es la difícil. En un capítulo pueden pasar muchas cosas y no cambiar nada para el lector. Esta sección es donde te enteras de eso antes de escribirlo.

Sus propiedades personalizadas

Nombre	Tipo	Applies To	Significado
`status`	Text	all	Draft / Outlined / Drafted / Revised / Final / Cut
`part`	Text	`chapters`	La agrupación, coincidiendo con la subcarpeta
`depends_on`	List	`chapters`	Capítulos que el lector debe haber leído antes

Dos cosas en las que fijarse. El ciclo de vida termina en Cut, porque un capítulo que se elimina sigue siendo algo real de lo que la raíz debería dar cuenta: no se borra, se registra como cortado. Y depends_on significa aquí algo distinto que en software: no «hay que construirlo antes» sino «el lector debe haber leído esto ya», que es preparación, no secuencia.

Un Blueprint real

---
id: the-mirror-of-erised
title: The Mirror of Erised
summary: he finds a mirror that shows him his parents, and has to be told to stop looking.
part: hogwarts
status: Final
depends_on:
  - "[The Boy Who Lived](../privet-drive/the-boy-who-lived.md)"
connects_to:
  - "[Through the Trapdoor](../the-stone/through-the-trapdoor.md)"
tags: [dumbledore, parents, mirror]
---

# The Mirror of Erised

## Intent

The book has told the reader what he lost. This is the chapter that makes him
feel it, by giving him the thing and then taking it away — and it does that
without a villain, a spell, or a threat. It also plants the mechanism that
resolves the ending, which is why the object has to be introduced as an
emotional problem long before it becomes a plot device.

### Assumptions

Assuming the reader has spent enough chapters in the warmth of Hogwarts to
have half-forgotten the cupboard under the stairs. If the loss is still raw,
the mirror lands as cruelty rather than ache.

## Open Questions

- Does Dumbledore appear once here, or twice?
- How much of the mirror's rule should be stated versus shown?

## What Happens

Hiding from Filch, he stumbles into a disused classroom and finds a tall
mirror. In it he sees his dead family standing around him, alive. He returns
on successive nights, brings his friend, who sees something entirely
different, and begins to lose sleep. Dumbledore finds him there, explains
what the mirror does, tells him it will be moved, and warns him against
living inside it.

## What the Reader Leaves With

That wanting something badly enough to sit in front of it is its own danger.
The reader should close the chapter understanding the mirror's rule well
enough to feel the ending coming — without having noticed they were told.

## Out of Scope

- No explanation of where the mirror came from or who made it. The object is
  a mechanism here, not a mystery; explaining it makes it smaller.
- No confrontation. Nothing is threatened in this chapter and nothing is
  won — the whole weight is a boy sitting on the floor in the dark.

## Dependencies

The reader needs the parents established in the opening chapter, and needs to
have seen enough ordinary school life for the contrast to land.

## Notes & Decisions

Dumbledore arrives without explanation of how he knew. Decided to leave that
unexplained — the reader assumes he simply knows things, and every later
scene benefits from that assumption already being in place.

El ejemplo Screenplay

Eidos distribuye una segunda raíz desarrollada cercana a esta: un cortometraje, sobre un Framework cuyas colecciones se remodelaron en lugar de tomarse de una semilla: examples/Screenplay/. Es la más instructiva de las dos, porque es el caso que ninguna de las tres semillas cubre.