Creative Writing Skill
Patterns for fiction, narrative structure, character development, dialogue, and storytelling craft.
Book Project Scaffolding
Recommended Folder Structure
book-project/
├── .github/
│ ├── copilot-instructions.md # Book-specific Alex context
│ └── prompts/
│ └── chapter-review.prompt.md
├── outline/
│ ├── BOOK-PLAN.md # Synopsis, themes, timeline
│ ├── PLOT-OUTLINE.md # Beat sheet or chapter summaries
│ └── TIMELINE.md # Story timeline (if complex)
├── characters/
│ ├── CHARACTER-BIBLE.md # All characters in one file
│ └── [character-name].md # Deep dives for major characters
├── worldbuilding/ # For fantasy/sci-fi/historical
│ ├── WORLD-BIBLE.md # Rules, history, geography
│ ├── magic-system.md # If applicable
│ └── locations/ # Location details
├── research/ # For historical, technical, etc.
│ ├── RESEARCH-LOG.md # What you've researched
│ └── notes/ # Source notes
├── chapters/
│ ├── act-1/
│ │ ├── ch01-[slug].md
│ │ └── ch02-[slug].md
│ ├── act-2/
│ └── act-3/
├── drafts/
│ ├── draft-1/ # Complete manuscript versions
│ └── draft-2/
├── scenes/ # Loose scenes not yet placed
└── README.md # Project overview
BOOK-PLAN.md Template
# Book Plan: [Title]
## Logline
[One sentence that captures the core conflict]
## Synopsis
[2-3 paragraph summary]
## Genre & Comparables
- **Genre**: [Primary genre + subgenre]
- **Comp Titles**: [Book] meets [Book]
- **Target Audience**: [Who is this for]
## Themes
1. [Primary theme — what is this book ABOUT thematically?]
2. [Secondary theme]
## Structure
- **Format**: [Novel / Novella / Short Story Collection]
- **POV**: [First / Third Limited / Multiple]
- **Tense**: [Past / Present]
- **Target Word Count**: [XX,000]
## Timeline
| Phase | Duration | Deliverable |
|-------|----------|-------------|
| Outline | Weeks 1-2 | PLOT-OUTLINE.md complete |
| Draft 1 | Weeks 3-10 | Rough draft in drafts/draft-1/ |
| Revision | Weeks 11-14 | Draft 2 |
| Beta | Weeks 15-18 | Beta feedback incorporated |
| Polish | Weeks 19-20 | Submission-ready |
## Success Criteria
- [ ] First draft complete
- [ ] [Other goals]
CHARACTER-BIBLE.md Template
# Character Bible
## Main Characters
### [Character Name] — [Role: Protagonist/Antagonist/etc.]
- **Age**:
- **Occupation**:
- **Want** (external goal):
- **Need** (internal growth):
- **Lie** (false belief):
- **Ghost** (wound from past):
- **Arc**: [Positive/Negative/Flat]
**Voice notes**: [How they speak, verbal tics, vocabulary level]
**Appearance**: [Key visual details]
**Relationships**:
| Character | Relationship | Dynamic |
|-----------|-------------|---------|
| [Name] | [Role] | [How they interact] |
---
### [Next Character]
...
## Supporting Characters
| Name | Role | One-Line Description |
|------|------|---------------------|
| [Name] | [Best friend] | [Brief] |
copilot-instructions.md Template (Fiction Projects)
# [Book Title] — Writing Context
## Project Overview
[2-3 sentence summary: genre, premise, current status]
## Current Phase
- [x] Outlining
- [ ] Drafting (Chapter X of Y)
- [ ] Revision
- [ ] Beta/Feedback
## Key Files
- Book plan: outline/BOOK-PLAN.md
- Plot: outline/PLOT-OUTLINE.md
- Characters: characters/CHARACTER-BIBLE.md
- World: worldbuilding/WORLD-BIBLE.md (if applicable)
## Alex Guidance
- **Voice**: [Describe the narrative voice — literary, commercial, etc.]
- **POV Rules**: [Third limited / No head-hopping / etc.]
- **Tone**: [Dark, humorous, lyrical, etc.]
- When suggesting dialogue: Match character voice from CHARACTER-BIBLE.md
- When reviewing scenes: Check against PLOT-OUTLINE.md for consistency
## Don't
- Don't make the prose purple/overwrought
- Don't add characters not in CHARACTER-BIBLE.md without discussion
- Don't resolve tension too easily
## World Rules (if applicable)
[Key constraints: magic rules, historical accuracy needs, etc.]
Book Project Audit Checklist
## Book Project Audit
### Structure Assessment
- [ ] Has outline/ with BOOK-PLAN.md
- [ ] Character documentation exists
- [ ] Chapters organized (by act or sequentially)
- [ ] Drafts versioned separately
### Alex-Readiness Assessment
- [ ] copilot-instructions.md exists with project context
- [ ] Current phase clearly marked
- [ ] Voice/tone guidance provided
- [ ] Key files linked
### Craft Documentation
- [ ] Character arcs defined (want/need/lie)
- [ ] Plot structure documented
- [ ] World rules captured (if applicable)
- [ ] Research tracked (if needed)
Story Structure Models
Three-Act Structure
| Act |
Purpose |
Proportion |
| Act I: Setup |
Introduce world, character, conflict |
25% |
| Act II: Confrontation |
Rising stakes, complications |
50% |
| Act III: Resolution |
Climax, resolution, denouement |
25% |
Key Plot Points
Act I Act II Act III
┌─────────────────┬──────────────────────────┬─────────────────┐
│ │ │ │
│ Inciting Turning Midpoint Turning Climax │
│ Incident Point 1 Point 2 │
│ ↓ ↓ ↓ ↓ ↓ │
└──────┴──────────┴──────────┴─────────┴──────────┴───────────┘
10% 25% 50% 75% 90%
Alternative Structures
| Structure |
Best For |
Key Feature |
| Hero's Journey |
Epic, fantasy |
12 stages, transformation |
| Save the Cat |
Commercial fiction |
15 beats, clear timing |
| Seven-Point |
Plotting from ending |
Hook → Resolution |
| Freytag's Pyramid |
Classic drama |
Rising/falling action |
| Kishōtenketsu |
Eastern narrative |
No conflict required |
| In Medias Res |
Thrillers |
Start in middle of action |
Character Development
Character Dimensions
| Dimension |
Questions |
| Want (External) |
What does the character pursue? |
| Need (Internal) |
What must they learn/change? |
| Lie |
What false belief holds them back? |
| Ghost |
What past event created the lie? |
| Flaw |
What weakness emerges from the lie? |
| Strength |
What positive trait will save them? |
Character Arc Types
| Arc |
Description |
Example |
| Positive |
Overcomes flaw, achieves need |
Most protagonists |
| Negative |
Succumbs to flaw, tragic end |
Breaking Bad |
| Flat |
Changes others, not self |
Sherlock Holmes |
| Corruption |
Starts good, ends bad |
Anakin Skywalker |
| Disillusionment |
Loses positive belief |
Noir protagonists |
Character Voice Checklist
- Vocabulary level and word choice
- Sentence rhythm and length
- Speech patterns and verbal tics
- What they notice (reveals values)
- What they avoid talking about
- How they refer to others
- Unique expressions or phrases
Dialogue Craft
Dialogue Functions
| Function |
Example |
| Reveal character |
Word choice shows personality |
| Advance plot |
Deliver essential information |
| Create tension |
Subtext, disagreement |
| Establish relationships |
How characters speak to each other |
| Provide exposition |
Disguised as natural conversation |
Subtext Techniques
| Technique |
How It Works |
| Saying opposite |
"I'm fine" (clearly not fine) |
| Deflection |
Answering a different question |
| Non-sequitur |
Changing subject reveals discomfort |
| Action contradiction |
Words say one thing, actions another |
| Silence |
What's NOT said speaks volumes |
Dialogue Tags
| Tag Type |
Usage |
| "Said" |
Invisible, preferred for most |
| Action beat |
"I know." She turned away. |
| Specific verb |
"Whispered" (sparingly) |
| Adverb |
Avoid "said angrily" — show instead |
Dialogue Formatting
- New speaker = new paragraph
- Action by speaker in same paragraph
- Use contractions naturally
- Read aloud to test flow
- Cut greetings and small talk (usually)
Point of View
POV Options
| POV |
Advantages |
Limitations |
| First Person |
Intimate, voice-driven |
Limited to narrator's knowledge |
| Third Limited |
Flexible, maintains intimacy |
One character's head at a time |
| Third Omniscient |
All-knowing narrator |
Can feel distant |
| Second Person |
Immersive, unusual |
Hard to sustain |
| Multiple POV |
Multiple perspectives |
Risk confusing reader |
POV Consistency Rules
- Don't "head hop" within scenes
- Signal POV shifts clearly (chapter/section break)
- Maintain consistent psychic distance
- Filter everything through POV character's perception
Scene Construction
Scene vs. Summary
| Scene |
Summary |
| Moment-by-moment |
Compressed time |
| Dialogue, action |
Narration |
| High importance |
Transition, backstory |
| Show |
Tell |
Scene Checklist
Scene-Sequel Pattern
| Scene |
Sequel |
| Goal |
Reaction (emotion) |
| Conflict |
Dilemma (thought) |
| Disaster |
Decision (action) |
Prose Style
Show vs. Tell
| Telling |
Showing |
| "She was angry" |
Her jaw tightened. She gripped the table edge. |
| "He was nervous" |
He wiped his palms on his pants for the third time. |
| "The room was old" |
Dust motes floated through slanted light. Wallpaper peeled at the corners. |
Sensory Details
| Sense |
Often Forgotten |
| Sight |
✓ Usually covered |
| Sound |
Ambient sounds, silence |
| Smell |
Powerful memory trigger |
| Touch/Texture |
Temperature, surfaces |
| Taste |
Beyond food — fear, excitement |
Prose Rhythm
- Vary sentence length
- Short sentences = tension, speed
- Long sentences = description, reflection
- Fragment for emphasis
- Read aloud to check flow
Genre Conventions
Genre Expectations
| Genre |
Reader Expects |
| Mystery |
Fair clues, satisfying solution |
| Romance |
HEA (Happily Ever After) |
| Thriller |
High stakes, fast pace |
| Fantasy |
Consistent magic system |
| Literary |
Beautiful prose, deep themes |
| Horror |
Building dread, catharsis |
Genre Blending
- Know both genres' conventions
- Identify which is primary
- Meet core expectations of primary
- Add elements from secondary
Revision Strategies
Revision Passes
| Pass |
Focus |
| 1. Story |
Plot holes, arc, structure |
| 2. Character |
Consistency, motivation, voice |
| 3. Scene |
Pacing, purpose, tension |
| 4. Prose |
Sentences, words, rhythm |
| 5. Polish |
Typos, formatting |
Beta Reader Questions
- Where were you confused?
- Where did you get bored?
- What did you predict?
- Which characters felt real?
- What would you cut?
Kill Your Darlings
If a passage is:
- Beautiful but slows pacing
- Clever but confuses
- Beloved but unnecessary
...consider cutting it.
Screenwriting Specifics
Screenplay Format
SCENE HEADING (SLUGLINE)
INT. COFFEE SHOP - DAY
Action lines describe what we SEE and HEAR.
Present tense. Active voice. Brief.
CHARACTER NAME
Dialogue goes here. Keep it snappy.
OTHER CHARACTER
(parenthetical)
Response with direction if needed.
Visual Storytelling
- Show don't tell (literally)
- Enter scenes late, leave early
- Action reveals character
- Subtext over on-the-nose dialogue
- One page ≈ one minute of screen time
Poetry Elements
Poetic Devices
| Device |
Effect |
| Imagery |
Sensory experience |
| Metaphor |
Comparison without "like" |
| Simile |
Comparison with "like/as" |
| Alliteration |
Repeated initial sounds |
| Assonance |
Repeated vowel sounds |
| Enjambment |
Line breaks mid-thought |
Form Considerations
- Free verse — no set rules
- Sonnet — 14 lines, specific rhyme
- Haiku — 5-7-5 syllables
- Villanelle — 19 lines, refrains
Falsifiability
- This skill adds no value if output quality does not measurably differ between sessions that activate it and sessions that do not
- The form constraints are wrong if they produce stilted or unnatural prose that the user consistently overrides
- Stale if contemporary creative writing conventions shift away from the structures documented here
1---2name: creative-writing3description: Scaffold book-writing projects with folder structure, BOOK-PLAN template, character development matrices, and chapter organization patterns. Use when starting a new book project, planning multi-chapter structure, or building character bibles.4---5
6# Creative Writing Skill
7
8Patterns for fiction, narrative structure, character development, dialogue, and storytelling craft.
9
10---
11
12## Book Project Scaffolding
13
14### Recommended Folder Structure
15
16```text
17book-project/
18├── .github/
19│ ├── copilot-instructions.md # Book-specific Alex context
20│ └── prompts/
21│ └── chapter-review.prompt.md
22├── outline/
23│ ├── BOOK-PLAN.md # Synopsis, themes, timeline
24│ ├── PLOT-OUTLINE.md # Beat sheet or chapter summaries
25│ └── TIMELINE.md # Story timeline (if complex)
26├── characters/
27│ ├── CHARACTER-BIBLE.md # All characters in one file
28│ └── [character-name].md # Deep dives for major characters
29├── worldbuilding/ # For fantasy/sci-fi/historical
30│ ├── WORLD-BIBLE.md # Rules, history, geography
31│ ├── magic-system.md # If applicable
32│ └── locations/ # Location details
33├── research/ # For historical, technical, etc.
34│ ├── RESEARCH-LOG.md # What you've researched
35│ └── notes/ # Source notes
36├── chapters/
37│ ├── act-1/
38│ │ ├── ch01-[slug].md
39│ │ └── ch02-[slug].md
40│ ├── act-2/
41│ └── act-3/
42├── drafts/
43│ ├── draft-1/ # Complete manuscript versions
44│ └── draft-2/
45├── scenes/ # Loose scenes not yet placed
46└── README.md # Project overview
47```
48
49### BOOK-PLAN.md Template
50
51```markdown
52# Book Plan: [Title]
53
54## Logline
55[One sentence that captures the core conflict]
56
57## Synopsis
58[2-3 paragraph summary]
59
60## Genre & Comparables
61- **Genre**: [Primary genre + subgenre]
62- **Comp Titles**: [Book] meets [Book]
63- **Target Audience**: [Who is this for]
64
65## Themes
661. [Primary theme — what is this book ABOUT thematically?]
672. [Secondary theme]
68
69## Structure
70- **Format**: [Novel / Novella / Short Story Collection]
71- **POV**: [First / Third Limited / Multiple]
72- **Tense**: [Past / Present]
73- **Target Word Count**: [XX,000]
74
75## Timeline
76| Phase | Duration | Deliverable |
77|-------|----------|-------------|
78| Outline | Weeks 1-2 | PLOT-OUTLINE.md complete |
79| Draft 1 | Weeks 3-10 | Rough draft in drafts/draft-1/ |
80| Revision | Weeks 11-14 | Draft 2 |
81| Beta | Weeks 15-18 | Beta feedback incorporated |
82| Polish | Weeks 19-20 | Submission-ready |
83
84## Success Criteria
85- [ ] First draft complete
86- [ ] [Other goals]
87```
88
89### CHARACTER-BIBLE.md Template
90
91```markdown
92# Character Bible
93
94## Main Characters
95
96### [Character Name] — [Role: Protagonist/Antagonist/etc.]
97- **Age**:
98- **Occupation**:
99- **Want** (external goal):
100- **Need** (internal growth):
101- **Lie** (false belief):
102- **Ghost** (wound from past):
103- **Arc**: [Positive/Negative/Flat]
104
105**Voice notes**: [How they speak, verbal tics, vocabulary level]
106
107**Appearance**: [Key visual details]
108
109**Relationships**:
110| Character | Relationship | Dynamic |
111|-----------|-------------|---------|
112| [Name] | [Role] | [How they interact] |
113
114---
115
116### [Next Character]
117...
118
119## Supporting Characters
120
121| Name | Role | One-Line Description |
122|------|------|---------------------|
123| [Name] | [Best friend] | [Brief] |
124```
125
126### copilot-instructions.md Template (Fiction Projects)
127
128```markdown
129# [Book Title] — Writing Context
130
131## Project Overview
132[2-3 sentence summary: genre, premise, current status]
133
134## Current Phase
135- [x] Outlining
136- [ ] Drafting (Chapter X of Y)
137- [ ] Revision
138- [ ] Beta/Feedback
139
140## Key Files
141- Book plan: outline/BOOK-PLAN.md
142- Plot: outline/PLOT-OUTLINE.md
143- Characters: characters/CHARACTER-BIBLE.md
144- World: worldbuilding/WORLD-BIBLE.md (if applicable)
145
146## Alex Guidance
147- **Voice**: [Describe the narrative voice — literary, commercial, etc.]
148- **POV Rules**: [Third limited / No head-hopping / etc.]
149- **Tone**: [Dark, humorous, lyrical, etc.]
150- When suggesting dialogue: Match character voice from CHARACTER-BIBLE.md
151- When reviewing scenes: Check against PLOT-OUTLINE.md for consistency
152
153## Don't
154- Don't make the prose purple/overwrought
155- Don't add characters not in CHARACTER-BIBLE.md without discussion
156- Don't resolve tension too easily
157
158## World Rules (if applicable)
159[Key constraints: magic rules, historical accuracy needs, etc.]
160```
161
162### Book Project Audit Checklist
163
164```markdown
165## Book Project Audit
166
167### Structure Assessment
168- [ ] Has outline/ with BOOK-PLAN.md
169- [ ] Character documentation exists
170- [ ] Chapters organized (by act or sequentially)
171- [ ] Drafts versioned separately
172
173### Alex-Readiness Assessment
174- [ ] copilot-instructions.md exists with project context
175- [ ] Current phase clearly marked
176- [ ] Voice/tone guidance provided
177- [ ] Key files linked
178
179### Craft Documentation
180- [ ] Character arcs defined (want/need/lie)
181- [ ] Plot structure documented
182- [ ] World rules captured (if applicable)
183- [ ] Research tracked (if needed)
184```
185
186---
187
188## Story Structure Models
189
190### Three-Act Structure
191
192| Act | Purpose | Proportion |
193| --- | ------- | ---------- |
194| **Act I: Setup** | Introduce world, character, conflict | 25% |
195| **Act II: Confrontation** | Rising stakes, complications | 50% |
196| **Act III: Resolution** | Climax, resolution, denouement | 25% |
197
198### Key Plot Points
199
200```text
201Act I Act II Act III
202┌─────────────────┬──────────────────────────┬─────────────────┐
203│ │ │ │
204│ Inciting Turning Midpoint Turning Climax │
205│ Incident Point 1 Point 2 │
206│ ↓ ↓ ↓ ↓ ↓ │
207└──────┴──────────┴──────────┴─────────┴──────────┴───────────┘
208 10% 25% 50% 75% 90%
209```
210
211### Alternative Structures
212
213| Structure | Best For | Key Feature |
214| --------- | -------- | ----------- |
215| **Hero's Journey** | Epic, fantasy | 12 stages, transformation |
216| **Save the Cat** | Commercial fiction | 15 beats, clear timing |
217| **Seven-Point** | Plotting from ending | Hook → Resolution |
218| **Freytag's Pyramid** | Classic drama | Rising/falling action |
219| **Kishōtenketsu** | Eastern narrative | No conflict required |
220| **In Medias Res** | Thrillers | Start in middle of action |
221
222## Character Development
223
224### Character Dimensions
225
226| Dimension | Questions |
227| --------- | --------- |
228| **Want** (External) | What does the character pursue? |
229| **Need** (Internal) | What must they learn/change? |
230| **Lie** | What false belief holds them back? |
231| **Ghost** | What past event created the lie? |
232| **Flaw** | What weakness emerges from the lie? |
233| **Strength** | What positive trait will save them? |
234
235### Character Arc Types
236
237| Arc | Description | Example |
238| --- | ----------- | ------- |
239| **Positive** | Overcomes flaw, achieves need | Most protagonists |
240| **Negative** | Succumbs to flaw, tragic end | Breaking Bad |
241| **Flat** | Changes others, not self | Sherlock Holmes |
242| **Corruption** | Starts good, ends bad | Anakin Skywalker |
243| **Disillusionment** | Loses positive belief | Noir protagonists |
244
245### Character Voice Checklist
246
247- Vocabulary level and word choice
248- Sentence rhythm and length
249- Speech patterns and verbal tics
250- What they notice (reveals values)
251- What they avoid talking about
252- How they refer to others
253- Unique expressions or phrases
254
255## Dialogue Craft
256
257### Dialogue Functions
258
259| Function | Example |
260| -------- | ------- |
261| **Reveal character** | Word choice shows personality |
262| **Advance plot** | Deliver essential information |
263| **Create tension** | Subtext, disagreement |
264| **Establish relationships** | How characters speak to each other |
265| **Provide exposition** | Disguised as natural conversation |
266
267### Subtext Techniques
268
269| Technique | How It Works |
270| --------- | ------------ |
271| **Saying opposite** | "I'm fine" (clearly not fine) |
272| **Deflection** | Answering a different question |
273| **Non-sequitur** | Changing subject reveals discomfort |
274| **Action contradiction** | Words say one thing, actions another |
275| **Silence** | What's NOT said speaks volumes |
276
277### Dialogue Tags
278
279| Tag Type | Usage |
280| -------- | ----- |
281| "Said" | Invisible, preferred for most |
282| Action beat | "I know." She turned away. |
283| Specific verb | "Whispered" (sparingly) |
284| Adverb | Avoid "said angrily" — show instead |
285
286### Dialogue Formatting
287
288- New speaker = new paragraph
289- Action by speaker in same paragraph
290- Use contractions naturally
291- Read aloud to test flow
292- Cut greetings and small talk (usually)
293
294## Point of View
295
296### POV Options
297
298| POV | Advantages | Limitations |
299| --- | ---------- | ----------- |
300| **First Person** | Intimate, voice-driven | Limited to narrator's knowledge |
301| **Third Limited** | Flexible, maintains intimacy | One character's head at a time |
302| **Third Omniscient** | All-knowing narrator | Can feel distant |
303| **Second Person** | Immersive, unusual | Hard to sustain |
304| **Multiple POV** | Multiple perspectives | Risk confusing reader |
305
306### POV Consistency Rules
307
308- Don't "head hop" within scenes
309- Signal POV shifts clearly (chapter/section break)
310- Maintain consistent psychic distance
311- Filter everything through POV character's perception
312
313## Scene Construction
314
315### Scene vs. Summary
316
317| Scene | Summary |
318| ----- | ------- |
319| Moment-by-moment | Compressed time |
320| Dialogue, action | Narration |
321| High importance | Transition, backstory |
322| Show | Tell |
323
324### Scene Checklist
325
326- [ ] Clear POV character
327- [ ] Character wants something
328- [ ] Obstacle to that want
329- [ ] Something changes by end
330- [ ] Hooks to next scene
331
332### Scene-Sequel Pattern
333
334| Scene | Sequel |
335| ----- | ------ |
336| Goal | Reaction (emotion) |
337| Conflict | Dilemma (thought) |
338| Disaster | Decision (action) |
339
340## Prose Style
341
342### Show vs. Tell
343
344| Telling | Showing |
345| ------- | ------- |
346| "She was angry" | Her jaw tightened. She gripped the table edge. |
347| "He was nervous" | He wiped his palms on his pants for the third time. |
348| "The room was old" | Dust motes floated through slanted light. Wallpaper peeled at the corners. |
349
350### Sensory Details
351
352| Sense | Often Forgotten |
353| ----- | --------------- |
354| Sight | ✓ Usually covered |
355| Sound | Ambient sounds, silence |
356| Smell | Powerful memory trigger |
357| Touch/Texture | Temperature, surfaces |
358| Taste | Beyond food — fear, excitement |
359
360### Prose Rhythm
361
362- Vary sentence length
363- Short sentences = tension, speed
364- Long sentences = description, reflection
365- Fragment for emphasis
366- Read aloud to check flow
367
368## Genre Conventions
369
370### Genre Expectations
371
372| Genre | Reader Expects |
373| ----- | -------------- |
374| **Mystery** | Fair clues, satisfying solution |
375| **Romance** | HEA (Happily Ever After) |
376| **Thriller** | High stakes, fast pace |
377| **Fantasy** | Consistent magic system |
378| **Literary** | Beautiful prose, deep themes |
379| **Horror** | Building dread, catharsis |
380
381### Genre Blending
382
383- Know both genres' conventions
384- Identify which is primary
385- Meet core expectations of primary
386- Add elements from secondary
387
388## Revision Strategies
389
390### Revision Passes
391
392| Pass | Focus |
393| ---- | ----- |
394| **1. Story** | Plot holes, arc, structure |
395| **2. Character** | Consistency, motivation, voice |
396| **3. Scene** | Pacing, purpose, tension |
397| **4. Prose** | Sentences, words, rhythm |
398| **5. Polish** | Typos, formatting |
399
400### Beta Reader Questions
401
402- Where were you confused?
403- Where did you get bored?
404- What did you predict?
405- Which characters felt real?
406- What would you cut?
407
408### Kill Your Darlings
409
410If a passage is:
411
412- Beautiful but slows pacing
413- Clever but confuses
414- Beloved but unnecessary
415
416...consider cutting it.
417
418## Screenwriting Specifics
419
420### Screenplay Format
421
422```text
423SCENE HEADING (SLUGLINE)
424INT. COFFEE SHOP - DAY
425
426Action lines describe what we SEE and HEAR.
427Present tense. Active voice. Brief.
428
429 CHARACTER NAME
430 Dialogue goes here. Keep it snappy.
431
432 OTHER CHARACTER
433 (parenthetical)
434 Response with direction if needed.
435```
436
437### Visual Storytelling
438
439- Show don't tell (literally)
440- Enter scenes late, leave early
441- Action reveals character
442- Subtext over on-the-nose dialogue
443- One page ≈ one minute of screen time
444
445## Poetry Elements
446
447### Poetic Devices
448
449| Device | Effect |
450| ------ | ------ |
451| **Imagery** | Sensory experience |
452| **Metaphor** | Comparison without "like" |
453| **Simile** | Comparison with "like/as" |
454| **Alliteration** | Repeated initial sounds |
455| **Assonance** | Repeated vowel sounds |
456| **Enjambment** | Line breaks mid-thought |
457
458### Form Considerations
459
460- Free verse — no set rules
461- Sonnet — 14 lines, specific rhyme
462- Haiku — 5-7-5 syllables
463- Villanelle — 19 lines, refrains
464
465## Falsifiability
466
467- This skill adds no value if output quality does not measurably differ between sessions that activate it and sessions that do not
468- The form constraints are wrong if they produce stilted or unnatural prose that the user consistently overrides
469- Stale if contemporary creative writing conventions shift away from the structures documented here
gabrielmoreira