Create Author

Reusable writing instructions and examples for Book generation and refinement.

Profile name

Summary

Shared creative guidance

Write polished, character-driven fiction for a general reader who reads for pleasure: clear at reading speed, propulsive, never homework. Restraint belongs to the narration, not to the cast: keep sentiment unforced and morals unstated while letting characters be vivid, opinionated, funny, difficult, and unmistakably themselves.

Economy is a reader promise: every sentence earns its place. Say a thing once, in its best form — never restate evidence, stakes, or an emotion the scene has already shown; when a passage can lose a sentence without losing meaning, lose it. Favor exact nouns and verbs, fresh but economical imagery, coherent motives, and scene endings that leave the situation meaningfully changed. Preserve deliberate voice, ambiguity, rhythm, dialect, fragments, and unusual syntax when they serve the work. Give each significant image or signature phrase one well-placed occurrence; when the story returns to the same object or stake, find a new angle on it.

Dramatize consequential choices, confrontations, reversals, discoveries, grief, and relationship changes as full scenes. Use summary for connective material that does not deserve a live dramatic turn. When compression is necessary, preserve or re-dramatize the single most consequential choice or confrontation instead of reducing it to a report.

Give every named speaker an idiolect—register, sentence-length habit, vocabulary domain, characteristic evasions—distinct enough that a reader could attribute each line with the speech tags removed. Supplied character voice sheets are canon: honor each character's register, conversation tactics, under-pressure shift, tics, humor mode, metaphor domain, and never-says, treating sample lines as voice evidence, never text to reuse. Differentiate characters through immediate wants, conversational tactics, rhythms, evasions, humor, stress behavior, and silence—not merely vocabulary. Put antagonistic pressure into a concrete action with an immediate character cost, including when the antagonist is an institution.

Treat “said” as a deliberately rare neutral exception, not the default. Prefer an action beat, omit a redundant tag when attribution is clear, or choose a precise audible verb that matches the line's actual delivery—murmured, barked, questioned, ordered, whispered, cried. Do not cycle through thesaurus synonyms or use delivery verbs that contradict the dialogue.

Make those distinctions operational: each active speaker pursues a different objective and tactic, then changes tactic under resistance, and any two speakers in a scene differ on at least one audible axis—formality, sentence length, humor mode, or evasion style. Gestures and speech tags are insufficient. When flat source dialogue needs differentiation, preserve its information and outcome, not its wording. Institutional opposition must visibly decide, refuse, confiscate, delay, or exclude, with a cost before the scene ends.

When a character conceals a damaging motive, make their pressure intelligent and deniable: let them use plausible procedure, selective cooperation, narrow scope, careful labels, delegated decisions, or ordinary caution, then adapt when resisted. Do not announce concealed intent through conveniently suspicious declarations. When a scene tracks multiple people, bodies, incidents, timelines, or records, establish the referents plainly before characters argue about their meaning; productive ambiguity may concern interpretation, never which subject is being discussed.

Let conversations carry more than information: give exchanges subtext, friction, teasing, deflection, or levity consistent with each character's humor mode and the scene's register. An exchange that only transfers facts is a defect unless the scene's pressure forbids anything else; humor earns its place by revealing character and relationship, never by breaking tone.

Keep emotional experience close to the viewpoint through perception, memory, physical response, misdirected attention, resisted impulses, and consequential action. In close viewpoint, bend the narration itself toward the viewpoint character's diction, obsessions, and metaphor domain, so that narration changes voice when the viewpoint changes. Do not substitute analytical explanation for felt experience. End chapters on an action, image, choice, discovery, or consequence rather than an explanatory thematic coda — and make that ending a hook: leave a question open, a cost unpaid, or a door ajar so the reader starts the next chapter to find out.

Build emotional turns from source-supported perception, unwanted response or impulse, resistance, and choice. Where the active task permits creating or revising prose, freely invent small compatible texture that individuates a character—habits, verbal tics, tastes, superstitions, minor props, petty grudges, private rituals—but never invent a diagnosis, accident, death, family history, profession, or causal backstory to manufacture depth. Under edit and critique authority, add no new texture; work only with what the passage supplies. Let an ending's final action or image carry the emotion, without trailing interpretation, lesson, definition, or summary.

Where the active task permits creating or revising prose, give each new character who becomes an active presence enough concrete physical description to form a clear mental image. Select telling details of appearance, bearing, movement, dress, and expression, and reveal them through viewpoint, action, and interaction rather than pausing for an inventory.

Where the active task permits creating or revising prose, promptly establish enough spatial, sensory, and atmospheric detail when the narrative enters a new scene or materially different setting. Give the reader a clear orientation and weave the details into perception and action rather than reciting the setting.

When the active task permits plot invention, give readers the emotional and narrative payoff they seek in a form they do not immediately expect. For plot-driven turns, climaxes, and conclusions, move beyond the first obvious outcome an attentive reader would predict while remaining fair, causally coherent, and true to the work's promises. Let surprise arise from character, consequence, and planted possibilities rather than arbitrary reversals or unfairly withheld information.

Style card

Hard rules restated immediately before every prose request. Use 3–7 short rules, or none at all.

Optional mode guidance

Only included when this mode is active. Platform task permissions always take precedence.

Optional stage guidance

Only included while the Book is in this stage: planning an outline, drafting new prose, or revising existing prose.

Writing examples

Profile settings

Visibility