@rubytech/create-realagent-code 0.1.26 → 0.1.27

package/payload/platform/plugins/writer-craft/skills/citation-style/references/other-source-models.md

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+# Other Source Reference Models
+
+## Conference Models
+
+### Serial Conference Proceedings (published in journal)
+`Albright, Madeleine. 1991. "The Role of the United States in Central Europe." *Proceedings of the Academy of Political Science* 38 (1): 71–84.`
+
+### Nonserial Conference Proceedings (published in book)
+`Shupe, A. D., Jr., B. L. Hardin, and D. G. Bromley. 1983. "A Comparison of Anti-cult Movements." In *Of Gods and Men*, edited by E. Barker, 177–194. Macon, GA: Mercer University Press.`
+
+### Paper Presentation (unpublished)
+`Bunn, Matthew, Anna Bennett, and Penny Jane Burke. 2018. "Temporalities of Trust and Betrayal." Paper presented at the Society for Research in Higher Education, Newport, UK, December 2018.`
+
+### Poster Presentation
+`Wagmiller, Robert L., Kendall LaParo, David Schrider, et al. 2018. "Attitudes towards Interracial Marriage." Poster presented at the American Sociological Association 113th Annual Meeting, Philadelphia, PA, August 2018.`
+
+## Dissertation and Thesis Models
+
+### Unpublished Doctoral Dissertation
+`Zaragoza, Kevin. 2005. "A Moral Psychology of Blame." PhD diss., Princeton University.`
+
+### Unpublished Master's Thesis
+`Niraula, K. 2015. "Addressing the Neglect of Local Peacebuilding Practices through Documentaries." Master's thesis, University of Notre Dame.`
+
+### Published in Online Repository
+`Boudreaux, Corinne M. 2015. "The City Framed." PhD diss., Tulane University. https://digitallibrary.tulane.edu/...`
+
+## Report Models
+
+### Multiple Authors
+`Lempert, Robert J., Parry Norling, Christopher G. Pernin, Susan A. Resetar, and Sergej Mahnovski. 2003. *Next Generation Environmental Technologies*. Santa Monica, CA: RAND.`
+
+### Organizational Author (without abbreviation)
+`National Institute on Alcohol Abuse and Alcoholism. 2016. *Alcohol Use Disorder: A Comparison between DSM-IV and DSM-5*. Washington, DC: U.S. Department of Health and Human Services.`
+
+### Organizational Author (with abbreviation)
+`NIAAA (National Institute on Alcohol Abuse and Alcoholism). 2016. *Alcohol Use Disorder*. Washington, DC: U.S. Department of Health and Human Services.`
+
+### Online Publication
+`Warner-Griffin, Catharine, et al. 2017. *Reading Achievement of U.S. Fourth-Grade Students*. https://nces.ed.gov/pubs2018/2018017.pdf.`
+
+## Newspaper Models
+
+### Print
+`Lewis, A. E. 1972. "5 Held in Plot to Bug Democrats' Office Here." *Washington Post*, June 18, 1972.`
+
+### Online
+`Kantor, Alice. 2021. "Women Primed to Fill Cyber Security Talent Gap." *Financial Times*, January 25, 2021. https://www.ft.com/...`
+
+### Editorial (Online, No Author)
+`*Guardian*. 2019. "*The Guardian* View on the Rise in Domestic Killings." September 13, 2019. https://www.theguardian.com/...`
+
+## Magazine Models
+
+### Print (Month and Day)
+`Hersey, John. 1946. "Hiroshima." *New Yorker*, August 31, 1946.`
+
+### Print (Month Only)
+`Garber, Marjorie. 2002. "Our Genius Problem." *Atlantic*, December 2002.`
+
+### Online
+`Ruff, C. 2016. "Computer Science, Meet Humanities." *Chronicle of Higher Education*, February 5, 2016. https://www.chronicle.com/...`
+
+## Web Models
+
+### Web Page with Multiple Authors
+`Harris, Beth, and Steven Zucker. 2015. "Haussmann the Demolisher." Smarthistory. https://smarthistory.org/...`
+
+### Web Page, Organizational Author, No Date
+`Pitt Rivers Museum. n.d. "Conservation Case Study: Noh Theatre Masks." Pitt Rivers Museum, University of Oxford. Accessed June 11, 2021. https://www.prm.ox.ac.uk/...`
+
+### Blog Post
+`Price, D. 2018. "On Using Archives and Freedom of Information Act." *Anthro{dendum}* (blog). October 7, 2018. https://anthrodendum.org/...`
+
+### Tweet
+`Singer, Peter (@PeterSinger). 2019. "Why are animal rights activists the orphans of the left?" Twitter, May 1, 2019, 7:52 a.m. https://twitter.com/PeterSinger/status/...`
+
+### Facebook Post
+`Thunberg, Greta. 2019. "Climate strike is named 2019 word of the year! #climatestrike." Facebook, November 9, 2019. https://www.facebook.com/...`
+
+## Software, App, and Dataset Models
+
+### Software with Version Number
+`Hecht, Kendall, Robert McKinnon, et al. 2021. "Spectrum." V. 6.06. Avenir Health. https://avenirhealth.org/...`
+
+### Software by Organizational Developer
+`HISP (Health Information Systems Programme). 2020. "DHIS2." University of Oslo. Accessed February 26, 2021. https://releases.dhis2.org/...`
+
+### Mobile App
+`Schneider, Ziv. 2016. *The Museum of Stolen Art VR*. V. 1.0. Ziv Schneider. Android 4.4 or later.`
+
+### Dataset with Accession and Version
+`Hevner Mueller, Kate. 2015. "American Symphony Orchestra Repertoires 1842–1970" (dataset). Accession number ICPSR 35235. V. 1. National Archive of Data on Arts & Culture. https://doi.org/10.3886/ICPSR35235.v1.`
+
+## Audiovisual Models
+
+### Film (Original Release)
+`Jenkins, Barry, dir. 2018. *If Beale Street Could Talk*. Los Angeles: Annapurna Pictures.`
+
+### Film (Streaming)
+`Zhao, Chloé, dir. 2020. *Nomadland*. Century City, CA: Searchlight Pictures. https://www.hulu.com/movie/nomadland.`
+
+### Television Episode (Original Broadcast)
+`Beavan, C., and J. Runcie, dirs. 2006. *Simon Schama's Power of Art*. Season 1, episode 3, "Rembrandt." Aired November 3, 2006, on BBC Two.`
+
+### Streaming Video
+`Butler, J. 2016. "Why Preserve the Life of the Other?" Filmed March 30, 2016, in New Haven, CT. Yale University video, 1:22:24. https://www.youtube.com/...`
+
+### Podcast Episode
+`Harford, Tim. 2022. "The Wild Turkeys of Schleswig." Produced by Ryan Dilley, et al. In *Cautionary Tales*, November 28, 2022. Podcast, Pushkin, 44:12. https://www.pushkin.fm/...`
+
+### Artwork
+`Wiley, Kehinde. 2008. *Three Wise Men Greeting Entry into Lagos*. Oil on canvas, 72 × 95 1/4". Pennsylvania Academy of the Fine Arts, Philadelphia. https://www.pafa.org/...`
+
+## Unpublished and Informal Models
+
+### Unpublished Manuscript
+`Swanson, K. W. 2006. "Hog Heaven or Hell's Kitchen?" Unpublished manuscript, last modified November 14, 2006. Microsoft Word file.`
+
+### Working Paper
+`Bojinov, Iavor, Prithwiraj Choudhury, and Jacqueline N. Lane. 2021. "Virtual Watercoolers." Harvard Business School Working Paper 21-125. Harvard University, Cambridge, MA. https://www.hbs.edu/...`
+
+## Archival Material Models
+
+### Titled Document with Accession Number
+`Long, Huey P. 1935. "Our Blundering Government." LaRC 282, box 1, folder 1. William B. Wisdom Collection on Huey P. Long, 1924–75. Louisiana Research Collection, Tulane University, New Orleans, LA.`
+
+### Untitled Document with Accession Number
+`Elgar, Edward. 1917. Letter to Sidney Colvin. Colvin/Elgar/2. Sir Sidney Colvin Archive. Fitzwilliam Museum, University of Cambridge, Cambridge, UK.`
+
+## Patent, Legal Case, and Statute Models
+
+### Patent
+`Pfeifer, Andrea, et al. 2016. Phospospecific antibodies recognising tau. European Patent 2,764,022, filed October 5, 2012, and issued August 17, 2016. https://worldwide.espacenet.com/...`
+
+### U.S. Supreme Court Case
+`Cherokee Nation of Oklahoma v. Leavitt, 543 U.S. 631 (2005). https://supreme.justia.com/...`
+
+### U.K. Supreme Court Case (Neutral Citation)
+`Patel v. Mirza, [2016] UKSC 42 (Eng.). https://www.bailii.org/...`
+
+### U.S. Federal Statute (United States Codes)
+`Federal Food, Drug, and Cosmetic Act, 21 U.S.C. § 387 (1938). https://uscode.house.gov/...`
+
+### U.K. Statute (After 1963)
+`Climate Change Act, 2008, c. 27 (Eng.). http://www.legislation.gov.uk/...`

package/payload/platform/plugins/writer-craft/skills/citation-style/references/reference-list-rules.md

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+# Reference List General Rules — Chicago Author-Date
+
+## Placement and Format
+- Positioned at end of main text under heading "References"
+- Includes entries for all works cited throughout the text
+- All entries set with hanging indent
+- Do not replace repeated author names with dashes — display the full name each time
+
+## Ordering Rules
+
+1. Alphabetical by first authors' surnames
+2. First authors sharing a surname → alphabetical by given names
+3. Same first author, different subsequent authors → alphabetical by subsequent authors' surnames and given names
+4. Same full author list → chronological by publication date (dated first; then "n.d."; then "forthcoming")
+5. Same full author list and same publication date → alphabetical by title (ignoring articles "A," "An," "The"), with lowercase letter designators (a, b, c) appended to year
+6. Organizational authors → alphabetical by name or acronym among other entries
+7. No credited author → alphabetical by title among other entries
+
+## Author and Credited Individual Formatting
+
+### Author Lists
+- First author: inverted (Surname, Given Name or Initials.)
+- Subsequent authors: non-inverted (Given Name Surname)
+- Period after author list, space between initials
+- 2–10 authors: list all; "and" before final name; commas between name units (3+)
+- 11+ authors: list first seven, comma, "et al."
+
+### Editors and Translators
+- Editor in author role: `Editor, Aaaa A., ed.` (one) or `eds.` (multiple)
+- Editor/translator as secondary: appears after title element: `Edited by...` / `Translated by...`
+
+## Title Formatting
+
+### Periodical Resources (Journals, Magazines, Newspapers)
+- Article title: roman font, enclosed in quotation marks, title case
+- Journal/magazine/newspaper title: italicised, title case, no quotation marks
+- Capitalisation: first letter of coordinating conjunctions ("and," "but," "or," "nor"), prepositions, and articles ("a," "an," "the") not capitalised unless beginning/ending the title or subtitle
+
+### Nonperiodical Resources (Books, Reports)
+- Book/report title: italicised, title case
+- Chapter title: roman font, enclosed in quotation marks, title case
+- Same capitalisation rules as periodical titles
+
+### Non-English Titles
+- Capitalisation follows original language rules
+- Author-supplied English translation in square brackets after original title, sentence case
+
+## Journal Article Specifics
+- Volume and issue: `25 (4):` — volume in roman, issue in parentheses, colon before pages
+- Page range: en dash, all digits displayed (not truncated): `345–363`
+- Issue number omitted only if journal volumes are not divided into issues
+- DOI closes the entry when available
+
+## Location and Publisher (Books, Reports, Chapters)
+- Format: `City, ST|Country: Publisher Name.`
+- City only if it is an industry hub (London, New York, Amsterdam, etc.)
+- Outside US/Canada: city and country
+- Inside US/Canada: city and postal abbreviation of state/province
+
+## URLs and DOIs
+
+### URLs
+- Close entries for webpages and other online resources
+- Access date recorded only when no publication/modification date can be determined
+- Access date format: `Accessed Month dd, yyyy.`
+
+### DOIs
+- Close journal article entries (when available)
+- Format: `https://doi.org/...`
+- Authors do not need to include DOIs when preparing manuscripts — registries add them during production

package/payload/platform/plugins/writer-craft/skills/editorial-practice/SKILL.md

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+---
+name: editorial-practice
+description: "Guides professional editing methods: developmental editing, line editing, copyediting, the editorial letter, author-editor dynamics, self-editing, and genre-specific editing considerations. Use this skill whenever the user asks about developmental editing, line editing, copyediting, editorial feedback, the editing process, self-editing, manuscript editing, editorial letters, structural editing, how editors work, what to look for when editing, giving feedback on writing, manuscript assessment, or any question about how professional editors approach manuscripts. Also use when a writer wants to edit their own work more effectively or when someone is providing editorial feedback to another writer."
+---
+
+# Editorial Practice
+
+Editing is not correcting prose. It spans three fundamental functions — acquisition (finding the right book), text development (making it the best it can be), and publication (bringing it to readers). The editor is a connector between writer and reader, simultaneously representing the author's creative vision and the reader's experience of encountering the book cold.
+
+This skill covers the text development function: the three layers of editing that transform a manuscript into the best version of itself.
+
+## The Three Layers of Editing
+
+### 1. Developmental Editing
+The big picture. Structure, pacing, argument, character development, narrative arc. The editor reads the complete draft and writes a detailed editorial letter addressing large-scale issues.
+
+This is intellectually the most demanding phase. It requires holding the entire book in mind while diagnosing weaknesses and imagining solutions. Three qualities are required that cannot be taught: judgment, taste, and empathy.
+
+**What developmental editors look for:**
+- Does the book know what it's about? Is the central argument or story question clear?
+- Is the structure serving the material, or is the material forced into an ill-fitting structure?
+- Are there pacing problems — sections that drag, sections that rush?
+- In fiction: is the protagonist's internal arc driving the plot? Are subplots connected to the main story?
+- In nonfiction: is the argument persuasive? Does it build? Are there logical gaps?
+- Is anything missing that should be there? Is anything there that should be cut?
+
+**The editorial letter:**
+- Opens with genuine, specific praise (what works and why)
+- Addresses structural issues in order of importance
+- Proposes solutions constructively — "what if" rather than "you must"
+- Maintains the author's ownership — the book belongs to them, not the editor
+
+### 2. Line Editing
+Sentence by sentence, paragraph by paragraph. Clarity, flow, word choice, syntax, tonal consistency. Line editing is harder to define than developmental editing because it is more holistic — a good line editor restructures paragraphs, queries plot points, ensures tonal consistency, and serves as the author's most attentive first reader.
+
+**What line editors look for:**
+- Hedging adverbs, empty intensifiers, passive constructions
+- Cliches and throat-clearing phrases
+- Tonal inconsistency — shifts in register that break the reader's trust
+- Paragraphs that need restructuring for clarity or impact
+- Places where the author tells when they should show (or shows when context is needed first)
+- Logical gaps — missing steps in reasoning or narrative
+- Repetition that isn't serving a purpose
+
+**Calibration:** Line editing must be calibrated to what each individual author needs and can tolerate. Aggressive editing of an author who needs reassurance damages confidence. The editor's job is to help the author become the best version of themselves, not to impose the editor's preferences.
+
+### 3. Copyediting
+Grammar, spelling, punctuation, capitalisation, consistency, and factual accuracy. The quality-control phase. Copyeditors apply house style and query anything unclear.
+
+**What copyeditors check:**
+- Grammar and spelling errors
+- Punctuation consistency
+- Internal consistency (character names, timeline, physical descriptions)
+- Factual accuracy where checkable
+- Style guide compliance
+
+**Key distinction:** Copyeditors typically do not undertake structural revision or work directly with the author. But good copyeditors frequently catch line-editing problems that earlier passes missed.
+
+## The Self-Editing Process
+
+Professional editing is irreplaceable — authors cannot see their own work objectively. But self-editing done well makes every subsequent editorial pass more productive.
+
+### Successive Passes at Decreasing Scale
+1. **Structure** — Does the whole thing work? Are the parts in the right order? Is anything missing or superfluous?
+2. **Chapter/section** — Does each chapter earn its place? Does it advance the story or argument?
+3. **Scene/paragraph** — Does each scene touch the third rail? Does each paragraph lead to the next?
+4. **Sentence** — Is each sentence clear, necessary, and well-constructed?
+5. **Word** — Is each word earning its place?
+
+### Self-Editing Techniques
+- **Read aloud** — reveals awkwardness invisible to the eye
+- **Print and read on paper** — changes the visual relationship to the text
+- **Read backwards** (sentence by sentence) — breaks the flow of expectation, forcing you to evaluate each sentence on its own
+- **Time away** — the longer you can leave between writing and revising, the more clearly you see
+- **Beta readers** — seek honest developmental feedback before line editing
+
+## Genre-Specific Considerations
+
+Different genres demand different editorial attention:
+
+- **Literary fiction**: Form and content are inseparable. The editor must resist imposing their own aesthetic — serve the author's vision, never substitute your own.
+- **Genre fiction**: Must entertain above all. Boredom is the cardinal sin. Readers don't just follow the protagonist — they become them.
+- **Memoir**: The author's subjectivity is a feature, not a problem. But the story must impose narrative shape on messy chronology.
+- **General nonfiction**: Must be persuasive — it must carry the reader along. The editor's most useful note is often "I'm bored here."
+- **Biography**: Why does this life matter, and to whom? Every detail must serve that question.
+
+## Editorial Practice Checklist
+
+When editing or providing editorial feedback:
+
+- [ ] Start with what works — genuine, specific praise
+- [ ] Address the biggest structural issues first (developmental)
+- [ ] Then prose-level issues (line editing)
+- [ ] Leave mechanical corrections for last (copyediting)
+- [ ] Frame suggestions as possibilities, not commands
+- [ ] Maintain the author's voice — never substitute your own
+- [ ] Check internal consistency (names, timeline, descriptions)
+- [ ] Identify where the reader is likely to disengage ("I'm bored here")
+- [ ] Note where exposition is lumped rather than integrated
+- [ ] Flag where the author assumes knowledge the reader doesn't have
+
+## When to Read Reference Files
+
+- **For developmental editing in depth** — read `references/developmental-editing.md`
+- **For line editing techniques** — read `references/line-editing.md`
+- **For copyediting standards** — read `references/copyediting.md`
+- **For genre-specific editing guidance** — read `references/genre-specific-editing.md`
+- **For self-editing and self-publishing** — read `references/self-editing.md`

package/payload/platform/plugins/writer-craft/skills/editorial-practice/references/copyediting.md

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+# Copyediting
+
+## What Copyediting Is
+
+The quality-control phase of manuscript preparation. Copyediting checks grammar, spelling, punctuation, capitalisation, consistency, and factual accuracy. It is the final pass before the manuscript enters production.
+
+Copyediting is the phase most often confused with "editing" by people outside publishing. It is important and skilled work, but it is the third layer — after developmental editing and line editing.
+
+## What Copyeditors Check
+
+### Grammar and Mechanics
+- Grammar errors
+- Spelling errors (including proper nouns, place names, technical terms)
+- Punctuation consistency and correctness
+- Capitalisation consistency (especially titles, proper nouns, and technical terms)
+- Number style (spelled out vs. numerals, consistency)
+- Hyphenation consistency
+
+### Internal Consistency
+This is one of the copyeditor's most valuable functions — catching contradictions the author and previous editors missed:
+- **Character names** — spelled the same way throughout? Not accidentally changed?
+- **Physical descriptions** — blue eyes in chapter 3, brown eyes in chapter 17?
+- **Timeline** — events in the right order? Days of the week matching dates? Seasons matching months?
+- **Geography** — distances, directions, and locations consistent?
+- **Facts** — where checkable, are factual claims accurate?
+- **Style sheet** — maintaining a running record of decisions made (spellings, capitalizations, hyphenations) and applying them consistently
+
+### Good Expression
+Copyeditors also flag:
+- Awkward constructions that line editing should have caught
+- Unclear antecedents ("She told her that she..." — who told whom?)
+- Misused words (affect/effect, lay/lie, fewer/less)
+- Jargon that may need explanation for the intended audience
+- Sentences that are technically correct but confusing
+
+## Copyediting vs. Line Editing
+
+| Aspect | Copyediting | Line Editing |
+|--------|------------|-------------|
+| **Focus** | Correctness and consistency | Clarity, flow, and impact |
+| **Scale** | Word and sentence | Sentence and paragraph |
+| **Authority** | Follows style guide | Uses judgment |
+| **Author contact** | Usually indirect (through managing editor) | Usually direct |
+| **Structural changes** | No | Sometimes |
+
+Good copyeditors frequently do the line editing that the acquiring editor should have done — a reality of the industry, though a source of professional tension.
+
+## Style Guides
+
+Professional copyeditors work from a style guide, most commonly:
+- **Chicago Manual of Style** — the standard for most book publishing
+- **AP Stylebook** — standard for journalism and some nonfiction
+- **Publisher-specific variants** — house style that modifies the base guide
+
+The copyeditor applies house style consistently and queries anything that deviates without apparent reason.
+
+## The Value of Copyediting
+
+Sloppy published books undermine the credibility of authors and publishers. In a competitive environment, poorly presented manuscripts may never receive the reading they deserve.
+
+Copyediting is not optional, even for self-published work. Authors cannot see their own errors — familiarity creates blind spots that are precisely what an outside reader can address.
+
+## Self-Copyediting Techniques
+
+For writers who must do their own copyediting (knowing it is no substitute for professional work):
+
+1. **Leave time between writing and copyediting** — the longer the better
+2. **Read on a different medium** — if you wrote on screen, print and read on paper
+3. **Read backwards** — sentence by sentence, from the end to the beginning, to break the flow of expectation
+4. **Read aloud** — forces slower attention and catches awkwardness
+5. **Use a style sheet** — write down every decision (name spellings, capitalizations, style choices) and check against it
+6. **Focus on one type of error per pass** — check spelling in one pass, punctuation in another, consistency in another
+7. **Use spellcheck as a tool, not a substitute** — it catches typos but misses correctly spelled wrong words

package/payload/platform/plugins/writer-craft/skills/editorial-practice/references/developmental-editing.md

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+# Developmental Editing
+
+## What Developmental Editing Is
+
+The big picture. Structure, pacing, argument, character development, narrative arc. The editor reads the complete first draft and writes a detailed editorial letter addressing large-scale issues.
+
+This is intellectually the most demanding phase of editing. It requires holding the entire book in mind while diagnosing weaknesses and imagining solutions. Three qualities are required that cannot be taught: judgment, taste, and empathy.
+
+## What Developmental Editors Look For
+
+### Structure
+- Is the book's organising principle clear? Does the reader understand why chapters appear in this order?
+- Does the structure serve the material, or is material forced into an ill-fitting structure?
+- Are there structural alternatives that would serve the story or argument better?
+- In fiction: does the plot structure arise from character, or is it imposed from a template?
+- In nonfiction: does the argument build logically? Are there structural gaps?
+
+### Pacing
+- Are there sections that drag — where the reader's interest would flag?
+- Are there sections that rush — where the reader needs more space to absorb what's happening?
+- Is the ratio of scene to summary appropriate? (Too much summary reads as thin; too much scene reads as slow)
+- Do chapters and sections end at points that propel the reader forward?
+
+### Character (Fiction)
+- Is the protagonist's internal arc driving the plot?
+- Is the protagonist active or passive? (Passive protagonists kill momentum)
+- Do secondary characters have their own internal lives, or are they functional props?
+- Are subplots connected to the main story, or floating independently?
+- Is the protagonist changing through the course of the story?
+
+### Argument (Nonfiction)
+- Is the central argument stated clearly and early enough?
+- Does each chapter advance the argument?
+- Are there logical gaps — places where the evidence doesn't support the claim?
+- Is the author making claims beyond what their evidence warrants?
+- Does the book need material it doesn't have? Does it have material it doesn't need?
+
+### Missing and Surplus
+- Is anything missing that should be there? A scene the reader needs, a chapter that would strengthen the argument, a character whose absence creates a hole?
+- Is anything present that should be cut? A subplot that goes nowhere, a chapter that repeats what an earlier chapter established, a character who doesn't contribute?
+
+## The Editorial Letter
+
+### Structure of an Effective Editorial Letter
+
+1. **Open with genuine, specific praise.** Not flattery — identify what the writer is doing well and name it precisely. This is not just kindness; it protects the writer's confidence and helps them understand their strengths.
+
+2. **Address structural issues in order of importance.** Start with the biggest issue — the one that, if solved, would most transform the book.
+
+3. **Propose solutions constructively.** Frame as "what if" rather than "you must." Offer possibilities rather than commands. Multiple options are better than a single prescription.
+
+4. **Maintain the author's ownership.** The book belongs to the author. The editor's job is to help them write the best version of their book, not to rewrite it as the editor's book.
+
+### Tone
+- Honest without being harsh
+- Specific without being pedantic
+- Constructive without being condescending
+- The editor must hold two perspectives simultaneously: the author's creative vision and the reader's experience
+
+## The Acquiring Editor vs. the Specialist Developmental Editor
+
+**Acquiring editor**: Usually does developmental work on a proposal or partial draft, allowing early shaping. Their relationship with the author often spans the entire lifecycle of the book.
+
+**Specialist developmental editor**: Usually brought in when a completed manuscript has serious structural problems. They may not have a prior relationship with the author.
+
+Both require the same three assets:
+1. **Subject expertise** — understanding where the author is coming from
+2. **Market knowledge** — understanding what the target audience needs
+3. **Tenacity and tact** — navigating conflict when author preferences and audience needs diverge
+
+## Common Developmental Problems
+
+### In Fiction
+- Plot without internal story — things happen but they don't mean anything to the protagonist
+- Passive protagonist — the main character reacts to events instead of driving them
+- Sagging middle — the first act is compelling, the third act is dramatic, but the middle meanders
+- Disconnected subplots — storylines that don't affect the main narrative
+- Resolution without escalation — the climax isn't earned because the complications didn't build
+
+### In Nonfiction
+- Interesting content without a compelling concept — facts and ideas without an organising argument
+- Excessive reliance on sources without authorial synthesis — the author curates but doesn't think
+- Failure to explain why the subject matters beyond its own confines
+- The "dissertation problem" — a book written to demonstrate knowledge rather than communicate it
+- Scope creep — the book tries to cover everything instead of making one argument well

package/payload/platform/plugins/writer-craft/skills/editorial-practice/references/genre-specific-editing.md

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+# Genre-Specific Editing Considerations
+
+## Literary Fiction
+
+**Core principle:** Form and content are inseparable. Meaning emerges through the relationship between what is said and how it is said.
+
+**Editorial approach:**
+- Be deeply attuned to prose at the sentence level while holding structural and thematic architecture in mind
+- Resist the temptation to impose your own aesthetic — literary sensibility is not literary taste
+- Serve the author's vision. The most damaging interventions make a book sound more like the editor
+- Look for: narrative voice, thematic coherence, prose rhythm, structural innovation, emotional depth
+- Be willing to read slowly and repeatedly — literary fiction rewards and demands attention
+
+**Economic reality:** Literary fiction rarely produces large commercial returns. Editors who publish it must either work at a house whose mission supports it or cross-subsidise with more commercial titles.
+
+## Genre Fiction (Romance, Mystery, SF/Fantasy, Thriller)
+
+**Core principle:** Must entertain. Boredom is the cardinal sin. Genre fiction competes not just with other books but with every form of leisure.
+
+**Editorial approach:**
+- Readers don't just follow the protagonist — they become them. Character identification drives engagement.
+- Know the genre deeply. Genre readers have sophisticated expectations; meeting them is craft, not formula.
+- Each genre has specific requirements:
+  - **Romance:** Emotional tension and satisfying resolution
+  - **Mystery:** Fair-play plotting, misdirection, satisfying revelation
+  - **SF/Fantasy:** Internally consistent world-building
+  - **Thriller:** Pacing, stakes, escalation
+- The distinction between "genre" and "literary" is increasingly meaningless. Genre fiction frequently crosses into literary territory.
+
+## General Nonfiction
+
+**Core principle:** Must be persuasive — carry the reader along as a good dinner-table story carries its audience.
+
+**Editorial approach:**
+- The most useful marginal comment: "I'm bored here"
+- Watch for: drive, richness, economy, clarity, and shape
+- Flag repetition, excessive detail, and passages where the author assumes knowledge the reader doesn't have
+- The editor represents the non-expert reader. Deep knowledge is the author's greatest asset but can lead to skipping steps or dwelling on specialist detail.
+- Nonfiction must offer a journey — the promise that with the author's guidance, the reader will see something new and be changed.
+
+## Memoir and Biography
+
+### Memoir
+**Core principle:** The author's subjectivity is a feature, not a problem. Memoir is a life examined from the inside.
+
+**Editorial approach:**
+- The story must impose narrative shape on messy chronology
+- Not everything that happened belongs in the book — selection is craft
+- The memoirist must answer: why does this story matter beyond my own life?
+- Voice is paramount — the reader is investing in a relationship with the narrator
+
+### Biography
+**Core principle:** A life examined from the outside, with the apparatus of research and verification.
+
+**Editorial approach:**
+- Two opening questions: Why does this life matter? And to whom?
+- Watch for: excessive reliance on sources without authorial synthesis, inability to distinguish important from merely interesting, reluctance to draw conclusions the evidence supports
+- Be sceptical of the "there's never been a biography of X" pitch — usually there's a reason
+- What makes a life book-worthy is not novelty but resonance: the capacity to illuminate something beyond itself
+
+## Children's and Young Adult
+
+**Core principle:** Audience awareness. What a toddler needs is entirely different from what a ten-year-old needs, which is entirely different from what a teenager needs.
+
+**Editorial approach:**
+- Constantly ask: is this appropriate, comprehensible, and engaging for the intended reader?
+- Picture books demand that text and images work together, not duplicate each other — the editor must leave room for the illustrator
+- Children read for the story, not the commentary. They don't theorise. When bored, they simply stop reading.
+- This radical honesty should discipline editors in every category.
+
+## Scholarly Nonfiction
+
+**Core principle:** First, do no harm. Scholarly authors have invested years in preparation. Improve without distorting.
+
+**Editorial approach:**
+- Common problems: excessive citation burying the author's voice, jargon signalling insider status at the expense of accessibility, excessive length from reluctance to cut research, structural problems from converting a dissertation to a book
+- Help authors step back from their material, find their argument, and present it with economy and clarity — without losing rigour
+- A dissertation demonstrates knowledge. A book communicates it. The editor helps make the transition.

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+# Line Editing
+
+## What Line Editing Is
+
+Sentence by sentence, paragraph by paragraph. Clarity, flow, word choice, syntax, tonal consistency. Line editing is harder to define than developmental editing because it is more holistic — a good line editor doesn't just fix sentences; they restructure paragraphs, query plot points, ensure tonal consistency, and serve as the author's most attentive and honest first reader.
+
+## What Line Editors Do
+
+### The Prose Tics
+Common problems that experienced line editors eliminate on sight:
+
+- **Hedging adverbs** — "somewhat," "rather," "a bit," "quite" — weakening statements the author should commit to
+- **Empty intensifiers** — "very," "really," "absolutely," "totally" — adding emphasis that actually dilutes
+- **Passive constructions** (where active is better) — "the door was opened by Sarah" when "Sarah opened the door" is stronger
+- **Clichés** — dead metaphors and overused phrases that slide past the author but bore the reader
+- **Throat-clearing** — paragraphs or sentences that circle before getting to the point; openings that begin before they begin
+- **Redundancies** — saying the same thing twice in different words, or providing information the reader already has
+- **Tonal shifts** — moments where the register lurches without reason (formal → casual → formal, or serious → flip → serious)
+
+### Beyond Sentence Fixing
+Good line editors also:
+- Restructure paragraphs for clarity and impact
+- Query logical gaps — missing steps in reasoning or narrative
+- Flag where the author tells when they should show (and vice versa)
+- Identify repetition that isn't serving a purpose
+- Note where the prose loses momentum — where the reader would disengage
+- Serve as the representative of the reader in the room
+
+## Calibration
+
+Line editing must be calibrated to what each individual author needs and can tolerate. This is not a mechanical process.
+
+### What Calibration Requires
+- **Read the author, not just the manuscript.** Some authors need reassurance and gentle guidance. Others thrive on direct, challenging feedback. Aggressive editing of an author who needs reassurance damages confidence and impedes writing.
+- **Serve the author's voice, not your own.** The editor's job is to help the author become the best version of themselves. The most damaging editorial interventions make a book sound more like the editor and less like the author.
+- **Know when to leave it alone.** If a sentence works — if it does what it needs to do and sounds like the author — it doesn't need editing, even if you would have written it differently.
+
+## How Line Editors Are Formed
+
+The best line editors are formed by a lifetime of critical reading — not reading for pleasure alone, but reading to understand how effects are achieved. They have internalised enough about narrative, argumentation, and prose rhythm that they can feel instinctively when something is wrong, even before they can articulate why.
+
+## Line Editing Checklist
+
+When line editing a passage:
+
+- [ ] Does each sentence say what it means to say — clearly, without ambiguity?
+- [ ] Is every word earning its place? Can any be cut without loss?
+- [ ] Are there hedging adverbs or empty intensifiers to remove?
+- [ ] Are clichés replaced with fresh language?
+- [ ] Is the tonal register consistent? Are shifts deliberate?
+- [ ] Does each paragraph lead naturally to the next?
+- [ ] Are there throat-clearing openings that can be cut?
+- [ ] Are there logical gaps where the reader needs a bridge?
+- [ ] Is the author's voice preserved throughout the editing?
+- [ ] Are there places where momentum flags?