@rubytech/create-realagent 1.0.406

package/payload/premium-plugins/writer-craft/references/blueprinting-and-scene-cards.md

@@ -0,0 +1,118 @@
+# The Blueprinting System and Scene Cards — Story Genius
+
+## What the Blueprint Is
+
+The blueprint is a scene-by-scene cause-and-effect structure of the plot, driven at every point by the protagonist's internal struggle. It is not a traditional outline.
+
+### Key Differences from an Outline
+- Built scene by scene, not from a template
+- Grounded in the internal story (not imposed from external structure)
+- Written simultaneously with drafting — not completed first
+- Organised using Scene Cards
+- Iteratively developed — each new scene may change earlier cards
+
+### Key Differences from Pantsing
+- Has a foundation (the internal story from Part II)
+- Has direction (opening + ending bookended)
+- Has diagnostic tools (Scene Cards catch weak links)
+- Still allows discovery — but discovery happens within a framework
+
+## Scene Cards
+
+For every scene in the novel, create a card capturing:
+
+### The Five Elements
+
+| Element | Question | Why It Matters |
+|---------|----------|---------------|
+| **External event** | What happens? | The visible plot action |
+| **Internal meaning** | How does this force the protagonist's internal struggle forward? | This is the test — if this row is empty, the scene is dead weight |
+| **Reader question** | What question does this raise for the reader? | This creates the urgency hook into the next scene |
+| **Cause** | What scene triggered this one? | Ensures the causal chain holds |
+| **Effect** | What will this scene trigger next? | Ensures forward momentum |
+
+### The Critical Test
+Every scene card must have a filled-in "internal meaning" row. If a scene has no connection to the protagonist's internal struggle — if it exists only for external plot purposes — it must be cut or reworked to touch the third rail.
+
+### Using Scene Cards
+- Make a card for every scene, even obvious ones
+- The discipline of articulating internal meaning catches weak links before they become wasted chapters
+- Cards are not final — they change as you write and discover
+- When lost in a scene, return to the card: what is the internal meaning of this moment?
+
+## The Blueprinting Process
+
+### Phase 1: Bookending (Opening + Ending)
+
+**The Opening**: The novel begins at the last possible moment — when the protagonist can no longer avoid confronting the thing their misbelief has kept them from confronting.
+
+The opening scene must accomplish:
+1. Establish the protagonist's internal state (desire, misbelief, the world they believe they're living in)
+2. Introduce the unavoidable external problem (or its immediate precursor)
+3. Plant seeds of all major internal conflicts that will play out over the novel
+
+Write a first-layer version of the opening, knowing it will be rewritten many times. Use TK ("to come") as a placeholder for things that must be there but aren't yet known.
+
+**The Ending (The Aha! Moment)**: The moment of internal change — when the protagonist confronts and dismantles (or fails to dismantle) their misbelief.
+
+The Aha moment must be:
+- **Earned** — pushed to the absolute edge of what the misbelief can sustain
+- **Specific** — a precise scene-level moment, not a general realization
+- **Tied to the third rail** — causally connected to everything the plot has put them through
+
+Write a first-layer version. It will change as the story deepens.
+
+### Phase 2: Mining the Past for Plot
+
+Most writers know more about their protagonist's past than their future. Use the past to generate the plot.
+
+The backstory scenes already contain the seeds of external plot events:
+- The protagonist's misbelief will predictably cause them to react in certain ways to certain stimuli
+- Those reactions generate consequences
+- Those consequences become plot events
+
+**The Sixth Tick**: The last thing that happens before the novel begins. The final moment of the protagonist's "before" life. Usually the event that makes the unavoidable external problem unavoidable.
+
+### Phase 3: Building Forward
+
+Develop Scene Cards 1-5 by mining backstory:
+1. What does the protagonist do in response to the inciting event?
+2. Why? (Trace to misbelief and specific past experiences)
+3. What consequence does that response produce?
+4. How does that consequence force the next action?
+5. Repeat — each scene tightening the causal chain
+
+### Warning: The Plot Trap
+Once a plot is in motion — especially in genre fiction — it is temptingly easy to follow external events wherever they lead, generating more action while the internal story quietly suffocates. For every external event, ask: does it force the internal struggle forward? If not, it must be cut or replaced.
+
+## Story Logic
+
+Every event must have a specific, character-rooted cause. The process for finding the "why" always involves returning to the past.
+
+### The "Why?" Interrogation
+For any uncertain plot point, ask:
+- Why would this character do this?
+- Why would this approach seem rational to them?
+- Why would others believe them?
+
+Each "Why?" question, when answered specifically, produces a new piece of backstory or a new scene — and tightens the causal chain.
+
+### Nothing Is Coincidence
+Every event must have a cause rooted in character. Every event must produce an effect on character. Plot events that happen "to" the protagonist without a causal link to their internal state are noise, not story.
+
+## Subplots and Secondary Characters
+
+### Subplots
+Must have their own arc that connects to and complicates the protagonist's internal struggle. The test: does it make the protagonist's internal struggle harder?
+
+### Secondary Characters
+Must have their own internal lives, desires, and misbeliefs. Their worldview must conflict with or challenge the protagonist's misbelief. Secondary characters who inadvertently reinforce the protagonist's misbelief are often more interesting dramatically than simple antagonists.
+
+## Writing Forward
+
+Stories grow in spirals, not lines. You write a scene, it reveals something about the past you didn't know, you revise earlier scenes, which reveals something about the future, which changes the next scene. Each pass deepens the story rather than merely extending it.
+
+- Draft and blueprint simultaneously — the two activities inform each other
+- Expect revision — it is how a story discovers itself
+- Trust the cards — when lost, return to the Scene Card
+- The blueprint is never "done" until the novel is done

package/payload/premium-plugins/writer-craft/references/blueprinting-exercises.md

@@ -0,0 +1,118 @@
+# Blueprinting and Writing Craft Exercises
+
+## Story Architecture Exercises
+
+### Exercise 1: Write Your What If
+Write a concise, specific What If premise for your story. It must include:
+- Context (the specific world and circumstances)
+- Conflict (the seed of internal struggle)
+- A thematic point (what question the story will interrogate)
+
+Test: does your What If imply the collision between a character's inner world and external reality? If it could happen to anyone equally, it's not specific enough.
+
+### Exercise 2: Protagonist Bio
+Write a brief bio of your protagonist focused entirely on their internal life:
+- What do they want most?
+- What misbelief prevents them from getting it?
+- What is their emotional state as the novel begins?
+- How do they present themselves to the world vs. who they really are?
+
+Do not describe their physical appearance or external circumstances unless these directly express the internal state.
+
+### Exercise 3: The Origin Scene
+Write the specific moment in your protagonist's past when the misbelief took root. This is a full scene — not a summary, not a memory, not an explanation.
+
+Requirements:
+- Write in the protagonist's subjective POV
+- Include sensory detail, dialogue, and action
+- Show the emotional logic — how this conclusion made sense at the time
+- Make the reader feel both the pain and the reasoning
+
+### Exercise 4: Escalating Backstory
+Write 3-5 scenes from the protagonist's past showing the misbelief deepening over time.
+
+For each scene:
+- Present a situation that tests or activates the misbelief
+- Show the protagonist interpreting events through the misbelief filter
+- Show the protagonist acting on the misbelief
+- Result in a consequence that appears to confirm it
+- Tie external events to their internal emotional meaning
+
+Each scene must escalate — the stakes increase, the costs rise, the misbelief becomes more entrenched.
+
+### Exercise 5: The "Why?" Interrogation
+Take your most uncertain plot point and interrogate it:
+- Why would this character do this?
+- Why would this approach seem rational to them?
+- Why would others believe them?
+
+Keep asking "Why?" until you reach bedrock — a specific past experience that makes the event causally inevitable. Each "Why?" answered produces a new piece of backstory or a new scene.
+
+### Exercise 6: First-Layer Opening
+Write a first-layer version of your novel's opening scene. It must:
+- Establish the protagonist's internal state
+- Introduce the unavoidable external problem
+- Plant seeds of major internal conflicts
+
+This will be rewritten many times. Use TK for things that must be there but aren't yet known.
+
+### Exercise 7: The Aha Moment
+Write a first-layer version of your protagonist's internal climax — the moment they confront and dismantle (or fail to dismantle) their misbelief.
+
+## Prose Craft Exercises
+
+### Exercise 8: Being Gorgeous
+Write a paragraph to a page of narrative meant to be read aloud. Use onomatopoeia, alliteration, repetition, rhythmic effects. Show off. Use the whole orchestra. No rhyme or meter.
+
+Variant: describe an action or a person feeling strong emotion, making the rhythm of the sentences embody the physical reality.
+
+### Exercise 9: Short and Long
+Part 1: Write 100-150 words of narrative in sentences of seven words or fewer. Each must have a subject and a verb (no fragments). Suggested: a tense, intense action.
+
+Part 2: Write up to 350 words that is all one sentence. Suggested: a powerful gathering emotion, a family memory, a hospital scene.
+
+### Exercise 10: Chastity
+Write 200-350 words of descriptive narrative prose without any adjectives or adverbs. No dialogue. Only verbs, nouns, pronouns, and articles. Give a vivid description of a scene or action using almost no modifiers.
+
+This is the most enlightening exercise in prose craft. It reveals which words carry the weight of your writing.
+
+### Exercise 11: A Terrible Thing to Do
+Take a piece of your own writing, 400+ words. Cut it by half — not trimming, but counting words and actually reducing to half while keeping the narrative clear and the sensory impact vivid. Long speeches and conversations must also be halved.
+
+Discover which words are Styrofoam and which are heavy gold.
+
+### Exercise 12: Am I Saramago
+Write 150-350 words of narrative with no punctuation and no paragraphing. Suggested: a group of people in a hurried, hectic, or confused activity.
+
+Discover what punctuation does by forbidding it.
+
+### Exercise 13: Again and Again
+Part 1 (Verbal): Write 150 words of narrative including at least three repetitions of a noticeable word or phrase.
+
+Part 2 (Structural): Write 350-1000 words in which something said or done is echoed or repeated — in a different context, by different people, or on a different scale.
+
+## POV and Voice Exercises
+
+### Exercise 14: Points of View
+Devise a situation involving several people. Write it five times:
+1. Limited third person (Character A's POV)
+2. Limited third person (Character B's POV)
+3. Detached narrator (fly on the wall)
+4. Observer-narrator
+5. Involved author (omniscient)
+
+Feel how each changes the story.
+
+### Exercise 15: The Old Woman
+An old woman doing a task (washing dishes, gardening, editing a dissertation) while thinking about an event from her youth. The narration intercuts between "now" and "then" at least twice.
+
+Version 1: Choose first or third person. Use one tense throughout.
+Version 2: Tell the same story using the other person, switching tenses between "now" and "then."
+
+Do not search-and-replace pronouns. Rewrite, because changing person and tense changes the story.
+
+### Exercise 16: Pure Dialogue
+Two people in a crisis. Write it as A and B — no description, no stage directions, no "she said angrily." Everything about character, setting, and situation must emerge from what they say.
+
+### Exercise 17: Being the Stranger
+Write 200-600 words from the viewpoint of someone you dislike, disapprove of, or find extremely different from yourself. Suspend judgment. Inhabit them. See the world through their eyes.

package/payload/premium-plugins/writer-craft/references/blueprinting-process.md

@@ -0,0 +1,128 @@
+# The Blueprinting Process — Step by Step
+
+## Overview
+
+The blueprint is not a traditional outline. It is built scene by scene, grounded in the protagonist's internal story, and developed iteratively alongside drafting. Plot is the servant of story — external events exist to force the internal transformation.
+
+The process starts with the internal architecture and builds outward.
+
+## Step 1: The What If
+
+Every story begins with a premise. A story-worthy What If must contain three elements:
+
+1. **Context** — the specific world, circumstances, and relationships that make the situation meaningful
+2. **Conflict** — not just external obstacle, but the seed of internal struggle
+3. **A point** — the thematic question the story will interrogate
+
+### Testing Your What If
+A neutral What If is not story-worthy:
+- "What if a woman got a new job?" → neutral, no internal conflict implied
+- "What if a woman who built her identity around being indispensable at work was promoted into a role where she has to delegate everything?" → story-worthy, implies collision between identity and situation
+
+The What If is not a plot summary. It is closer to a thesis statement for the story's meaning.
+
+## Step 2: The Protagonist
+
+The protagonist is not whoever the story happens to — it's the person whose internal change the story is about.
+
+### Key Questions
+- Who has the most to lose internally?
+- Whose worldview will be most challenged by the What If?
+- Who will be forced to change or be destroyed by the attempt to avoid it?
+
+### Common Errors
+- Introducing too many characters without a clear focal point
+- Choosing a protagonist who is too passive or already enlightened
+- Confusing the most active character with the most internally conflicted one
+
+## Step 3: Misbelief and Desire
+
+### The Misbelief
+A false conclusion about how the world works, rooted in a specific past experience. Not a character flaw — a coping strategy. It protected the protagonist once; now it imprisons them.
+
+Excavate until the misbelief is:
+- Specific enough to state in one sentence
+- Traceable to a concrete origin experience
+- Active — currently shaping decisions
+- In direct conflict with the desire
+
+### The Desire
+Something the protagonist has wanted, perhaps for years. The misbelief prevents them from achieving it. Every time they move toward the desire, the misbelief sabotages them.
+
+## Step 4: The Origin Scene
+
+Write the specific moment the misbelief formed. Not a summary — a full scene in the protagonist's subjective POV. The reader must see the emotional logic: how this conclusion made sense at the time.
+
+## Step 5: Escalating Backstory
+
+Write 3-5 scenes from the protagonist's past showing the misbelief deepening:
+- Each scene tests or activates the misbelief
+- The protagonist acts on it, and the result appears to confirm it
+- Each scene escalates in significance — the costs increase
+- The pattern explains who the protagonist is on page one
+
+## Step 6: The Opening
+
+The novel begins at the last possible moment — when the protagonist can no longer avoid confronting the thing the misbelief has protected them from.
+
+The opening scene must accomplish:
+1. Establish the protagonist's internal state (desire, misbelief, the world they believe they're living in)
+2. Introduce the unavoidable external problem
+3. Plant seeds of major internal conflicts
+4. Establish a ticking clock
+
+### The Unavoidable External Problem Must:
+- Directly threaten or challenge the misbelief
+- Activate the long-standing desire
+- Have a clear ticking clock
+- Have a clear consequence the reader can anticipate from page one
+
+Write a first-layer version. It will be rewritten many times. Use TK for elements not yet known.
+
+## Step 7: The Ending (The Aha Moment)
+
+Determine the internal climax before constructing the middle.
+
+The Aha moment is not the plot climax — it is the moment of internal change: when the protagonist confronts and dismantles (or fails to dismantle) their misbelief.
+
+Requirements:
+- **Earned** — pushed to the absolute edge
+- **Specific** — a precise scene-level moment
+- **Tied to the third rail** — causally connected to everything the plot has put them through
+
+The ending will change as the story deepens. That is fine.
+
+## Step 8: Building Scene Cards
+
+With opening and ending bookended, build Scene Cards connecting them.
+
+For each scene:
+- **External event**: What happens
+- **Internal meaning**: How it forces the internal struggle forward
+- **Urgency hook**: What question it raises for the reader
+- **Cause**: What scene triggered this one
+- **Effect**: What this scene triggers next
+
+### Using TK
+"To come" — a placeholder for something that must be there but isn't yet known. TKs are not failures; they are honest markers of what needs excavation.
+
+### Mining the Past for Plot
+Use backstory scenes to generate plot events. The protagonist's misbelief will predictably cause them to react in certain ways — those reactions generate consequences — those consequences become plot.
+
+### The Sixth Tick
+The last thing that happens before the novel begins. The final moment of the "before" life. Usually the event that makes the unavoidable external problem unavoidable.
+
+## Step 9: Writing Forward
+
+Stories grow in spirals:
+- Write a scene → it reveals something about the past
+- Revise earlier scenes → reveals something about the future
+- Each pass deepens rather than merely extends
+
+Draft and blueprint simultaneously. The two activities inform each other. Don't complete the blueprint before writing; don't write without blueprinting.
+
+### The Plot Trap
+Once a plot is in motion, it is tempting to follow external events wherever they lead while the internal story quietly suffocates. For every external event, ask: does it force the internal struggle forward? If not, cut or replace.
+
+### Trust the Cards
+When lost in a scene, return to the Scene Card. What is the internal meaning of this moment? What must the protagonist realise, resist, or choose?

package/payload/premium-plugins/writer-craft/references/book-and-chapter-models.md

@@ -0,0 +1,77 @@
+# Book and Book Chapter Reference Models
+
+## Book Models
+
+### One Author
+`Gibson, J. J. 1966. *The Senses Considered as Perceptual Systems*. Boston: Houghton Mifflin.`
+
+### Two Authors
+`Hodgson, Jay, and Steve MacLeod. 2014. *Representing Sound*. Waterloo, ON: Wilfrid Laurier University Press.`
+
+### Three Authors
+`Bale, Tim, Paul Webb, and Monica Poletti. 2020. *Footsoldiers*. Abingdon, UK: Routledge.`
+
+### Four to Ten Authors
+List all. `Goad, Philip, Ann Stephen, Andrew McNamara, Harriet Edquist, and Isabel Wünsche. 2019. *Bauhaus Diaspora and Beyond*. Melbourne: Melbourne University Press.`
+
+### No Credited Author
+`*The Dual Disorders Recovery Book*. 1993. Center City, MN: Hazelden Foundation.`
+
+### Nonprimary Author Credited
+`Todorovic, Milan. 2016. *Rethinking Strategy for Creative Industries*. With Ali Bakir. Abingdon, UK: Routledge.`
+
+### Editor in Author Role
+`Goodwin, Prue, ed. 2005. *The Literate Classroom*. London: David Fulton.`
+
+### Multiple Editors in Author Role
+`Malici, A., and E. S. Smith, eds. 2018. *Political Science Research in Practice*. New York: Routledge.`
+
+### Authored with Editor
+`Arendt, Hannah. 1978. *The Life of the Mind*. Edited by Mary McCarthy. New York: Harcourt.`
+
+### Republication (Reprint)
+`Dewey, John. (1916) 1997. *Democracy and Education*. Reprint, New York: Free Press.`
+
+### Numbered Edition
+`du Cros, Hilary, and Bob McKercher. 2020. *Cultural Tourism*. 3rd ed. Abingdon, UK: Routledge.`
+
+### Non-English Title with Translation
+`Martín-Baró, Ignacio. 1995. *Violencia y agresión social* [Violence and social aggression]. Santo Domingo, Dominican Republic: Centro de Estudios Sociales.`
+
+### Published Translation
+`Bourdieu, Pierre. 1984. *Distinction*. Translated by Richard Nice. Cambridge, MA: Harvard University Press.`
+
+### Translation with Edition
+`Wittgenstein, Ludwig. 2009. *Philosophical Investigations*. Translated by G. E. M. Anscombe, P. M. S. Hacker, and Joachim Schulte. 4th rev. ed. Oxford: Wiley–Blackwell.`
+
+### Multivolume Work
+`Moore, C. 2013–2019. *Margaret Thatcher: The Authorized Biography*. 3 vols. London: Allen Lane.`
+
+### Single Volume of Multivolume Work
+`Hauser, Arnold. 2005. *Naturalism, Impressionism, The Film Age*. 3rd ed. Vol. 4 of *The Social History of Art*. London: Routledge.`
+
+### Organizational Author (without abbreviation)
+`Shanghai Finance Institute P2P Research Group. 2017. *Peer-to-Peer Lending with Chinese Characteristics*. Abingdon, UK: Routledge.`
+
+### Organizational Author (with abbreviation)
+`SFI P2P RG (Shanghai Finance Institute P2P Research Group). 2017. *Peer-to-Peer Lending with Chinese Characteristics*. Routledge.`
+
+## Book Chapter Models
+
+### One Editor
+`Saks Berman, Joan. 1995. "From Chicago to Rainbow Bridge." In *Voices of Feminist Therapy*, edited by Elizabeth Friar Williams, 11–25. Reading, UK: Harwood Academic Publishers.`
+
+### Two Editors
+`Schwab, Brendan, and Steven Finocchiaro. 2018. "'Don't Fix It!': The Role of Player Empowerment." In *Match-Fixing in Sport*, edited by Stacey Steele and Hayden Opie, 135–150. Abingdon, UK: Routledge.`
+
+### Three Editors
+`Adams, Zeno, Roland Füss, and Dieter G. Kaiser. 2008. "Macroeconomic Determinants of Commodity Futures Returns." In *The Handbook of Commodity Investing*, edited by Frank J. Fabozzi, Roland Füss, and Dieter G. Kaiser, 87–112. Hoboken, NJ: John Wiley & Sons.`
+
+### No Credited Author, Republication
+`"The Putney Debates: The Debate on the Franchise." (1647) 2003. In *Divine Right and Democracy*, edited by David Wooton, 285–316. Indianapolis, IN: Hackett.`
+
+### Chapter with Author-Supplied Translation
+`Rey, B. 2006. "Le savoir universitaire: Un savoir sans problème?" [University knowledge: Problem-free knowledge?]. In *Situations de formation et problématisation*, edited by M. Fabre and E. Vellas, 143–158. Louvain-la-Neuve, Belgium: De Boeck.`
+
+### Chapter from Titled Volume of Multivolume Work
+`Brooke, Jonathan E. 2018. "Calcutta: A Central Exchange Point (1700–1840)." In *Since 1500*, edited by Aran MacKinnon and Elaine McClarnand MacKinnon, 103–120. Vol. 2 of *Places of Encounter*. New York: Routledge.`

package/payload/premium-plugins/writer-craft/references/cause-effect-setup-payoff.md

@@ -0,0 +1,79 @@
+# Cause-and-Effect and Setup-Payoff Patterns
+
+## The Causal Spine
+
+The brain is a pattern-matching, causal-inference engine. It is not content to observe events — it demands to understand how each event caused the next. This is biology, not preference.
+
+### The Fundamental Test
+Not "and then... and then... and then" but "therefore... because... so..."
+
+If you can remove a scene without disrupting the causal chain, the scene has no business being there.
+
+### Two Levels of Cause and Effect
+
+**External (plot):** Physical events cause physical consequences.
+- She drops the letter → He finds it → He discovers the secret
+
+**Internal (character arc):** Each external event triggers an emotional reaction, which leads to a decision, which drives the next action.
+- She drops the letter → He finds it → He feels betrayed (reaction) → He decides to confront her (decision) → He drives to her house (action)
+
+The internal level is primary. The reader tracks this rhythm whether they know it or not.
+
+### The Internal Pattern
+**Action → Reaction → Decision → New Action**
+
+This four-beat pattern is the engine of narrative momentum. When it runs, the reader is engaged. When it breaks — when a character acts without reacting to what just happened, or reacts without making a visible decision — the reader disconnects.
+
+### Making Decisions Visible
+A common failure: the protagonist makes a decision whose reasoning is invisible to the reader. The writer knows why — but it's not on the page.
+
+Every decision must be traceable through the text. When a character changes their mind, the reader must see exactly what changed and why.
+
+### The "And So?" Test
+For every scene, every piece of information, every detail — ask "And so?" What does this lead to? What consequence does it produce? If you can't answer, the element is probably a darling — writing the author loves that the story doesn't need.
+
+## Setup and Payoff
+
+### The Brain Scans for Patterns
+The brain instinctively imposes pattern on everything it encounters. In a story, readers continuously scan for setups — hints, details, actions that signal future significance. When a payoff arrives, the reader experiences the satisfaction of a pattern completed, triggering a genuine neurological reward.
+
+### Setup-Payoff Rules
+
+1. **Every payoff requires a clear setup.** A payoff that arrives without a setup feels arbitrary, convenient, or cheap. The reader's response is "give me a break!" rather than "of course!"
+
+2. **Every setup requires a clear payoff.** A setup that is never paid off misleads the reader and destroys trust. The reader catalogued it; its absence from the payoff register reads as error or cheat.
+
+3. **The road between them must build.** Each step between setup and payoff should increase in significance. The dots must add up to a pattern.
+
+4. **Separate setup from payoff.** The payoff must not arrive too quickly after the setup, or too directly from it. The pleasure of anticipation requires distance. The reader should sense a pattern emerging but not see the destination.
+
+5. **Payoffs must be logistically possible.** Given what has been established, the payoff must make physical and psychological sense. No deus ex machina.
+
+### The Danger of Piggybacking
+When setup and payoff are too close together, the reader gets no pleasure of anticipation. The pattern completes before it registers as a pattern.
+
+### Inadvertent Setups
+Writers must audit for elements that inadvertently signal significance:
+- A detail described at length that then disappears from the story
+- A character trait mentioned in passing that is never relevant again
+- An object given narrative weight that plays no role in the plot
+- A scene that appears to establish something important but leads nowhere
+
+Readers will have catalogued all of these. Each unfulfilled promise erodes trust.
+
+### Auditing Setup-Payoff
+
+Create a two-column list:
+- **Left column:** Every setup you can identify (details, character traits, objects, scenes that promise future significance)
+- **Right column:** The payoff for each setup
+
+Any setup without a payoff needs either a payoff added or the setup removed.
+Any payoff without a setup needs a setup planted earlier.
+
+### Foreshadowing as Contract
+Foreshadowing is a specific form of setup — a promise that something is coming. When a character does something "out of character," it must have been foreshadowed. The goal is always the "aha!" reaction, not the "give me a break!" reaction.
+
+Foreshadowing works when:
+- The reader registers it subconsciously but doesn't see the destination
+- In retrospect, the outcome was inevitable given what was planted
+- The reader's second read reveals a rich network of planted clues

package/payload/premium-plugins/writer-craft/references/citation-rules.md

@@ -0,0 +1,103 @@
+# In-Text Citation Rules — Chicago Author-Date
+
+## Placement
+
+### Narrative Citations
+Author surname(s) appear as part of the sentence. Year in parentheses after the surname(s) or integrated into the sentence.
+- `According to Singh and Harris (2018)...`
+- `In 2018, Singh and Harris reported...`
+
+### Parenthetical Citations
+Author surname(s) and year together in parentheses, placed at end of sentence before terminal punctuation (period).
+- `This occurs frequently (Singh and Harris 2018).`
+
+If positioned elsewhere in the sentence, the citation precedes any nonterminal punctuation (comma, semicolon).
+- `This occurs frequently (Singh and Harris 2018); however...`
+
+## Quoted Passages
+
+A page number follows the year, separated by a comma:
+- Short quote: `(Liu et al. 2009, 124)`
+- Page range: `(Liu et al. 2009, 124–125)` (en dash, not hyphen)
+
+Narrative citation with page: `Liu et al. (2009, 124) make the claim...`
+
+### Block Quotes
+Quoted passages of 40+ words: set in indented block form without quotation marks. Parenthetical citation after terminal punctuation.
+
+### Multiple Quotes from Same Source in One Paragraph
+Full parenthetical citation after the first quote; subsequent quotes from the same work use only page number in parentheses: `(127)`.
+
+## Author Rules
+
+### One Author
+Surname and year: `Singh (2018)` or `(Singh 2018)`
+
+### Two Authors
+Both surnames, joined by "and": `Singh and Harris (2018)` or `(Singh and Harris 2018)`
+
+### Three Authors
+All three surnames: `Nowacki, Creech, and Parks (2020)` or `(Nowacki, Creech, and Parks 2020)`
+
+### Four or More Authors
+First author surname + "et al.": `Prinzie et al. (2009)` or `(Prinzie et al. 2009)`
+
+### Organizational Authors
+- If reference uses abbreviation: use abbreviation in citation: `NIAAA (2016)`
+- If reference spells out full name: use full name: `National Institute on Alcohol Abuse and Alcoholism (2016)`
+
+### No Credited Author
+Short title in title case:
+- Article/chapter titles: in quotation marks: `"Physician Oversight" (2019)`
+- Book/report/website titles: italicised: `*Dual Disorders Recovery Book* (1993)`
+
+### First Authors with Same Surname
+Distinguish by adding given-name initials: `G. R. Smith et al. (2001)` and `T. J. Smith and Gladwell (2012)`
+
+### Four+ Authors, Same First Author, Same Year
+Extend surname list to show differences: `Parnell, Foster, et al. (2018)` and `Parnell, Klein, et al. (2018)`
+
+## Publication Years
+
+### Date Range
+En dash, full second year: `(Author 2013–2019)`
+
+### Forthcoming
+`(Author, forthcoming)` — accepted but not yet published in any form
+
+### No Date
+`(Author, n.d.)` — no identifiable publication date
+
+### Circa
+`(Author, ca. 1920)` — estimated date
+
+### Original Publication and Republication
+Original year in square brackets: `(Dewey [1916] 1997)`
+
+### Same Authors, Same Year
+Lowercase letter designators: `(Murakami 2003a, 2003b, n.d.-a, forthcoming-a)`
+
+## Multiple Citations
+
+### In Parenthetical Unit
+Arrange alphabetically by author surname. Semicolons separate different author lists:
+`(Abbas and Ludden 2018; Carlyle 1997; 2015a, 76; 2015b; Carlyle et al. 1997; Federation of State Medical Boards 2000, n.d.; Piquant 2019, forthcoming)`
+
+### Same Author List, Multiple Years
+Author appears once, years in parenthetical units separated by commas (or semicolons if page numbers included):
+`Carlyle (1997; 2015a, 76; 2015b)`
+
+## Special Cases
+
+### Multivolume Work Citations
+- Single volume entry: cite normally
+- Multi-volume entry: specify volume: `(Hauser 2005, vol. 2)` or with page: `(Hauser 2005, 2:110)`
+
+### Secondary Resource Citations
+`Huang and Zoller (1995, quoted in Zhu 2010, 18)` — only the primary resource gets a reference entry
+
+### Personal Communication
+`Tomi Adeyemi (pers. comm., September 3, 2014)` — no reference entry
+
+### Tables and Figures
+Citations usually in table footnotes, not body. In figure captions, not graphics.