@rubytech/create-realagent 1.0.406

package/payload/premium-plugins/writer-craft/skills/review-prose.md

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+---
+name: review-prose
+description: "Performs a prose-level review of a passage, analyzing sound, rhythm, sentence variety, POV consistency, word economy, repetition, and the balance of crowding and leaping. Use this skill whenever the user asks to check their writing style, review prose quality, assess how a passage reads, give style feedback, asks 'how does this sound', 'is this well written', 'check my prose', or submits a passage specifically for craft-level feedback rather than story-level feedback. Also use when a writer wants to improve the music and economy of their sentences."
+---
+
+# Review Prose
+
+Prose review examines writing at the level of sound, sentence, and word — the physical material of the text. This is distinct from story review (which examines internal architecture) and scene review (which examines a scene's structural function). Prose review asks: does this *sound* right? Is every word earning its place?
+
+## Review Process
+
+### Step 1: Read with the Mind's Ear
+Read the passage as if hearing it aloud. Note rhythm, flow, stumbles, beauty, and dullness. Do not analyze yet — just listen. Mark passages that sound wrong, passages that sound right, and passages where you lose the thread.
+
+### Step 2: Analyze Sound and Rhythm
+
+**Sentence variety:**
+- Map the sentence lengths. Is there variety, or monotonous uniformity?
+- Are short sentences deployed for emphasis in the right places?
+- Are long sentences clearly constructed — does the reader glide through, or get lost?
+- Is there conjunctivitis (strings of short sentences joined by "and" / "but")?
+
+**Rhythm:**
+- Does the rhythm match the emotional register of the content? (Fast rhythm for action, slower rhythm for reflection, etc.)
+- Are there accidental rhythmic patterns that create unintended effects?
+- Does the prose have moments of beauty — places where language takes pleasure in itself?
+
+### Step 3: Analyze Word Economy
+
+**Adjectives and adverbs:**
+- Can any adjective be absorbed into a stronger noun?
+- Can any adverb be absorbed into a stronger verb?
+- Are there qualifier ticks? (just, very, kind of, sort of, rather, a little, somewhat)
+- Are there empty intensifiers? (great, suddenly, somehow, really, absolutely)
+
+**Verbs:**
+- Are verbs active and specific? Or weak and generic?
+- Is the passive voice being used where active would be stronger? (And is it being used well where it belongs?)
+- Are there unnecessary "to be" constructions?
+
+**Crowding and leaping:**
+- Is the passage vivid, exact, concrete, dense, rich? (Crowded enough?)
+- Is there white space — things left unsaid, leaps the reader can make? (Leaped enough?)
+- Are there passages that list rather than describe?
+- Is every sensory detail earning its place — serving story, character, or theme?
+
+### Step 4: Analyze POV and Voice
+
+- Is the POV consistent throughout the passage?
+- Are there accidental slips into another character's thoughts?
+- Is the narrative voice consistent in register and tone?
+- If there's a strong character POV, does the language reflect how that character would think and perceive?
+- Is exposition delivered through the character's filter, or does the author step in?
+
+### Step 5: Check for Repetition
+
+- Is there accidental repetition — unintentional echoes that create clumsiness?
+- Is there deliberate repetition — purposeful echoes creating emphasis or rhythm?
+- Has the writer reached for the thesaurus to avoid natural repetition, producing awkward synonyms?
+
+### Step 6: Check Punctuation and Grammar
+
+- Is punctuation clarifying the prose or cluttering it?
+- Are there grammar errors that will break the reader's trust?
+- Are unconventional choices (fragments, run-ons, comma splices) deliberate and effective?
+
+## Prose Review Report Structure
+
+```
+## Prose Review: [Passage Description]
+
+### Overall Impression
+[How the passage reads as a whole — the mind's ear verdict]
+
+### Strengths
+[What the writer is doing well at the prose level]
+
+### Sound and Rhythm
+[Sentence variety, rhythmic patterns, flow]
+
+### Word Economy
+[Adjectives/adverbs, verb strength, qualifiers, crowding/leaping]
+
+### POV and Voice
+[Consistency, register, character filter]
+
+### Repetition
+[Accidental vs. deliberate; awkward synonym hunting]
+
+### Specific Line Notes
+[Passage-by-passage observations with specific suggestions]
+
+### Priority Recommendations
+[The 3-5 most impactful prose improvements to make]
+```
+
+## When to Read Reference Files
+
+- **For the complete prose review criteria** — read `references/prose-review-checklist.md`

package/payload/premium-plugins/writer-craft/skills/review-scene.md

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+---
+name: review-scene
+description: "Performs a deep analysis of a single scene against scene card criteria, engagement principles, and prose craft standards. Use this skill whenever the user asks to analyze a scene, check if a scene works, give scene-level feedback, review a scene, assess a scene's effectiveness, or says 'does this scene work'. Also use when a writer submits a discrete scene and wants to understand whether it earns its place in the story."
+---
+
+# Review Scene
+
+A scene is the fundamental unit of story. Every scene must justify its existence by advancing the protagonist's internal struggle while moving the external plot forward. This skill provides a deep analysis of a single scene against the criteria that determine whether it earns its place.
+
+## Scene Analysis Framework
+
+### Step 1: Read and React
+Read the scene completely. Note first impressions: where are you engaged, confused, bored, moved? These instinctive responses are the most honest data available.
+
+### Step 2: Fill the Scene Card
+
+For the scene being analyzed, determine:
+
+| Element | Assessment |
+|---------|-----------|
+| **External event** | What happens? State it in one sentence. |
+| **Internal meaning** | How does this force the protagonist's internal struggle forward? |
+| **Urgency hook** | What question does this scene raise that pulls the reader into the next scene? |
+| **Cause** | What prior event made this scene necessary? |
+| **Effect** | What must happen next because of this scene? |
+
+**Critical test**: If the "internal meaning" row is empty — if the scene has no connection to the protagonist's internal struggle — the scene has no business being in the story, regardless of how dramatic or well-written it is.
+
+### Step 3: Check Engagement Mechanics
+
+**Opening of the scene:**
+- Does the scene enter late? (Not the preamble — the thing itself)
+- Is there an immediate sense of what's at stake?
+
+**Cause and effect within the scene:**
+- Does every beat follow the action → reaction → decision → action pattern?
+- Is the protagonist making decisions whose reasoning is visible to the reader?
+- Does each beat escalate — raising stakes or deepening the dilemma?
+
+**Conflict:**
+- Is there a specific "versus" — a rock and hard place?
+- Does the conflict arise from character (the protagonist's own fears and misbeliefs creating the trap) rather than being arbitrarily imposed?
+- Is the opposition specific and active?
+
+**Emotional resonance:**
+- Does the protagonist react emotionally to events?
+- Is the reaction specific and embodied (physical, cognitive, behavioural), not generic?
+- Can the reader mirror this emotion through their own empathic response?
+
+**Closing of the scene:**
+- Does the scene end with an unanswered question or unresolved tension that propels the reader forward?
+- Does it leave out at the right moment (leaping), not linger past its usefulness?
+
+### Step 4: Check Prose Craft
+
+- Read the scene with the mind's ear. Does it sound right?
+- Is there sentence variety suited to the scene's emotional register?
+- Is the POV consistent throughout? Any accidental slips?
+- Is exposition integrated into the scene's action, or dumped as a separate layer?
+- Are sensory details earning their place — each one revealing character, advancing story, or illuminating theme?
+- Is the scene crowded enough to be vivid but leaped enough to move?
+
+### Step 5: Check Continuity
+
+- Does the scene connect causally to what precedes it?
+- Does it set up what follows?
+- Are there setups planted in this scene? Are they clear enough to register subconsciously but not so heavy-handed that the reader sees the machinery?
+- Is information from earlier scenes used correctly (character names, physical details, timeline)?
+
+## Scene Report Structure
+
+```
+## Scene Analysis: [Scene Description]
+
+### Scene Card
+[The filled-in scene card from Step 2]
+
+### What Works
+[Specific strengths — what the writer should keep]
+
+### Internal Story Connection
+[How well the scene connects to the protagonist's internal struggle]
+
+### Engagement
+[Hooks, cause-and-effect, conflict, emotional resonance]
+
+### Prose Craft
+[Sound, rhythm, POV, word economy, sensory detail]
+
+### Continuity
+[Causal connections to surrounding scenes, setups, consistency]
+
+### Recommendations
+[Specific, prioritized suggestions for revision]
+```
+
+## When to Read Reference Files
+
+- **For the complete scene analysis framework with detailed criteria** — read `references/scene-analysis-framework.md`

package/payload/premium-plugins/writer-craft/skills/story-architecture.md

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+---
+name: story-architecture
+description: "Guides building and analyzing internal story architecture: misbelief, desire, third rail, worldview, origin scenes, 'What If' premise, scene cards, and blueprinting. Use this skill whenever the user mentions protagonist misbelief, character desire, third rail, internal struggle, worldview, origin scene, What If premise, scene cards, story blueprint, building a story from inside out, protagonist's wound, backstory excavation, or asks why their story feels flat despite having good plot events. Also use when diagnosing why a story lacks emotional power or when a writer needs to develop their protagonist's internal architecture before plotting."
+---
+
+# Story Architecture
+
+Story is not plot. Plot is the sequence of external events; story is the internal transformation those events force upon the protagonist. The brain processes narrative as a survival simulation — readers track what happens *inside* the protagonist's mind, not what happens around them. A novel with spectacular events but no internal engine is neurologically inert. The reader puts it down.
+
+This skill covers the internal architecture that powers a story: the structural components that make a reader unable to stop reading.
+
+## Core Components
+
+Every functioning story requires these interlocking elements:
+
+### 1. The Misbelief
+A specific false conclusion about how the world works, rooted in a painful past experience, that governs the protagonist's behaviour. The misbelief is not a character flaw — it is a coping strategy that once made sense. It protected the protagonist. Now it imprisons them.
+
+The misbelief must be:
+- **Specific** — not "she has trust issues" but "she believes that letting anyone see her real feelings will get her abandoned, because that's what happened when she was twelve and told her mother the truth about her stepfather"
+- **Earned** — traceable to a concrete origin experience
+- **Active** — currently shaping decisions and relationships, not sitting inertly in backstory
+
+### 2. The Desire
+Something the protagonist has wanted, perhaps for years, that the misbelief prevents them from achieving. Desire and misbelief are in permanent conflict — every time the protagonist moves toward what they want, the misbelief sabotages them.
+
+### 3. The Third Rail
+The protagonist's internal struggle is the electrical current that powers the entire novel. Like a subway's third rail, it runs beneath every scene. External plot events matter only insofar as they connect to this rail. Scenes that don't touch it are dead weight.
+
+### 4. The Worldview
+The protagonist's subjective interpretive filter — not a bird's-eye view, not a political position, but the specific, idiosyncratic lens ground by their past experiences. It determines what they notice and ignore, what frightens them, what they desire, and what they refuse to see.
+
+The brain is a prediction machine. The protagonist's worldview is their prediction engine. The novel is the story of what happens when reality refuses to match their predictions.
+
+### 5. The Origin Scene
+The specific moment in the protagonist's past when the misbelief took root. This is not backstory filler — it is the foundation of the entire story. Write it as a full scene in the protagonist's subjective POV.
+
+### 6. The "What If" Premise
+The story's core premise. A story-worthy What If must contain:
+- **Context** — the specific world and circumstances
+- **Conflict** — the seed of internal struggle
+- **A point** — the thematic question the story will interrogate
+
+A neutral What If ("What if a man lost his job?") is insufficient. It must imply the collision between the protagonist's misbelief and reality.
+
+## Scene Cards
+
+Every scene must be tracked with a Scene Card capturing:
+
+| Element | Question |
+|---------|----------|
+| **External event** | What happens? |
+| **Internal meaning** | How does this force the protagonist's internal struggle forward? |
+| **Urgency hook** | What question does this raise for the reader? |
+| **Cause** | What scene triggered this one? |
+| **Effect** | What will this scene trigger next? |
+
+If you cannot fill in the "internal meaning" row, the scene has no business being in the novel. External events without internal meaning are noise.
+
+## Diagnostic Checklist
+
+When analyzing a story or helping a writer develop one, check:
+
+- [ ] Can you state the protagonist's misbelief in one specific sentence?
+- [ ] Can you trace the misbelief to a concrete origin experience?
+- [ ] Is the desire in direct conflict with the misbelief?
+- [ ] Does the protagonist's worldview visibly filter every scene?
+- [ ] Does the novel begin at the last possible moment — when avoidance becomes impossible?
+- [ ] Does the inciting event directly threaten the misbelief?
+- [ ] Is there a ticking clock creating urgency?
+- [ ] Does every scene touch the third rail?
+- [ ] Can you trace cause-and-effect from scene to scene through the internal story?
+- [ ] Does the "Aha!" moment feel earned, specific, and tied to the third rail?
+
+## The Blueprinting Process
+
+The blueprint is not a traditional outline. It is built scene by scene, grounded in the internal story, and developed iteratively alongside drafting. The process:
+
+1. Find the What If (premise with context, conflict, and thematic point)
+2. Identify the protagonist (whose internal change is this about?)
+3. Excavate the misbelief and desire
+4. Write the origin scene
+5. Write escalating backstory scenes showing the misbelief deepening
+6. Determine the opening moment (last possible moment of avoidance)
+7. Determine the ending (the Aha! moment — internal climax)
+8. Build Scene Cards connecting opening to ending
+9. Draft and blueprint simultaneously — they inform each other
+
+Stories grow in spirals, not lines. Each pass deepens rather than merely extends.
+
+## When to Read Reference Files
+
+- **For detailed excavation of misbelief, desire, and worldview** — read `references/misbelief-desire-worldview.md`
+- **For the full blueprinting system and scene card process** — read `references/blueprinting-and-scene-cards.md`
+- **For origin scenes and escalating turning points** — read `references/origin-scenes-and-escalation.md`
+- **For the neuroscience of why internal story matters** — read `references/inner-issue-and-protagonist-goal.md`
+
+## Exercises to Offer Writers
+
+When a writer is developing their story architecture, suggest these exercises as appropriate:
+
+1. **Write your What If** — a concise, specific premise including context, conflict, and thematic point
+2. **Write a protagonist bio** focused on internal life — want, misbelief, emotional state at novel's opening
+3. **Write the origin scene** — the moment the misbelief formed, rendered as a full scene in subjective POV
+4. **Write 3-5 escalating backstory scenes** — moments where the misbelief deepened, always tying external events to internal emotional meaning
+5. **Interrogate with "Why?"** — for every uncertain plot point, ask "Why would this character do this?" until you reach bedrock (a specific past experience that makes the action inevitable)

package/payload/premium-plugins/writer-craft/skills/story-blueprint.md

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+---
+name: story-blueprint
+description: "Guides a writer interactively through building a story from the inside out using the Story Genius blueprinting method: from raw idea through What If premise, protagonist, misbelief, origin scene, escalating backstory, opening, ending, and scene-by-scene blueprint. Use this skill whenever the user says 'help me plan my story', 'help me build my story', 'story blueprint', 'blueprinting', 'I have an idea for a story', 'I have an idea for a novel', 'develop my story concept', 'where do I start with my novel', 'I'm stuck on my story', or asks for help building a story from scratch or developing a concept into a workable narrative. Also use when a writer has a premise but doesn't know how to turn it into a story with an internal engine."
+---
+
+# Story Blueprint
+
+This skill walks a writer through building a story from the inside out. The process starts with the protagonist's internal struggle — not the plot. Plot is built later, as the external gauntlet designed to force the internal story to happen.
+
+The blueprint is not a traditional outline. It is built iteratively alongside drafting. Stories grow in spirals — each pass deepens the story rather than merely extending it.
+
+## The Blueprinting Process
+
+Guide the writer through these steps in order. At each step, ask questions, offer the relevant exercise, and help them develop their material before moving to the next step. Do not rush through steps — the depth of excavation at each stage determines the quality of everything that follows.
+
+### Step 1: The What If
+
+Help the writer find their story-worthy premise. A What If must contain three elements:
+- **Context** — the specific world, circumstances, and relationships
+- **Conflict** — the seed of internal struggle (not just external obstacle)
+- **A point** — the thematic question the story will interrogate
+
+Test: A neutral What If ("What if a man lost his job?") is not story-worthy. Push for specificity until the premise implies the collision between a character's inner world and outer reality.
+
+**Exercise**: Write a concise, specific What If that includes context, conflict, and a hint of thematic point.
+
+### Step 2: The Protagonist
+
+Help identify whose internal change the story is about. The protagonist is not simply whoever the story happens to — it's the person whose internal transformation *is* the story.
+
+Key questions to explore:
+- Who has the most to lose internally?
+- What is their misbelief — the false conclusion about the world that governs their behaviour?
+- What do they want that the misbelief prevents them from achieving?
+- What will the What If threaten or challenge about their inner world?
+
+**Exercise**: Write a brief protagonist bio focused on internal life — their want, their misbelief, their emotional state as the novel begins.
+
+### Step 3: The Misbelief and Desire
+
+Help the writer excavate the protagonist's misbelief and desire in depth. These must be specific, concrete, and in permanent conflict with each other.
+
+The misbelief:
+- Is a coping strategy that once made sense
+- Was formed in response to a specific past experience
+- Is actively shaping present decisions and relationships
+- Feels like truth to the protagonist — being wrong feels exactly like being right
+
+The desire:
+- Is something the protagonist has wanted, perhaps for years
+- Is directly blocked by the misbelief
+- The tension between desire and misbelief creates the internal urgency that carries the reader
+
+**Exercise**: Write several pages exploring the conflict between desire and misbelief. What does the protagonist most fear? What is the worst version of what might happen?
+
+### Step 4: The Origin Scene
+
+Help the writer find and write the specific moment when the misbelief formed. This is not backstory filler — it is the foundation of the story.
+
+The origin scene should be:
+- A full scene, not a summary
+- Written in the protagonist's subjective POV
+- Showing the specific experience that created the misbelief
+- Making the misbelief feel like a reasonable conclusion at the time
+
+**Exercise**: Write the origin scene as a complete scene.
+
+### Step 5: Escalating Backstory
+
+Help develop 3-5 scenes from the protagonist's past showing the misbelief deepening over time. Each scene should:
+- Show a specific moment where the misbelief was reinforced or tested
+- Tie external events to their internal emotional meaning
+- Escalate — each one making the misbelief more entrenched
+
+These scenes are the causal chain explaining who the protagonist is on page one.
+
+**Exercise**: Write 3-5 escalating scenes from the protagonist's past.
+
+### Step 6: The Opening
+
+Help determine where the novel begins. The answer: at the last possible moment — the point at which the protagonist can no longer avoid confronting the thing their misbelief has kept them from confronting.
+
+The opening scene must:
+- Establish the protagonist's internal state (desire, misbelief, the world they believe they're in)
+- Introduce the unavoidable external problem
+- Plant seeds of all major internal conflicts
+- Have a ticking clock
+
+**Exercise**: Write a first-layer version of the opening scene.
+
+### Step 7: The Ending (The Aha! Moment)
+
+Help determine the story's internal climax — the moment the protagonist confronts and dismantles (or fails to dismantle) their misbelief.
+
+The Aha moment must be:
+- **Earned** — the protagonist has been pushed to the absolute edge
+- **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
+
+The ending you write now will likely change. That is fine — any change will come from a story reason, which means you'll have learned something true about the story.
+
+**Exercise**: Write a first-layer version of the Aha moment.
+
+### Step 8: Building the Scene Cards
+
+With the opening and ending bookended, help build the Scene Cards connecting them. For each scene:
+
+| Element | Content |
+|---------|---------|
+| **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 |
+
+Use **TK** ("to come") as a placeholder for anything that must be there but isn't yet known. TKs are honest markers, not failures.
+
+### Step 9: Writing Forward
+
+Remind the writer: stories grow in spirals. Draft and blueprint simultaneously. Each scene written may reveal something about the past that wasn't known, which revises earlier scenes, which reveals something about the future. This is normal. Trust the cards. When lost in a scene, return to the Scene Card: what is the internal meaning of this moment?
+
+## Guiding Principles
+
+- **Never rush past excavation.** The depth of internal work determines the quality of everything built on top of it.
+- **Ask "Why?" relentlessly.** For every uncertain element, ask "Why would this character do this?" until the answer is a specific past experience that makes the action inevitable.
+- **Plot is the servant of story.** External events exist to force the internal story. Build the internal story first.
+- **Nothing is coincidence.** Every event must have a cause rooted in character.
+- **Expect revision.** First versions of every element will change. That is the process working.
+
+## When to Read Reference Files
+
+- **For the full blueprinting process in detail** — read `references/blueprinting-process.md`
+- **For exercises at each stage** — read `references/blueprinting-exercises.md`