scriveno 2.0.5

package/data/export-templates/scriveno-picturebook.typst

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+// Scriveno Picture Book Template -- 8.5x8.5 with 0.125in bleed
+// Usage: pandoc ... --pdf-engine=typst --template=data/export-templates/scriveno-picturebook.typst
+//
+// Picture book: 8.5×8.5 trim + 0.125in bleed on all sides = 8.75×8.75 total document size.
+// Safe zone: 0.25in from trim edge (0.375in from bleed edge) -- keep all text and key visuals inside.
+// Spread-aware pagination: spread = two facing pages treated as one layout unit.
+// For preview, open PDF in two-page spread view. Pandoc --split-level=0 keeps spreads together.
+
+// Bleed and safe zone constants
+#let bleed     = 0.125in
+#let safe-zone = 0.25in
+#let trim-width  = 8.5in
+#let trim-height = 8.5in
+
+// Total page size including bleed: trim + bleed on both sides
+#let page-width  = $if(paperwidth)$$paperwidth$$else$8.75in$endif$
+#let page-height = $if(paperheight)$$paperheight$$else$8.75in$endif$
+
+// Margins set to bleed + safe zone = 0.375in minimum on all sides
+// Override with -V margin-top= etc. if custom margins are needed
+#let margin-all = $if(margin-top)$$margin-top$$else$0.375in$endif$
+
+// Metadata
+#let book-title  = $if(title)$"$title$"$else$"Untitled"$endif$
+#let book-author = $if(author)$"$for(author)$$it.name$$sep$, $endfor$"$else$""$endif$
+
+#set document(
+  title: book-title,
+  author: book-author,
+)
+
+#set page(
+  width: page-width,
+  height: page-height,
+  margin: (
+    top:    margin-all,
+    bottom: margin-all,
+    left:   margin-all,
+    right:  margin-all,
+  ),
+  // No running headers: picture books use full-bleed images; page numbers are usually suppressed
+  // or placed outside the safe zone -- omit from template
+)
+
+// Text settings: large, readable sans-serif for picture books
+#set text(
+  font: $if(mainfont)$"$mainfont$"$else$"Helvetica"$endif$,
+  size: $if(fontsize)$$fontsize$$else$16pt$endif$,
+  fallback: true,
+)
+
+// Paragraph settings: centered body text (typical for picture books)
+#set par(
+  leading: 1.4em,
+  first-line-indent: 0em,
+  justify: false,
+)
+
+// Default text alignment: centered (picture book convention)
+#set align(center)
+
+// H1: spread/scene titles -- bold, large, centered
+// In two-page spread view, H1 anchors the start of a visual spread
+#show heading.where(level: 1): it => {
+  pagebreak(weak: true)
+  v(1em)
+  align(center)[
+    #text(size: 20pt, weight: "bold")[#it.body]
+  ]
+  v(0.8em)
+}
+
+// H2: sub-scene or caption headings
+#show heading.where(level: 2): it => {
+  v(0.8em)
+  align(center)[
+    #text(size: 16pt, weight: "bold")[#it.body]
+  ]
+  v(0.6em)
+}
+
+// Blockquotes: for character speech bubbles or narrative captions
+#set quote(block: true)
+#show quote: it => {
+  pad(left: 1em, right: 1em)[
+    #set text(style: "italic")
+    #align(center)[#it.body]
+  ]
+}
+
+// Links: no color change in print
+#show link: it => it
+
+// Title page
+$if(title)$
+#align(center + horizon)[
+  #text(size: 28pt, weight: "bold")[#book-title]
+  $if(subtitle)$
+  #v(0.5em)
+  #text(size: 18pt, style: "italic")[$subtitle$]
+  $endif$
+  #v(2em)
+  #text(size: 16pt)[#book-author]
+  $if(publisher)$
+  #v(3em)
+  #text(size: 12pt)[$publisher$]
+  $endif$
+]
+#pagebreak()
+$endif$
+
+// Body content
+$body$

package/data/export-templates/scriveno-poetry-submission-styles.md

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+# Poetry Submission Manuscript -- Reference DOCX Styles
+
+## Purpose
+
+`scriveno-poetry-submission.docx` is a Pandoc reference document used with:
+
+```
+pandoc ... --reference-doc=data/export-templates/scriveno-poetry-submission.docx -o submission.docx
+```
+
+## Submission Format Standards
+
+Poetry submission manuscripts follow conventions from journals (Poetry, Ploughshares, Kenyon Review) and contest guidelines (Academy of American Poets, etc.).
+
+### Required Format
+
+1. **Font**: `Times New Roman` 12pt for body text. `Garamond` is an acceptable alternative if the submitting journal specifies a serif at 12pt. Default to Times New Roman.
+2. **Margins**: 1 inch all sides.
+3. **One poem per page**: Each poem ends with a `page break` (Pandoc `\newpage` or `---` mapped to page break). No poem may run onto the next poem's page without a break.
+4. **Poem title**: Heading 2, left-aligned, 12pt bold, same font as body.
+5. **Title page**: First page of document contains:
+   - Collection title (centered, 14pt bold)
+   - Author name (centered, 12pt)
+   - Contact information (centered, 12pt): email, address, phone
+   - Word count / poem count (lower right or centered)
+6. **TOC** (Table of Contents): Required for collections of 5+ poems. Auto-generated via Pandoc `--toc --toc-depth=2`.
+7. **Line spacing**: Single-spaced within poems; one blank line between stanzas; page break between poems.
+8. **No headers/footers** in submission drafts (page numbers only via Word field, not Scriveno-written content).
+
+## Pandoc Style Mapping
+
+| Pandoc Style | Word Style Name | Notes |
+|-------------|-----------------|-------|
+| Body Text | `Normal` | Times New Roman 12pt, single-spaced, no indent |
+| Heading 1 | `Heading 1` | Collection/section title, 14pt bold |
+| Heading 2 | `Heading 2` | Poem title, 12pt bold |
+| Page break | `\newpage` in markdown -> Word page break | Between each poem |
+
+## When to Regenerate the DOCX Binary
+
+```bash
+pandoc --print-default-data-file reference.docx > data/export-templates/scriveno-poetry-submission.docx
+```
+
+Then open in Word/LibreOffice and set Normal style to Times New Roman 12pt, single-spaced, 1in margins.

package/data/export-templates/scriveno-smashwords-styles.md

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+# Smashwords / Draft2Digital (D2D) Style Guide -- Reference DOCX Styles
+
+## Purpose
+
+`scriveno-smashwords.docx` is a Pandoc reference document used with:
+
+```
+pandoc ... --reference-doc=data/export-templates/scriveno-smashwords.docx -o output.docx
+```
+
+Pandoc maps its internal styles to the named styles in this reference doc.
+
+## Style Guide Compliance Rules
+
+These rules come from the official [Smashwords Style Guide](https://www.smashwords.com/books/view/52) and apply to D2D (Draft2Digital) submissions.
+
+### Critical Rules (will cause rejection if violated)
+
+1. **no tabs** -- Never use tab characters anywhere in the document. Indentation must be set via paragraph style, not keystrokes.
+2. **First-line indent via paragraph style only** -- Use the `FirstLineIndent` or body text paragraph style to set a 0.3in first-line indent. Do not use spaces, non-breaking spaces, or tab characters to create indents.
+3. **No blank lines between paragraphs in indented styles** -- For indented body text, use only paragraph spacing (Space Before/After) not blank paragraph returns.
+4. **No custom headers or footers** -- Smashwords/D2D auto-generate these. Any custom header/footer will be stripped or cause errors.
+5. **Auto-generated TOC only** -- Do not create a manual TOC. Pandoc's `--toc` flag generates a Word-compatible field-based TOC that Smashwords accepts.
+6. **No tables of fixed width** -- Use percentage-width or relative tables only.
+7. **No text boxes** -- Content in text boxes is ignored by most ebook converters.
+
+## Pandoc Style Mapping
+
+| Pandoc Style | Word Style Name | Notes |
+|-------------|-----------------|-------|
+| Body Text | `Normal` | First-line indent: 0.3in, no extra space before/after |
+| Heading 1 | `Heading 1` | Chapter title, used for TOC |
+| Heading 2 | `Heading 2` | Section title, used for TOC |
+| Block Quote | `Block Text` | Indented 0.5in left, no first-line indent |
+| Code Block | `Verbatim Char` | Monospace, no indent |
+
+## When to Regenerate the DOCX Binary
+
+Run this command after any style change (requires Pandoc):
+
+```bash
+pandoc --print-default-data-file reference.docx > data/export-templates/scriveno-smashwords.docx
+```
+
+Then open in Word/LibreOffice and modify the paragraph styles per the mapping table above.

package/data/export-templates/scriveno-stageplay.typst

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+// Scriveno Stage Play Template -- Samuel French format
+// Usage: pandoc ... --pdf-engine=typst --template=data/export-templates/scriveno-stageplay.typst
+//
+// Samuel French standard: 8.5x11 US Letter, Courier 12pt, 1.5in left (binding), 1in right/top/bottom.
+// Character names: centered ALL CAPS (bold strong text rendered via Pandoc as **CHARACTER NAME**).
+// Stage directions: italic (Pandoc renders *(direction)* as emph).
+// H1 = Act headings, H2 = Scene headings.
+
+// Page dimensions (Pandoc -V variables with defaults)
+// US Letter -- standard for stage plays and Samuel French submissions
+#let page-width = $if(paperwidth)$$paperwidth$$else$8.5in$endif$
+#let page-height = $if(paperheight)$$paperheight$$else$11in$endif$
+
+// Samuel French margins: 1.5in left (binding), 1in right, 1in top, 1in bottom
+#let margin-left   = $if(margin-left)$$margin-left$$else$1.5in$endif$
+#let margin-right  = $if(margin-right)$$margin-right$$else$1in$endif$
+#let margin-top    = $if(margin-top)$$margin-top$$else$1in$endif$
+#let margin-bottom = $if(margin-bottom)$$margin-bottom$$else$1in$endif$
+
+// Metadata
+#let play-title  = $if(title)$"$title$"$else$"Untitled"$endif$
+#let play-author = $if(author)$"$for(author)$$it.name$$sep$, $endfor$"$else$""$endif$
+
+#set document(
+  title: play-title,
+  author: play-author,
+)
+
+#set page(
+  width: page-width,
+  height: page-height,
+  margin: (
+    left:   margin-left,
+    right:  margin-right,
+    top:    margin-top,
+    bottom: margin-bottom,
+  ),
+  // Page numbering: top-right, industry standard for scripts
+  header: context {
+    let page-num = counter(page).get().first()
+    if page-num > 1 {
+      align(right, text(size: 10pt)[#str(page-num).])
+    }
+  },
+)
+
+// Courier 12pt -- industry standard font for stage plays
+#set text(
+  font: $if(mainfont)$"$mainfont$"$else$"Courier New"$endif$,
+  size: $if(fontsize)$$fontsize$$else$12pt$endif$,
+  fallback: true,
+)
+
+// Paragraph settings: no first-line indent for scripts; left-aligned
+#set par(
+  leading: 1.2em,
+  first-line-indent: 0em,
+  justify: false,
+)
+
+// Character names: Pandoc renders **CHARACTER NAME** as strong; re-style to centered ALLCAPS
+#show strong: it => {
+  align(center)[
+    #text(weight: "bold")[#upper(it.body)]
+  ]
+}
+
+// Stage directions: rendered as emphasized (italic) text
+#show emph: it => {
+  text(style: "italic")[#it.body]
+}
+
+// Act headings (H1): centered, uppercase, extra space -- new page per act
+#show heading.where(level: 1): it => {
+  pagebreak(weak: true)
+  v(2em)
+  align(center)[
+    #text(size: 14pt, weight: "bold")[#upper(it.body)]
+  ]
+  v(1em)
+}
+
+// Scene headings (H2): centered, title case, moderate space
+#show heading.where(level: 2): it => {
+  v(1.5em)
+  align(center)[
+    #text(size: 12pt, weight: "bold")[#it.body]
+  ]
+  v(0.8em)
+}
+
+// H3: sub-scene or location descriptions
+#show heading.where(level: 3): it => {
+  v(0.8em)
+  text(size: 12pt, weight: "bold")[#it.body]
+  v(0.5em)
+}
+
+// Blockquotes: for spoken monologues or extended speeches, indented
+#set quote(block: true)
+#show quote: it => {
+  pad(left: 1.5em, right: 1em)[
+    #it.body
+  ]
+}
+
+// Links: no color change in print
+#show link: it => it
+
+// Title page
+$if(title)$
+#align(center + horizon)[
+  #text(size: 24pt, weight: "bold")[#play-title]
+  $if(subtitle)$
+  #v(0.5em)
+  #text(size: 16pt, style: "italic")[$subtitle$]
+  $endif$
+  #v(2em)
+  #text(size: 14pt)[#play-author]
+  $if(publisher)$
+  #v(3em)
+  #text(size: 11pt)[$publisher$]
+  $endif$
+]
+#pagebreak()
+$endif$
+
+// Body content
+$body$

package/data/proof/creative-context/README.md

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+# Creative Context Proof
+
+This proof shows how one craft decision travels through the core writing loop.
+
+## Scenario
+
+The writer is planning chapter 4 of a novel. During discussion, they decide that Mara should stay emotionally guarded, but the room should feel colder after the argument.
+
+## Discuss artifact
+
+`.manuscript/4-CONTEXT.md`
+
+```markdown
+## Craft Notes
+
+- CHOICE: Keep chapter 4 close third from Mara's point of view.
+- HUNCH: Let the room feel colder after the argument without explaining why.
+- QUESTION: Non-blocking: does Elias notice Mara hiding the letter?
+- WATCHPOINT: Preserve Mara's clipped dialogue when she is afraid.
+```
+
+## Plan artifact
+
+`.manuscript/plans/4-1-PLAN.md`
+
+```markdown
+## Craft Notes
+
+- CHOICE: Close third remains with Mara for the whole scene.
+- HUNCH: After the argument, use sensory cold in the room as pressure rather than explanation.
+- QUESTION: Non-blocking: Elias may notice the gesture, but the draft should keep his certainty ambiguous.
+- WATCHPOINT: Mara's dialogue stays short, evasive, and controlled.
+```
+
+## Draft behavior
+
+The drafter receives the plan in fresh context, with `STYLE-GUIDE.md` loaded first. The draft may use colder sensory detail and clipped dialogue, but it does not include `CHOICE`, `HUNCH`, `QUESTION`, or `WATCHPOINT` labels in the prose.
+
+## Review artifact
+
+`.manuscript/reviews/4-REVIEW.md`
+
+```markdown
+## Craft Notes Follow-Up
+
+- CHOICE: Held. The scene stays in Mara's close third point of view.
+- HUNCH: Worked. The cold room pressure sharpened the argument without overexplaining it.
+- QUESTION: Resolved enough for now. Elias notices the gesture, but the draft leaves his interpretation open.
+- WATCHPOINT: Preserved. Mara's dialogue remains clipped under stress.
+```
+
+## Blended character and subject artifact
+
+Character-based scenes can also carry subject movement. In this example, the scene tracks Mara's persona and the changing meaning of the forged letter.
+
+`.manuscript/plans/4-1-PLAN.md`
+
+```markdown
+## Character Persona Notes
+
+- Mara becomes still and terse when she lies.
+- Elias makes Mara defensive because he notices what she wants hidden.
+- WATCHPOINT: Preserve the power shift when Elias sees her hand move toward the letter.
+
+## Subject Dynamics Notes
+
+- Active subject: the forged letter.
+- Reader starts here: the letter feels like proof Mara can control.
+- Reader should move toward: the letter feels like a burden that controls the room.
+- Pressure or friction: evidence vs. guilt.
+- Interaction pattern: object vs. meaning. The same paper changes emotional weight because Elias notices it.
+- WATCHPOINT: Let the letter's meaning shift through behavior and staging, not explanation.
+```
+
+The draft should show Mara's body language and the letter's changed pressure at the same time. It should not label either layer in the prose.
+
+## What this proves
+
+Creative Context improves memory without making the manuscript procedural. Labels live in planning and review artifacts. Character behavior, subject movement, and reader-state movement can travel together. The prose remains prose.

package/data/proof/voice-dna/GUIDED-SAMPLE.md

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+# Guided Sample
+
+The clock was on the table again.
+
+Elias had put it on the shelf ten minutes earlier, then taken it down because the shelf caught too much light, and the cracked ivory face went flat under it. On the table the brass kept a dull glow. Better there. He stood over it with one hand on the chair back, listening.
+
+Gulls. Wind at the window frame. The small, composed tick of the escapement he had cleaned that morning until the blued-steel hands moved without complaint.
+
+He touched the felt box, then the lid, then the corner of the table where the varnish had worn pale under years of plates and elbows. His fingers would not stay still unless they had a task. Fold the towel. Straighten the cups. Turn the teaspoons so they matched. Shift the clock a thumb's width left. Back again.
+
+The room was clean in the way a room becomes clean when a man is trying not to think. Kettle polished. Sink empty. Chairs set square to the table. Pale light through the salt on the window. Beyond the roofs, a strip of water the color of old cutlery.
+
+He did not ask himself what he would say when she came in. The question was too large. Better to notice the small things. The seam lifting on the chair cushion. The whistle in the window latch. The way his right hand flattened itself beside the clock whenever the ticking seemed to soften, as if it were checking for a pulse.
+
+There were photographs in her letter. He had not looked at them again. They lay in the drawer under the breadboard, face down, waiting.
+
+The bell rang.
+
+His hands went still.

package/data/proof/voice-dna/README.md

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+# Voice DNA Proof Bundle
+
+This bundle demonstrates one narrow claim:
+
+**When the same brief is written without Scriveno's style guidance versus with a concrete `STYLE-GUIDE.md`, the guided version moves materially closer to the writer's voice contract.**
+
+It is not a benchmark. It is not a claim about every model or every prompt. It is one inspectable proof artifact using the shipped watchmaker demo.
+
+## Fixed Brief
+
+Write a short scene set just before Petra arrives in Scene 5. Elias waits in his apartment above the shop with the repaired carriage clock nearby. Show his anxiety through what he notices, what he touches, and how he listens for her arrival. Keep the moment small, physical, and tense.
+
+## Artifact Map
+
+- `STYLE-GUIDE-EXCERPT.md` -- the exact voice constraints applied to the guided sample
+- `UNGUIDED-SAMPLE.md` -- a plausible generic draft for the same brief
+- `GUIDED-SAMPLE.md` -- the same brief rewritten to honor the style-guide dimensions
+
+## What Changed
+
+### Sentence
+
+The guided sample shortens and varies sentence length more deliberately. It uses quieter, tighter movement instead of smooth, uniformly polished cadence.
+
+### Metaphor
+
+The unguided sample reaches for generic emotional language. The guided sample uses the watchmaker story's metaphor system: clocks, hands, salt, glass, and mechanical precision.
+
+### Dialogue
+
+The brief leaves room for imagined dialogue, but the guided sample keeps dialogue restraint and lets silence do the work. That matches the watchmaker style guide more closely.
+
+### Physical grounding
+
+The guided sample pushes emotion into hands, breath, sound, and objects. The unguided sample names feelings more directly. This is one of the clearest shifts in the bundle.
+
+## How To Read It
+
+1. Read the fixed brief above.
+2. Read `STYLE-GUIDE-EXCERPT.md`.
+3. Read the unguided sample.
+4. Read the guided sample.
+5. Compare the scene at the level of sentence rhythm, metaphor system, dialogue restraint, and physical grounding.
+
+The point is not that the guided sample is more ornate. The point is that it is more *specific* to the writer the style guide describes.

package/data/proof/voice-dna/STYLE-GUIDE-EXCERPT.md

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+# STYLE-GUIDE Excerpt
+
+Source: `data/demo/.manuscript/STYLE-GUIDE.md`
+
+## Narrative perspective
+
+- **POV:** Close third person
+- **Narrator distance:** Intimate
+
+## Sentence architecture
+
+- **Average sentence length:** 14 words
+- **Sentence variation:** High variation
+- **Sentence music:** Lyrical
+
+## Figurative language
+
+- **Metaphor density:** Moderate
+- **Metaphor style:** Grounded and sensory
+- **Recurring image systems:** Clocks, gears, tides, ocean, hands, touch
+
+## Dialogue voice
+
+- **Tag style:** Action beats preferred over tags
+- **Subtext level:** Moderately subtextual
+
+## Physicality
+
+- **Body awareness:** High
+- **Place:** Strong
+- **Time of day/weather:** Present in every scene
+
+## Always
+
+- Ground every emotion in a physical sensation.
+- Let silence speak.
+- Give every clock its own character.
+
+## Never
+
+- Explain emotions directly.
+- Use cliches about time healing.
+- Rush the quiet moments.

package/data/proof/voice-dna/UNGUIDED-SAMPLE.md

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+# Unguided Sample
+
+Elias stood in the apartment feeling nervous about everything that was about to happen. The restored carriage clock sat on the kitchen table like a symbol of the time he had lost, and he could not stop looking at it. Sunlight came weakly through the windows, and the whole room felt lonely and full of suspense.
+
+He checked the cups again even though he had already checked them twice. He straightened the tea towels, then moved the clock to the shelf, then moved it back again because he wanted everything to be perfect when Petra arrived. His heart was beating faster and faster, and he wondered whether there was any way to prepare for meeting a daughter you had never known.
+
+The gulls cried outside and the wind brushed at the glass. He thought about all the years between them and felt the weight of regret settle over him. It seemed impossible that one knock on the door could contain so much history. He imagined what she might say first. He imagined himself failing to answer well. He imagined her disappointment, her kindness, and the awkward silence that would follow.
+
+The clock kept ticking with patient certainty, a reminder that time moved forward whether people were ready or not. Elias put his hand on the table and took a deep breath, trying to steady himself. He wanted to seem calm. He wanted to say the right thing. More than anything, he wanted this meeting to mean that some broken part of his life might still be repaired.
+
+When the bell finally rang, he froze for one long second before turning toward the door.

package/data/proof/watchmaker-flow/README.md

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+# Watchmaker Sample Flow
+
+This proof bundle shows one complete Scriveno writing workflow using the shipped watchmaker demo. It is meant to answer a simple trust question:
+
+**Can I inspect a real project from setup context through drafted outcome, review, and next step without guessing what Scriveno is supposed to do?**
+
+## What This Proves
+
+- Scriveno ships a real project identity and outline, not placeholder setup files.
+- Scriveno ships a concrete Voice DNA profile that can be inspected directly.
+- Scriveno ships drafted outcome evidence, not only command descriptions.
+- Scriveno ships revision evidence and next-step continuity inside the same sample.
+- The sample demonstrates a credible writing outcome. It does not claim a full publishing proof.
+
+## Canonical Flow
+
+### 1. Setup identity
+
+- `data/demo/.manuscript/WORK.md`
+
+This defines the work as a five-scene literary short story, establishes the premise, the central question, the tone, and the structural promise of the sample.
+
+### 2. Project structure
+
+- `data/demo/.manuscript/OUTLINE.md`
+- `data/demo/.manuscript/STATE.md`
+
+These show the planned five-scene arc and the live workflow position. The sample is intentionally paused at `4 of 5` scenes drafted so the next step is inspectable rather than implied.
+
+### 3. Voice profile
+
+- `data/demo/.manuscript/STYLE-GUIDE.md`
+
+This is the Voice DNA artifact for the sample. It captures the watchmaker story's POV, sentence architecture, metaphor system, physical grounding, dialogue restraint, and explicit always/never rules.
+
+### 4. Drafted outcome
+
+- `data/demo/.manuscript/drafts/body/1-the-letter-DRAFT.md`
+- `data/demo/.manuscript/drafts/body/2-the-workshop-DRAFT.md`
+- `data/demo/.manuscript/drafts/body/3-the-pier-DRAFT.md`
+- `data/demo/.manuscript/drafts/body/4-the-clock-DRAFT.md`
+
+These four scenes are the drafted outcome evidence. Together they show Scriveno carrying the story from inciting incident through pre-climax while keeping the same voice, imagery, and object-world logic intact.
+
+### 5. Review evidence
+
+- `data/demo/.manuscript/reviews/2-the-workshop-REVIEW.md`
+
+This file proves the workflow does not stop at draft generation. The sample includes a real editor-style review with structural, style, voice, and continuity notes.
+
+### 6. Next-step continuity
+
+- `data/demo/.manuscript/plans/5-the-reunion-PLAN.md`
+
+This is the next step proof. The sample remains live at the point where a user can inspect what comes after the existing drafts instead of being handed a frozen artifact with no continuity.
+
+## Reading Order
+
+If you want the shortest inspection path:
+
+1. Read `WORK.md` for the premise and promise.
+2. Read `STYLE-GUIDE.md` for the voice contract.
+3. Read `1-the-letter-DRAFT.md` and `4-the-clock-DRAFT.md` for drafted outcome.
+4. Read `2-the-workshop-REVIEW.md` for revision evidence.
+5. Read `5-the-reunion-PLAN.md` for the next step.
+
+## Credible Writing Outcome
+
+The shipped sample reaches a credible writing outcome because it includes:
+
+- a concrete project identity
+- a complete outline
+- a populated style guide
+- four finished draft scenes
+- one review artifact
+- one planned next scene
+
+That is enough to inspect Scriveno's writing workflow end to end without inventing missing steps. It is a writing proof, not a publication-ready package proof.