scriveno 2.0.5

package/templates/academic/ARGUMENT-MAP.md

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+---
+creative_pillar: structure
+always_load_for: [discuss, plan, draft, editor-review]
+authority: project
+---
+
+# Argument Map
+
+Academic projects use this file instead of PLOT-GRAPH.md. Track the argument's movement by claim, evidence, counterclaim, method, transition, and reader-state shift.
+
+## Argument Spine
+
+**Thesis:** {{THESIS}}
+**Central research question:** {{CENTRAL_QUESTION}}
+**Method or framework:** {{METHOD}}
+**Reader starts here:** {{READER_START}}
+**Reader should land here:** {{READER_END}}
+
+## Claim Sequence
+
+### {{CLAIM_NAME}}
+
+**Claim:** {{CLAIM}}
+**Purpose in argument:** {{PURPOSE}}
+**Evidence:** {{EVIDENCE}}
+**Counterclaim or limitation:** {{COUNTERCLAIM}}
+**Transition into this claim:** {{TRANSITION_IN}}
+**Transition out of this claim:** {{TRANSITION_OUT}}
+
+#### Subject dynamics
+
+**Reader starts here:** {{CLAIM_READER_START}}
+**Reader should move toward:** {{CLAIM_READER_SHIFT}}
+**Pressure or friction:** {{CLAIM_PRESSURE}}
+**Interaction pattern:** {{CLAIM_INTERACTION}} (claim vs. counterclaim, evidence vs. objection, theory vs. case, method vs. limitation)
+**Watchpoints:** {{CLAIM_WATCHPOINTS}}
+
+## Open Questions
+
+{{OPEN_QUESTIONS}}

package/templates/academic/CONCEPTS.md

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+---
+creative_pillar: cast
+always_load_for: [discuss, plan, draft, editor-review]
+authority: project
+---
+
+# Concepts
+
+Academic projects use this file instead of CHARACTERS.md. Track the concepts, schools, claims, counterclaims, methods, terms, and analytical positions that behave like the active cast of the argument.
+
+## {{CONCEPT_NAME}}
+
+**Concept type:** {{CONCEPT_TYPE}} (thesis, counterclaim, method, term, framework, case, evidence cluster)
+**Role in argument:** {{ROLE}}
+**Current position:** {{CURRENT_POSITION}}
+**Key sources:** {{SOURCES}}
+**Common misunderstanding:** {{MISUNDERSTANDING}}
+**Pressure point:** {{PRESSURE_POINT}}
+
+### Subject dynamics
+
+**Reader starts here:** {{READER_START}}
+**Reader should move toward:** {{READER_SHIFT}}
+**Pressure or friction:** {{PRESSURE_OR_FRICTION}}
+**Interaction pattern:** {{INTERACTION_PATTERN}} (claim vs. counterclaim, method vs. limitation, evidence vs. objection, theory vs. case)
+**Watchpoints:** {{WATCHPOINTS}}
+
+### Evidence state
+
+**Supported by:** {{SUPPORTED_BY}}
+**Challenged by:** {{CHALLENGED_BY}}
+**Needs support:** {{NEEDS_SUPPORT}}
+
+_Last touched: {{LAST_TOUCHED}}_

package/templates/academic/CONTEXT.md

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+---
+creative_pillar: world
+always_load_for: [discuss, plan, draft, editor-review]
+authority: project
+---
+
+# Academic Context
+
+Academic projects use this file instead of WORLD.md. Track the intellectual landscape, field assumptions, institutional context, historical frame, source boundaries, and terminology.
+
+## Field Context
+
+**Discipline or field:** {{FIELD}}
+**Conversation:** {{CONVERSATION}}
+**Key debates:** {{KEY_DEBATES}}
+**Methodological boundaries:** {{METHOD_BOUNDARIES}}
+**Ethical boundaries:** {{ETHICAL_BOUNDARIES}}
+
+## Subject Dynamics
+
+**Reader starts here:** {{READER_START}}
+**Reader should move toward:** {{READER_SHIFT}}
+**Pressure or friction:** {{PRESSURE_OR_FRICTION}}
+**Interaction pattern:** {{INTERACTION_PATTERN}} (field consensus vs. dispute, method vs. limitation, source tradition vs. new evidence)
+**Watchpoints:** {{WATCHPOINTS}}
+
+## Terms
+
+{{TERMS}}

package/templates/academic/PROPOSAL.md

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+---
+creative_pillar: work
+always_load_for: [discuss, plan]
+authority: project
+---
+
+# Proposal
+
+## Project Claim
+
+**Working title:** {{TITLE}}
+**Research question:** {{RESEARCH_QUESTION}}
+**Thesis or hypothesis:** {{THESIS}}
+**Field or discipline:** {{FIELD}}
+**Audience:** {{AUDIENCE}}
+
+## Reader Journey
+
+**Reader starts with:** {{READER_START}}
+**Reader should move toward:** {{READER_SHIFT}}
+**Main pressure:** {{MAIN_PRESSURE}} (gap, dispute, misconception, limitation, ethical concern, methodological risk)
+**Key interaction:** {{KEY_INTERACTION}} (claim vs. counterclaim, evidence vs. objection, method vs. limitation, theory vs. case)
+
+## Scope
+
+**In scope:** {{IN_SCOPE}}
+**Out of scope:** {{OUT_OF_SCOPE}}
+**Primary sources or data:** {{PRIMARY_SOURCES}}
+**Secondary sources:** {{SECONDARY_SOURCES}}
+
+## Success Criteria
+
+{{SUCCESS_CRITERIA}}
+
+## Open Questions
+
+{{OPEN_QUESTIONS}}

package/templates/academic/QUESTIONS.md

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+---
+creative_pillar: themes
+always_load_for: [discuss, plan, draft, editor-review]
+authority: project
+---
+
+# Research Questions
+
+Academic projects use this file instead of THEMES.md. Track research questions, subquestions, unresolved tensions, claims, and reader-state movement.
+
+## {{QUESTION_NAME}}
+
+**Research question:** {{QUESTION}}
+**Working answer:** {{WORKING_ANSWER}} (or "deliberately unresolved")
+**Why it matters:** {{WHY_IT_MATTERS}}
+**Reader starts here:** {{READER_START}}
+**Reader should move toward:** {{READER_SHIFT}}
+**Pressure or friction:** {{PRESSURE_OR_FRICTION}} (gap, dispute, limitation, counterclaim, methodological risk)
+**Interaction pattern:** {{INTERACTION_PATTERN}} (claim vs. counterclaim, source vs. source, method vs. limitation, evidence vs. interpretation)
+**Evidence needed:** {{EVIDENCE_NEEDED}}
+**Sections where it appears:** {{SECTION_LIST}}
+**Watchpoints:** {{WATCHPOINTS}}
+
+_Last touched: {{LAST_TOUCHED}}_

package/templates/config.json

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+{
+  "scriveno_version": "2.0.5",
+  "work_type": "",
+  "group": "",
+  "command_unit": "",
+  "developer_mode": false,
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+
+  "autopilot": {
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+    "profile": "guided",
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+  "voice": {
+    "calibrated": false,
+    "last_calibration": null,
+    "drift_threshold": 0.3
+  },
+
+  "draft": {
+    "rigor": "standard",
+    "context_profile": "standard",
+    "pitfalls_enabled": true
+  },
+
+  "export": {
+    "default_format": "docx_manuscript",
+    "include_front_matter": true,
+    "include_back_matter": true,
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+      "spacing": "double",
+      "margins": "1in"
+    }
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+  "translation": {
+    "source_language": "en",
+    "target_languages": [],
+    "name_handling": "keep_original",
+    "measurement_system": "source"
+  },
+
+  "technical": {
+    "audience_level": "mixed",
+    "prerequisite_knowledge": [],
+    "supported_environment": "",
+    "supported_versions": [],
+    "source_of_truth": [],
+    "review_mode": "accuracy_first"
+  },
+
+  "collaboration": {
+    "tracks_enabled": false,
+    "default_track": "canon"
+  },
+
+  "illustration": {
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+  },
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+  "git": {
+    "auto_commit": true,
+    "commit_message_style": "descriptive",
+    "branching_strategy": "none"
+  }
+}

package/templates/pitfalls/comic.md

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+# Pitfall pack: comic
+
+*Type-specific traps for comic and graphic novel drafting. Loaded after WRITING-RULES.md. STYLE-GUIDE.md wins where it conflicts.*
+
+## Script-versus-art boundary
+
+- Caption as substitute for image. If the caption tells you what the panel shows, cut the caption.
+- Direction the artist cannot deliver ("she feels nostalgic", "the city remembers"). Translate to visual cues.
+- Over-specifying every panel composition. Trust the artist on framing unless the moment requires a specific shot.
+- Under-specifying scale, character placement, or beat count. The script must give the artist enough.
+
+## Dialogue and balloons
+
+- Speech balloons that exceed the panel's visual real estate. Trim. A balloon should not eat the figure.
+- Long speeches where action would carry the beat.
+- Sound-effect captions doing work the artist's lettering should do.
+- Thought balloons stacked on internal monologue captions. Pick one mode.
+- "Continued..." chains across many panels. If a speech needs three balloons, it needs less speech.
+
+## Pacing and panel rhythm
+
+- Three-panel rows on every page. Vary panel count for tempo.
+- Splash pages used cosmetically rather than for emphasis.
+- Talking-head pages without environmental change.
+- Reaction shots stacked. One landed reaction beats three weak ones.
+- Page turns that do not deliver a beat. The turn is a tool; use it.
+
+## Caption voice
+
+- Voiceover narration that explains what the panel shows.
+- Voiceover that competes with dialogue for the reader's attention in the same beat.
+- Tense drift between caption and image (caption past tense, image present moment).
+- Captions that hedge ("perhaps it was the way she looked at him"). The image is the evidence; commit.
+
+## Genre stock devices
+
+- Superhero: origin flashback in issue one. Cliched unless interrogated.
+- Slice-of-life: rain on the window as mood marker. Overused.
+- Horror: cat jump scare. Cliched.
+- Manga-derived: speed lines on every emotional beat.
+- Underground: shock images in service of nothing. Earn it.
+
+## Sequential storytelling traps
+
+- Action sequences that fail to track who is where. Establish geography in the first panel of an action beat.
+- Flashbacks without visual signal (color shift, border change, period detail). Reader gets lost.
+- Multi-character scenes where two characters look identical. Costume, posture, or framing must distinguish.
+- Time skips inside a single page that the layout does not signal.
+
+## Closing pitfalls
+
+- Final panel of the issue is a reaction shot to a question the reader cannot answer yet. Hooks should land on a turn, not a stare.
+- Last-page splash that just shows the protagonist looking at the horizon.
+- "To be continued..." over an image that already feels like an ending.

package/templates/pitfalls/commentary.md

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+# Pitfall pack: commentary
+
+*Type-specific traps for sacred-text commentary drafting. Applies across traditions (biblical, Quranic, Talmudic, Vedic, Buddhist, etc.). Loaded after WRITING-RULES.md. STYLE-GUIDE.md and DOCTRINES.md still win where they conflict; this pack is general craft, not doctrine.*
+
+## Register drift
+
+Commentary moves between registers: exegetical (analytical), pastoral (applied), homiletic (proclamational), devotional (responsive). Drift happens when the writer slides from one to another mid-paragraph without signaling.
+
+- Exegetical analysis suddenly turning into pastoral exhortation in the same sentence.
+- Devotional warmth bleeding into what should be a tight philological note.
+- "We" that sometimes means the scholarly reader and sometimes means the worshiping community. Hold one referent at a time.
+- Quoting the source text in one register (formal, traditional rendering) and paraphrasing it later in another (colloquial). Match register or signal the shift.
+
+## Anachronism
+
+- Modern psychological vocabulary applied to ancient figures ("Moses processed his trauma", "Arjuna struggled with imposter syndrome"). Avoid unless the move is deliberate and signposted.
+- Modern political categories projected backward ("the prophet's progressive stance"). Use period-appropriate framing.
+- Contemporary metaphors that erase historical context ("the disciples were the original startup team"). Cute, almost always wrong.
+- Translating concepts that have no cognate ("dharma" as "duty", "chesed" as "kindness") without flagging the loss.
+
+## Doctrinal precision
+
+- Asserting interpretations as the only reading when interpretive traditions disagree. Acknowledge the range or stay narrow.
+- Smuggling in doctrinal claims without citation to authoritative sources (church fathers, hadith, mishnah, classical commentaries).
+- Conflating the writer's tradition's reading with universal "what the text means".
+- Using denominational shorthand without defining it for non-specialist readers.
+
+## Source-handling pitfalls
+
+- Quoting a passage in a translation without naming the translation.
+- Treating one manuscript tradition as if it were uncontested. Note variant readings where they bear on the argument.
+- Citing a secondary source when a primary source exists.
+- Over-reliance on a single classical commentator without acknowledging others.
+- Ignoring transmission history when it bears on the passage's authority or meaning.
+
+## Sentimentality and triumphalism
+
+- Closing every section with an inspirational lift.
+- Reading every passage as already pointing to the writer's preferred theological conclusion.
+- Hagiographic treatment of figures the text itself depicts complexly.
+- Hostile straw-man treatment of other traditions or interpretations.
+
+## Stock phrases
+
+- "What this passage really tells us is..."
+- "In our modern world..."
+- "Now more than ever..."
+- "The deeper meaning here..."
+- "What the original audience would have understood..." (without evidence)
+
+## Cross-reference discipline
+
+- Daisy-chains of cross-references that obscure the local meaning of the passage.
+- Forcing typological or allegorical readings where the text does not warrant them.
+- Citing parallel passages without showing how the parallel illuminates the current verse.
+
+## Closing pitfalls
+
+- Application section that ignores the exegetical work above it.
+- "Let us therefore..." sermon move when the genre is commentary, not sermon.
+- A closing prayer or doxology in what is meant to be a critical edition.
+- Promising to address the difficulty in a future volume that may never come.

package/templates/pitfalls/memoir.md

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+# Pitfall pack: memoir
+
+*Type-specific traps for memoir drafting. Loaded after WRITING-RULES.md. STYLE-GUIDE.md wins where it conflicts.*
+
+## Voice traps
+
+- The retrospective narrator who knows everything. The remembered self does not yet know the lesson; let them not know.
+- Therapy-speak imported into prose ("I was processing", "I held space for", "my inner child"). Use it only if the writer's voice in STYLE-GUIDE.md uses it.
+- The wisdom voice every paragraph. Insight earned by scene beats insight stated.
+- "Looking back now, I see that..." as connective tissue. Once is fine. Three times in a chapter is a tic.
+
+## Telling not showing
+
+- Naming the feeling instead of rendering the moment. "I was devastated": what did the body do, what did the eye land on, what did you fail to do.
+- Summarizing relationships ("My father was a complicated man"). Show one scene that makes the complication visible.
+- Time-collapsed reflection ("For years afterward, I would..."). Earn it with a specific later moment.
+
+## Truth and embellishment
+
+- Composite characters or invented dialogue without disclosure. Disclose in front matter or footnote per the writer's chosen convention.
+- Memories described with novelistic certainty ("the rain hit the window in fat drops"). Acknowledge memory's edges where useful.
+- Hindsight-loaded foreshadowing ("I had no idea this would be the last time"). Often hollow. Cut or earn.
+
+## Self-presentation
+
+- Self-flagellation as flex (excessive humility that draws attention to the writer's virtue). Watch for it.
+- Heroizing the past self. The reader should see the flaw before the writer names it.
+- Other-people-as-props (loved ones rendered only in service of the writer's arc). Give them their own gravity.
+
+## Stock phrases
+
+- "Little did I know"
+- "Looking back, I realize"
+- "It would be years before I understood"
+- "I was just a kid" (when not interrogated)
+- "And just like that"
+
+## Structural pitfalls
+
+- Strict chronology when associative structure serves better, or vice versa. Match form to subject.
+- Resolving every thread. Memoir tolerates loose ends; life had them.
+- The lesson chapter at the end. The lessons should already be in the scenes.
+
+## Closing pitfalls
+
+- The reflective coda explaining what we just read.
+- "I am still that girl, in some ways" or its variants.
+- Closing on a hopeful generality ("we go on", "love endures"). Stay specific.

package/templates/pitfalls/novel.md

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+# Pitfall pack: novel
+
+*Type-specific traps for novel drafting. Loaded by the drafter, line-editor, and polish commands after WRITING-RULES.md. STYLE-GUIDE.md still wins where it conflicts.*
+
+## Filter words
+
+These verbs interpose the narrator between reader and event. Cut them unless the POV explicitly observes itself.
+
+- "she felt", "he felt the X": describe the sensation directly
+- "she saw", "he noticed", "she watched": describe the thing itself
+- "she heard": describe the sound
+- "she thought", "she wondered", "she realized": render the thought as direct interiority or action
+- "she seemed", "appeared to": commit to what is, or commit to her reading of it
+
+## Telling not showing
+
+- Emotion words on the nose ("she was furious", "he was nervous"). Replace with body, action, or implication.
+- Backstory dumps after a name introduction ("Sarah, who had grown up in Maine and once worked as a..."). Drip feed.
+- Author intrusion ("little did she know", "if only he had realized"). Narrator should not signal future to reader.
+
+## POV breaches
+
+- Head-hopping in close third. If the chapter is in Marcus's POV, you cannot describe Sarah's interior thought, only what Marcus perceives.
+- Knowing what cannot be known. A first-person narrator does not see their own face unless looking in a mirror.
+- Naming things the POV character would not name. A child's POV does not say "diorite countertop"; an unfamiliar object is unfamiliar.
+
+## Dialogue traps
+
+- Talking-head scenes (dialogue without grounding action, gesture, or setting beat). Insert beats.
+- As-you-know dialogue (characters explaining things to each other for the reader's benefit). Cut, or break the exposition into action.
+- All characters sounding like the narrator. Each speaker needs a distinct lexicon, rhythm, and verbal tic.
+- "She said with a smile" / "he said angrily": show the smile, show the anger, drop the adverb on "said".
+
+## Stock phrases (genre overuse)
+
+- Romance: "her breath caught", "his heart raced", "lost in his eyes", "butterflies in her stomach"
+- Thriller: "cold sweat", "heart pounding in his ears", "every fiber of his being", "she didn't have time to think"
+- Fantasy: "ancient evil", "primal magic", "the prophecy foretold", "older than time itself"
+- Literary: "the weight of years", "in the silence between them", "she let the moment hang"
+
+If you reach for a phrase you've read before, the writer has too. Replace with something specific to this character, this image system, this scene.
+
+## Pacing pitfalls
+
+- Three consecutive paragraphs of similar length. Vary.
+- Scenes that begin with weather or waking. Cliched openers.
+- Time skips signaled with "Three weeks later" alone. Show the gap with a concrete shift in setting or state.
+
+## Closing pitfalls
+
+- Wrapping the chapter with a thematic statement. Trust the reader.
+- "And that was the day everything changed." Cut.
+- A character looking at the sky / horizon / their reflection as an emotional capstone. Overused.

package/templates/pitfalls/poetry_collection.md

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+# Pitfall pack: poetry collection
+
+*Type-specific traps for poetry drafting. Loaded after WRITING-RULES.md. STYLE-GUIDE.md wins where it conflicts.*
+
+## Image traps
+
+- Generic nature image as emotional shorthand (autumn leaves for melancholy, rain for grief, dawn for hope). Earn the image with specificity or surprise.
+- The moon used as a metaphor without a fresh angle.
+- The body as landscape without a fresh angle ("rivers of veins", "mountains of shoulders").
+- Mirror, shadow, and reflection imagery as standard isolation tropes.
+- Birds, especially when symbolic ("a bird took flight from her chest"). Watch the reach for them.
+
+## Diction traps
+
+- Latinate abstractions in lyric registers ("incandescent", "ineffable", "ephemeral") unless the writer's voice in STYLE-GUIDE.md is comfortable there.
+- "Soul" used loosely. Earn it.
+- Adjectives stacked on the same noun ("the deep, dark, endless sea"). Pick one.
+- Capitalized abstractions (Love, Death, Time, Memory). Lowercase forces the writer to do the work.
+- "Whisper" as a verb of choice for almost everything. Watch.
+
+## Rhythm and music
+
+- Iambic drift in free verse. If you wrote a sonnet, write it. If not, vary.
+- End-stopped lines all the way down. Use enjambment to break expectations.
+- Lines broken at every conjunction. Let lines do work.
+- Forcing a rhyme that warps the syntax. Cut the rhyme or rewrite the line.
+- Unintended internal rhyme producing nursery cadence in serious poems.
+
+## Sentimentality
+
+- Tears as the closing image.
+- The grandmother as metonym for ancestral wisdom.
+- Childhood photograph as elegy device.
+- The lover described entirely through their effect on the speaker.
+- Suffering rendered as nobility without complication.
+
+## Confessional pitfalls
+
+- Diary entries in line breaks. The line break must do work.
+- Universalizing too fast ("we all carry our wounds"). Stay specific.
+- Therapeutic tidiness. Real grief, rage, or longing rarely arrives shaped.
+- Naming the feeling in the title and again in the closing line.
+
+## Form pitfalls
+
+- Free verse that is broken prose. Make the breaks earn their keep.
+- Sonnet variations that abandon the volta. The volta is the form's gift; use it.
+- Prose poems with no compression. Test against actual prose; if nothing is gained by calling it poetry, it is prose.
+- Persona poems that do not commit to the persona.
+
+## Closing pitfalls
+
+- The final line that explains the poem.
+- Ending on a question that the body of the poem already answers.
+- Triple-spaced final stanza as gravitas. Earn the white space.
+- "And so" / "And yet" / "But still" as the move into the close. Tic.
+
+## Cohesion across the collection
+
+- Same image used across multiple poems without development.
+- The same closing move (return-to-childhood, return-to-body, return-to-grief) every fourth poem.
+- Section breaks that group thematically with no internal arc inside each section.
+- A title poem that the rest of the collection depends on for legibility. The collection should hold without it.

package/templates/pitfalls/research_paper.md

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+# Pitfall pack: research paper
+
+*Type-specific traps for research paper drafting. Loaded after WRITING-RULES.md. STYLE-GUIDE.md wins where it conflicts.*
+
+## Argument hygiene
+
+- Hedge stacks ("it may be argued that perhaps the data could potentially suggest"). One hedge or none.
+- Claims that exceed the evidence. If the data shows correlation, do not write causation.
+- "Significant" without a referent. Statistical significance, effect size, or substantive importance? Name it.
+- "Robust", "novel", "first of its kind" without justification. Cut or substantiate.
+
+## Passive voice and missing agents
+
+- "It has been shown that". Show by whom, when, in which study. Cite.
+- "The data was analyzed". By whom, with what method.
+- Active voice is acceptable in modern academic writing in most fields. Check the target journal's house style; do not default to passive out of habit.
+
+## Citation pitfalls
+
+- Citations clustered at the end of a paragraph instead of attached to the specific claim they support.
+- Citing review articles when primary sources are warranted.
+- Citing the writer's prior work without disclosure.
+- Citation laundering (citing a paper that cited a paper that cited the original; cite the original).
+- Missing citations on claims that read as common knowledge but are not in the target field.
+
+## Methodology traps
+
+- Methods that conceal choices ("standard procedures were followed"). Spell out which standard, which version.
+- Sample sizes without justification.
+- Exclusion criteria mentioned in passing instead of in a dedicated subsection.
+- Lab tooling cited without version or configuration.
+- "Data not shown" as a substitute for actually showing it.
+
+## Results section pitfalls
+
+- Discussion bleeding into Results. Keep them separate. Results report; Discussion interprets.
+- p-values without effect sizes.
+- Visualizations that compress evidence into a misleading shape (broken y-axes, cherry-picked time windows).
+- Tables that duplicate figures.
+
+## Discussion section pitfalls
+
+- Restating Results instead of interpreting them.
+- Limitations as a single sentence near the end. Take limitations seriously; they are evidence of rigor.
+- Speculative implications presented as findings.
+- Failing to engage with conflicting prior work.
+
+## Stock phrases to avoid
+
+- "Recent advances in"
+- "It is well known that" (without citation)
+- "Surprisingly" (often a tell that the framing is weak)
+- "More research is needed" (true but useless without specifying what)
+- "To the best of our knowledge"
+
+## Voice tics
+
+- "We" when the writer is solo. Match journal convention.
+- "Obviously", "clearly", "of course". If it were obvious, you would not be writing the paper.
+- Sentences that start with "However" three paragraphs in a row.
+
+## Closing pitfalls
+
+- A conclusion that summarizes findings already in the abstract. Add interpretation, implication, or open question.
+- "We hope that..." appeals.
+- Future work bullets that read as an apology.

package/templates/pitfalls/runbook.md

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+# Pitfall pack: runbook
+
+*Type-specific traps for runbook drafting. Loaded after WRITING-RULES.md. STYLE-GUIDE.md wins where it conflicts.*
+
+## Audience and stakes
+
+A runbook is read by someone tired, paged at 3am, and under pressure. Optimize for clarity over elegance.
+
+- Marketing language ("seamless", "robust", "world-class"). Cut.
+- Friendly conversational asides ("Now, this is the fun part!"). Cut.
+- Backstory or history of the system in step bodies. Move to a separate "Context" section.
+- Caveats stacked before the action ("Note that in some cases, depending on configuration, you may want to..."). Lead with the action; put caveats after.
+
+## Imperative mood
+
+- Passive voice in steps ("The service should be restarted"). Use active imperative: "Restart the service."
+- "We" or "you" mood mixed in the same procedure. Pick one and hold it.
+- Conditional verbs disguised as direction ("you might want to consider"). Be direct: "Run X if Y."
+
+## Ambiguity traps
+
+- "Run the script": which script, where, with what flags. Always name the file path and exact command.
+- "Restart the service": which service, on which host, with which command.
+- "Check the logs": which log, at what path, looking for what string.
+- Pronouns without clear antecedents ("it should now be running"). Replace with the noun.
+- "Simply" and "just". They are lies told to the reader and signal you have not thought through the step.
+
+## Missing preconditions
+
+Every procedure should declare:
+- What state the system must be in before starting
+- What credentials, tooling, or access the operator needs
+- What environment variables or config must be set
+- What other procedures must have completed first
+
+If any of these are missing, the runbook fails the moment someone less senior runs it.
+
+## Verification and rollback
+
+- Steps that change state with no verification step after. Always include "Verify by..." with an exact command and expected output.
+- Procedures with no rollback section. Every change-step needs an undo.
+- "If something goes wrong, contact X." Inadequate. Spell out the diagnostic flow.
+
+## Ordering pitfalls
+
+- Steps presented as an unordered list when order is required. Number them.
+- Steps that bury the destructive action mid-list. Flag destructive steps with a clear warning.
+- Steps that branch ("If X, do A; if Y, do B") without a labeled decision point. Use a decision header.
+
+## Stock phrases to avoid
+
+- "Should work"
+- "Usually"
+- "Most of the time"
+- "Try"
+- "It depends"
+
+These are the language of guessing. Replace with conditions and exact commands.
+
+## Closing pitfalls
+
+- A "conclusion" section. Runbooks have no conclusion.
+- A "thanks for reading" tone. The reader is mid-incident.
+- A version stamp without a changelog. Date and reason for last revision belong at the top.