promts ueberarbeitung

Joey's Cinema Skill Files/story-bible-builder/story-bible-builder/SKILL.md

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+---
+name: story-bible-builder
+description: "Interview-driven skill that helps AI filmmakers, worldbuilders, and storytellers turn their story into a single dense canon document — the story's bible. Output is a ready-to-install SKILL.md the user drops into Claude as their own custom skill, so every future prompt (image, video, music, dialogue, scene) automatically knows the world, characters, voices, tone, plot, and production rules without eating into the user's 30 memory slots. Covers premise, thesis, timeline, factions, locations, characters with voice and movement locks, ensemble dynamics, plot engines, and production rules. Use whenever a user wants to build a story bible, lock in character consistency, capture their world, define character personality and voice, stop prompt drift, or turn a loose idea into an installable canon skill. Trigger on 'build a bible', 'story bible', 'lock my characters', 'character bible', 'canon doc', 'turn my story into a skill', or any close variant."
+---
+
+# Story Bible Builder
+
+An interview-driven skill for building a **single dense canon document** — a story's bible — that ships as an installable SKILL.md the user can drop into Claude as their own custom skill.
+
+The point: instead of burning memory slots on world context, or re-explaining the story every chat, the user gets one file that lives as a skill and auto-loads every time they work on their world.
+
+The output is a locked, opinionated, prompt-ready canon doc. Not a template. Not a workbook. A **bible**.
+
+---
+
+## WHAT THIS SKILL IS FOR
+
+Users bring a story world they're building — a film, a series, a game, an album, an AI-generated universe. This skill interviews them across every dimension of that world and assembles it into a single `SKILL.md` file matching the structure below. They install that file as a skill. Future Claude sessions read it and know their world.
+
+**The output is one file.** Not modular. Not multi-file. One dense, canon SKILL.md — because that's what installs cleanly as a skill and stays under 500 lines.
+
+---
+
+## TWO WAYS THE BIBLE GETS USED
+
+Every bible this skill produces is engineered to work in **both** modes below. Design every output to serve both.
+
+### Mode 1 — Standalone canon reference
+
+The user installs the bible as a skill and uses it on its own. Future Claude sessions read the bible when the user asks for anything set in that world — a scene, a dialogue exchange, a character beat, an outfit, a song lyric, a straight text-to-image prompt, a story pitch, a treatment. The bible provides the context so Claude doesn't have to ask.
+
+For this mode, the bible needs to be **dense, opinionated, and self-contained** — no dependencies on other skills.
+
+### Mode 2 — Context source for a video prompt director skill
+
+Many users pair the bible with a video prompt director skill (like `cinema-worldbuilder-pro-20` or similar). In this pairing, the director skill handles the cinematography grammar, mode selection, frame composition, and prompt syntax. The bible provides the identity, voice, movement, aesthetic era locks, and canon that the director skill can't get from a reference image alone.
+
+The director skill reads uploaded reference images for wardrobe, hair, and identity. It cannot read *voice*, *movement quality*, *stillness*, *what era's aesthetic applies*, or *what production rules are locked for this world*. Those come from the bible.
+
+**When both skills are active in the same session**, the director skill should pull directly from the bible for:
+- **Character voice descriptors** (goes into Sound Bed / dialogue direction)
+- **Character movement and stillness descriptors** (goes into Subject Lock block)
+- **Aesthetic era differentiation** (goes into World Plate / grade selection)
+- **Production rules** (locked visual traits that must appear in every render — piercings, scars, permanent hair features, "never" clauses)
+- **Ensemble dynamics** (informs Cross-Frame Rules when multiple canonical characters share a shot)
+
+The bible's job is to make every one of those descriptors **copy-paste-ready** — quoted, tight, prompt-facing. If a descriptor in the bible can't be pasted verbatim into a Seedance Sound Bed or Subject Lock block, it's written wrong.
+
+---
+
+## THE STRUCTURE OF THE OUTPUT
+
+Every bible this skill produces follows this section order. Not every section applies to every story — skip cleanly when the user says something doesn't apply.
+
+1. **One-line premise** — the whole story in a sentence
+2. **The thesis** — the core question every scene comes back to
+3. **The world — timeline** — eras, years, what defines each
+4. **Aesthetic era differentiation** — the palette/lighting/texture per era (critical for prompts)
+5. **Major factions / powers / entities** — antagonists, protagonist groups, third parties
+6. **Bases / locations** — where things happen, with visual specificity
+7. **The rules of the world** — technology, magic, social systems, what's normal, what's forbidden
+8. **The characters** — one deep section per character (structure below)
+9. **Relationships and ensemble dynamics** — who fills silence, who leads what, who watches
+10. **Structural engines** — the story shapes chapters can take
+11. **Production rules** — locked prompt-facing rules the user has learned about their own work
+12. **When this skill is active** — instructions to future Claude on how to use the bible, in both standalone and paired-with-director modes
+
+Reference `references/character-section-format.md` for how each character section is structured. Reference `references/example-bible-excerpts.md` when the user needs to see what a good section looks like.
+
+---
+
+## THE BUILD FLOW
+
+### Step 0 — Scope check (fast)
+
+Ask in one compact block:
+- What's the working title of the story?
+- How many main characters?
+- What genre/vibe? (One or two references — films, shows, games, albums, aesthetic movements)
+- Does the world already exist in their head, or are we building parts from scratch?
+- Which prompt tools will future scenes use? (Seedance, Banana Pro, Midjourney, Suno, ElevenLabs, etc.)
+
+This shapes pacing, section depth, and what production rules to bake in at the end.
+
+### Step 1 — The spine (premise, thesis, world timeline, aesthetic)
+
+Sections 1–4 of the output. Interview the user through:
+
+- **One-line premise.** Push hard for one sentence. If they give more, help compress. The compression is the value.
+- **Thesis.** Not plot. Theme. The question every scene answers. If they can't state it, help them find it by asking "what's your character actually deciding, every time?"
+- **Timeline.** Walk era by era. For each, ask: year(s), what defines it, aesthetic differentiation (palette, lighting quality, texture, grain). The aesthetic-per-era block is what keeps future image prompts consistent — push for specificity.
+
+Assistant behavior: never invent. Mark `[TBD]` if the user doesn't know. Push on aesthetic locks — this is where most bibles are weakest. When a user says "dark and moody," ask "what colors specifically?" Reference the demo excerpts in `references/example-bible-excerpts.md` if the user needs to see the level of specificity.
+
+### Step 2 — Factions, locations, world rules (sections 5–7)
+
+Cover these together — they interlock.
+
+- **Factions.** For each: name, what they do, what they believe, how they read visually (uniform, silhouette, color signature), public face vs actual behavior if there's a gap.
+- **Locations.** For each: name, what it is, visual tags (three to seven words), function in the story. Push for the visual — "Berlin bunker" is not enough. Concrete walls, monitor light, cable spaghetti, one warm amber pocket — that's a location.
+- **World rules.** Ask about: technology tier and access, magic/powers/abilities (and how they LOOK on screen — color, motion, sound), social systems, what's normal here that isn't normal in our world, what's forbidden or dangerous.
+
+Short declarative bullets, not paragraphs. Dense.
+
+### Step 3 — The characters (section 8, the biggest section)
+
+**One character at a time. Never batch.** Each character gets a deep dedicated pass. This is where most of the bible lives.
+
+For each character, run the character interview in `references/character-interview.md`. It covers:
+
+- **Visual lock** — the physical descriptors that must appear in every prompt
+- **Function in the story** — what role they play in the overall narrative
+- **Backstory beats** — where they came from, what shaped them
+- **Present-tense psychology** — where they are RIGHT NOW in the story, what they're carrying
+- **Speech pattern** — register, cadence, vocabulary, signature phrases, dialogue prompt-ready descriptor
+- **Movement pattern** — how they move, combat if relevant, gestures, tics
+- **Stillness pattern** — what they do when they're not moving (often more revealing than movement)
+- **Musical voice if music is in scope** — Suno-ready descriptor
+
+After each character is drafted, show the user their section and ask: "Add anything, cut anything, sharpen anything?" Iterate until they lock it. Then move on.
+
+### Step 4 — Relationships and ensemble dynamics (section 9)
+
+Ask: "When these characters are in a room together, what's the shape of the room? Who leads what? Who fills silence? Who watches? Which pairings are calm, which are charged?"
+
+Capture as short declarative sentences. Example: *"Maren and Wren are the quietest room in the house — neither fills space, both notice everything. Owen and Iris cannot be in the same kitchen without one of them leaving."*
+
+This section is short but disproportionately valuable — it's what makes ensemble scenes feel real.
+
+### Step 5 — Structural engines (section 10)
+
+Ask: "What are the recurring chapter shapes your story runs on? Not specific episodes — the shapes. A heist? A rescue? A performance? A confrontation? A flashback?"
+
+List each engine with a one-line description. Note that engines stack (a heist can end in a confrontation, a performance can be interrupted by a rescue). This gives future Claude a menu of story shapes to pull from when the user asks for a new scene.
+
+### Step 6 — Production rules (section 11)
+
+Ask: "What are the rules you've hard-earned about your own work? The stuff that only works in a specific way. Prompt rules, naming rules, canon lock rules, aesthetic rules that can't be broken."
+
+Bake in these defaults for AI-filmmaker users unless the user overrides:
+- No character names in image/video/music prompts (models drift on names) — refer by visual description
+- Every prompt is standalone (no "matching the previous scene")
+- Output prompts in code blocks, no aspect ratio in the prompt body
+- Any locked physical traits get restated verbatim in every prompt
+
+Add anything the user has learned from their own prompt work. Copy their exact phrasing where possible — this is a doc of their rules.
+
+### Step 7 — Assembly and "when this skill is active" (section 12)
+
+Assistant now assembles the full SKILL.md. The final section — "When this skill is active" — must instruct future Claude how to use the bible in **both modes**:
+
+**Standalone mode:**
+1. When the user asks for anything in this world (scene, dialogue, character beat, outfit, lyric, prompt, treatment), pull relevant character/world context from the bible and use it
+2. Stay inside canonical world (year, locations, rules, relationships)
+3. Never invent details that conflict with locked canon — ask instead
+4. Use the quoted Speech/Movement/Stillness descriptors verbatim when writing prompts
+
+**Paired-with-director-skill mode:**
+1. If a video prompt director skill is also active in the session (e.g., `cinema-worldbuilder-pro-20` or similar), the director skill handles cinematography, mode selection, frame composition, and prompt syntax
+2. The bible feeds the director skill: character voice → Sound Bed; movement/stillness → Subject Lock; aesthetic era locks → World Plate / grade; production rules → cross-frame rules and locked traits
+3. When the user asks for a video prompt in this world, pull the relevant character's voice, movement, and stillness lines and the correct aesthetic era block, and hand them to the director skill's prompt structure
+4. Named canonical character references (uploaded reference images the user always attaches) get called out here so the director skill knows to expect them
+
+Ask the user what production companion skills they use (if any) and name them explicitly in this closing section so future Claude knows the paired workflow.
+
+Ship the file with the YAML frontmatter (name + pushy description) and the full canon body. Save to `/mnt/user-data/outputs/[working-title-slug].md` and present.
+
+Offer to zip it as an installable `.skill` file if the user wants that packaging.
+
+---
+
+## HOUSE PRINCIPLES (HOLD THROUGH EVERY INTERVIEW)
+
+1. **Density over prose.** Bibles are working references, not pitch decks. Short declarative sentences. Bold labels. Bullet points. The user should be able to grep this doc.
+
+2. **Never invent.** If the user doesn't know something, mark `[TBD]` in the doc and move on. Invented canon becomes locked canon becomes prompt drift.
+
+3. **Push on the vague.** "Dark and moody" isn't an aesthetic lock. "Cool voice" isn't a voice profile. "Powerful" isn't a description. When the user gives a vague answer, ask the follow-up that makes it prompt-actionable — color specifics, register, movement quality. Reference `references/example-bible-excerpts.md` if the user needs to see the level of specificity.
+
+4. **Locks exclude as much as they include.** When the user locks a physical trait, ask what the wrong-answer drift would be. "Warm fair skin — never pale porcelain, never tan." The "never" clause is what stops model drift over hundreds of future renders.
+
+5. **Character depth matters more than character count.** Better to ship a bible with three deep characters than eight shallow ones. If the user is trying to cram too many characters into the interview, offer to do the deepest three first and hold the rest for a follow-up pass.
+
+6. **The user's voice, not yours.** When they phrase something well, keep their phrasing verbatim. When they name their own rules, quote them. This is their bible.
+
+---
+
+## REFERENCE FILES
+
+- `references/character-section-format.md` — Structure for each character section in the final output
+- `references/character-interview.md` — Questions to walk each character through
+- `references/example-bible-excerpts.md` — Sample sections at the right density level to reference or show the user
+
+Load each reference only when its step is active.
+
+---
+
+## WHEN THE USER ONLY WANTS PART OF THIS
+
+Common. If they say "I just want to nail down the characters" — skip straight to Step 3. If they want to update an existing bible, ask them to paste it and work from there. The full flow is the default, not a requirement.

Joey's Cinema Skill Files/story-bible-builder/story-bible-builder/character-interview.md

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+# Character Interview
+
+One character at a time. Run through these in order. After each character is drafted, show the section back to the user and iterate until locked. Then move on.
+
+The output is one character section in the format defined in `character-section-format.md`.
+
+---
+
+## 1. Function
+
+Start here, not with looks. Ask:
+
+**"What role does this character play in the story? Not their job — their *function*. What do they represent? What are they the emotional/narrative anchor for?"**
+
+Look for a role tag — one to three words. *The Heart. The Watcher. The Chaos. The Grounding.* This becomes the italicized tag after the character name in the header.
+
+Push if they give something generic. "The leader" is a job. "The one who feels most for the humans they're saving" is a function.
+
+---
+
+## 2. Visual lock
+
+Cover in this order:
+
+- **Hair.** Color (specific — "cool ash platinum" not "blonde"), length, cut, permanent features (always bangs, always center part, wispy temple pieces)
+- **Skin.** Tone with specifier ("warm fair," "cool fair," "olive medium," "warm deep") + finish (dewy, matte, freckled, natural). Ask what the wrong drift would be — that becomes the never-clause.
+- **Face structure.** Jaw, cheekbones, chin, nose, lips — one adjective each. Doll-coded, sharp-sculpted, soft, angular, refined. Push for a committed shape.
+- **Eyes.** Shape, size, color, any lift at the outer corner
+- **Signature identity markers.** The permanent stuff. Piercings, scars, moles, unique features. Ask what would make someone identify them in a crowd. Every character needs at least one.
+- **Body / posture.** Height range, build, default stance
+- **Default expression.** Watchful? Warm? Blank? Slight smirk? What does their face do when nothing is happening?
+- **Locked "never" clauses.** No beauty mark. No teeth-showing smile. No visible piercings. Whatever the wrong-answer drifts are for this character.
+
+The Visual block gets compressed into one dense line for the final output — but interview them on all these pieces to get it right.
+
+---
+
+## 3. Backstory
+
+Ask: **"Give me the origin and the shaping events. Where did they come from, what made them who they are, what happened before the story starts."**
+
+Keep it brief in the final output — one short paragraph or a few tight bullets. The point isn't to write their biography. The point is to give future Claude enough backstory to make consistent choices in scenes.
+
+Push for **one formative detail** that's specific and small. Not "she had a hard childhood" — "she used to fix the sink in their apartment herself at 3am because the plumber would have asked questions." Small specific detail beats grand backstory summary every time.
+
+---
+
+## 4. Present-tense psychology
+
+Ask: **"Where is this character *right now* as the story begins? What are they carrying? What are they about to have to face? What do they not yet know?"**
+
+This section is what makes the bible feel alive. It tells future Claude where the character is emotionally so scenes stay anchored in the right beat.
+
+Push for the internal contradiction — the thing the character is doing versus the thing they're actually feeling. That gap is where the drama lives.
+
+---
+
+## 5. Speech
+
+Ask separately and assemble into one quoted line:
+
+- **Register:** low, mid, high — chesty, throaty, resonant
+- **Texture:** clean, dry, warm, breathy, silvery, gravelly
+- **Cadence:** fast, slow, deliberate, syncopated, clipped
+- **Volume default:** quiet, medium, loud
+- **Vocabulary tier:** plainspoken, precise, slangy, poetic, technical, coded
+- **Signature moves:** long pauses before speaking, run-on sentences, self-interruption, filler tics, code-switching
+
+Then write it up as one quoted string. Format:
+> *"cool mid-register voice with clean smooth tone, measured volume, surgical sentence construction, long deliberate pauses, sophisticated vocabulary, never raises her voice in anger"*
+
+That's the format. Copy-pasteable into Seedance dialogue prompts and ElevenLabs voice casts.
+
+---
+
+## 6. Movement
+
+Ask separately, assemble into one quoted line:
+
+- **Gesture quality:** economical, kinetic, expressive, minimal, weighted, precise, animated
+- **Body carriage:** grounded, aesthetic, centered, poised, contained
+- **Combat posture (if relevant):** offensive precision, defensive efficient, reactive counter-punch, wildcard creative
+- **Habitual tics:** hand at the back of the neck, hands in pockets, self-adjustment, light physical contact with teammates
+- **Gait:** heavy-heeled, silent, prowling, floating, deliberate tempo
+
+Assemble one quoted line:
+> *"minimal contained gestures, small precise head tilts, reactive counter-punch combat posture, prolonged steady looking, infrequent blinking"*
+
+---
+
+## 7. Stillness
+
+Often more revealing than movement. Ask: **"What do they look like at rest? When they're not talking, not moving, not doing anything? What do their hands do? Where's their weight? What's their expression? Their breath?"**
+
+Assemble one quoted line:
+> *"deep settled stillness, square shoulders, hands crossed at the waist or one hand at the opposite elbow, neutral observing expression, slow breath"*
+
+If the character is never really still (high-energy characters), capture that too:
+> *"brief tense stillness, animated stance, weight shifted onto one hip with hand on it, gestural opposite hand, closed-lip almost-smirk expression, chin down eyes up"*
+
+---
+
+## 8. Musical voice (music scope only)
+
+Only if the story involves music (AI-idol projects, musicals, music-driven narratives). Ask:
+
+- Vocal range and register in song
+- Timbre when singing (often different from speaking)
+- Signature register on stage (belt, whisper-sing, rap, half-rap, head voice)
+- Style affinity (pop, R&B, hyperpop, alt, ballad, EDM)
+- Signature move (breath control on runs, a specific ad-lib style, a rap flow character)
+
+Assemble a Suno-ready descriptor:
+> *"high-register clean-cool lead vocalist with steely precision, strong head voice, restrained vibrato, emphasis on control over warmth"*
+
+Never use artist names or song references in Suno prompts — that gets rejected. Describe sonic qualities only.
+
+---
+
+## 9. Sub-beats (optional)
+
+Ask: **"Any specific locked story threads for this character? A hidden relationship, a secret, a recurring pattern, a running joke, a private ritual?"**
+
+Only include as bold sub-beats in the final section if the user says yes and can name it specifically. Don't force this. Sub-beats are for locked canon threads, not speculation.
+
+Example — a locked hidden thread for a returning-sibling character:
+> *"The signing: When the lawyer slides the paper across the table, her hand moves before her face does. She signs. She does not look up. She knows before her siblings know that the document is not what they were told it is."*
+
+---
+
+## Iterate
+
+After drafting the character section, show it back:
+
+> "Here's [character name]'s section. Anything to add, cut, or sharpen? Once you approve, this is locked canon in your bible."
+
+Iterate until they lock it. Then move to the next character.

Joey's Cinema Skill Files/story-bible-builder/story-bible-builder/character-section-format.md

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+# Character Section Format
+
+How each character appears in the final assembled bible. Match this shape.
+
+---
+
+## Structure per character
+
+```markdown
+### [NAME] — *[Role tag]*
+
+**Visual:** [Hair] [skin] [signature identity markers — piercings, scars, permanent physical features]. [Face structure — one line]. [Body / posture default]. [Default expression]. [Any locked "never" clauses — no beauty mark, no teeth-showing smile, etc.]
+
+**Function in the story:** [What they represent, what role they play, what they were built/born to be, what they became]
+
+**Backstory:** [Origin, formative period, key pre-story events. One short paragraph or a few bullets.]
+
+**Present-tense psychology:** [Where they are RIGHT NOW as the story begins. What they're carrying. What they don't yet know. What they're about to face.]
+
+**Speech:** "[prompt-ready dialogue descriptor — register, texture, cadence, vocabulary, volume]"
+
+**Movement:** "[prompt-ready movement descriptor — gesture quality, combat posture if relevant, tics, gait]"
+
+**Stillness:** "[prompt-ready stillness descriptor — what they do at rest, hands, weight, expression, breath]"
+
+**Suno (if music scope):** "[prompt-ready singing voice descriptor — register, timbre, style, signature move]"
+
+[Optional bold sub-beats for specific narrative threads — e.g., a hidden relationship, a secret, a recurring pattern. Use sparingly and only when locked.]
+```
+
+---
+
+## Rules
+
+1. **The four prompt-ready descriptors (Speech, Movement, Stillness, Suno) must be in quotes.** They're engineered to drop verbatim into future prompts — either as standalone prompt inputs, or as feeder blocks for a video prompt director skill (like `cinema-worldbuilder-pro-20`). Specifically:
+   - **Speech** feeds the Sound Bed block or dialogue direction
+   - **Movement** and **Stillness** feed the Subject Lock block
+   - **Suno** feeds vocal casting for music prompts
+   That's the whole point — the descriptors are formatted this way so they slot in cleanly.
+
+2. **Never use the character's name inside the quoted descriptors.** Refer by trait ("low-register voice," "cocked-hip stance"). Names drift models. Names live in the header only.
+
+3. **Visual block is one dense line.** Not a bulleted list of features. One flowing sentence-fragment block with commas and periods. Easier to scan, easier to paste into a prompt as a character anchor.
+
+4. **Function comes before backstory.** What they ARE in the story matters more than where they came from. Function is what future Claude uses to write scenes. Backstory is context.
+
+5. **Present-tense psychology is what makes the bible alive.** It tells future Claude where the character is emotionally at the current story moment, so scenes are anchored in the right beat.
+
+6. **Bold sub-beats are optional.** Use them for locked narrative threads (a hidden relationship, a secret, a recurring pattern). Don't force them. If a character's arc is straightforward, skip.
+
+---
+
+## Reference the demo bible
+
+The example excerpts reference file (`example-bible-excerpts.md`) contains a full character section (MAREN from the HOLLOWTIDE demo) in this exact format. If the user has never seen one, show them that section as a reference. That's the density and shape to hit.

Joey's Cinema Skill Files/story-bible-builder/story-bible-builder/example-bible-excerpts.md

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+# Example Bible Excerpts
+
+Show these to the user when their answers are too vague, or when they ask "what should this look like." These are density-and-shape references — the level of specificity the bible needs to hit.
+
+All examples come from a fictional demo bible (working title: **HOLLOWTIDE**, a folk-horror ensemble set in a coastal fishing town). It's invented purely for calibration. Use it to show the format, then pivot back to the user's own story.
+
+---
+
+## Example — One-line premise
+
+> *"In a fog-locked fishing town where the tide brings something back every full moon, four estranged siblings return home for their mother's funeral and find out she was the last thing keeping it at bay."*
+
+Not one sentence exactly, but the shape is right — setup, protagonist role, engine, twist.
+
+---
+
+## Example — Thesis
+
+> *"HOLLOWTIDE is a story about what a family owes a place, and what a place owes a family. Every chapter is some version of one question: **What do you inherit that you never agreed to?**"*
+
+Thesis works when it collapses to a single question every scene answers.
+
+---
+
+## Example — Aesthetic era differentiation
+
+Notice how each era gets a distinct visual signature, not just a mood:
+
+> *"- **1962 (flashback era)** — grainy Kodachrome, warm ambers, salt-stained wood, kerosene lamplight, low sun through fog*
+> *- **Present day (main timeline)** — desaturated grays and mossy greens, wet stone, sodium streetlight cutting through mist, long lens compression*
+> *- **The Tideward (the thing beneath)** — inverted palette, bioluminescent teal against total black, wet reflective surfaces, no natural light ever"*
+
+Each line is copy-paste-ready as the environmental anchor for a scene prompt in that era.
+
+---
+
+## Example — Faction
+
+> *"**The Harbor Council.** The seven oldest families of the town, meeting monthly in the salt-house on the pier. They own the docks, the cannery, the ferry, and every business that touches the water. They present as civic stewards — parades, memorials, scholarships. Underneath: they enforce the tide-pacts. Every generation, one member of one family goes into the water on the last night of the year. The town has voted in that death since 1798. No one outside the seven families knows. Fighting the Harbor Council means fighting the town's memory of itself."*
+
+Faction blocks work when they cover: what they own or do, what they believe, how they present publicly, the gap between public and actual, and why they're hard to fight.
+
+---
+
+## Example — Location
+
+> *"**The salt-house.** A century-old wooden structure at the end of the longest pier, built on stilts sunk into bedrock. Interior: raw plank walls, tallow candles in iron holders, a single long table, seven chairs, no electricity. The council meets here monthly. Nothing has been added, removed, or repaired in ninety years — anything that breaks, stays broken. The floor sags. The candles smoke. The building holds."*
+
+Location works when it has: what it is (function), specific visual tags for prompts, and one poetic line that captures the feel ("The building holds.").
+
+---
+
+## Example — Character section
+
+```
+### MAREN — *The Eldest*
+
+**Visual:** Ash-blonde hair, cropped short and uneven, like she cut it herself. Cool fair skin, freckled across the nose and cheekbones. Sharp square jaw, straight nose, thin unpainted lips. Gray-green eyes, downturned at the outer corner, deep set. Small silver ring in the left earlobe, worn since 16. Tall, wiry build, hands too big for her wrists. Default expression: watchful, jaw slightly set. No teeth-showing smile.
+
+**Function:** The one who left and stayed gone. Represents refusal — the sibling who tried to break inheritance by walking away. Learns across the story that walking away is not the same as being free.
+
+**Backstory:** Left town at 19, twelve years ago. Works as a paramedic three states over. Has not spoken to her mother in eight years and to her siblings in three. Came home only when the estate lawyer called. Once, at 15, saw something in the water she has never told anyone about.
+
+**Present-tense psychology:** Braced. Wearing the same jacket she left in twelve years ago because she didn't pack for staying. Carrying the certainty that if she doesn't get out by the funeral, she never will. About to be handed a document that requires her signature to leave.
+
+**Speech:** "low mid-register voice with dry contained tone, quiet volume, short precise sentences, deliberate pausing before answering, plainspoken practical vocabulary, never raises her voice"
+
+**Movement:** "economical gestures, weight settled and grounded, walks with a slight limp in the left leg she doesn't acknowledge, keeps her hands in her jacket pockets when idle"
+
+**Stillness:** "settled watchful stillness, weight evenly distributed, hands in pockets, shoulders slightly raised, jaw set, eyes level and unblinking"
+
+**The signing:** When the lawyer slides the paper across the table, her hand moves before her face does. She signs. She does not look up. She knows before her siblings know that the document is not what they were told it is.
+```
+
+That's the density. Every section is one to three lines. Every quoted descriptor is prompt-ready. Every backstory beat is specific ("wearing the same jacket she left in twelve years ago because she didn't pack for staying" — not "she doesn't want to be here").
+
+---
+
+## Example — Ensemble dynamics
+
+> *"**Among the siblings:** Maren leads by refusing to. Owen fills every silence with something practical. Iris asks the question everyone else is avoiding. Wren watches the other three and reports back to no one.*
+>
+> ***Pairings:** Maren and Wren are the quietest room in the house — neither fills space, both notice everything. Owen and Iris cannot be in the same kitchen without one of them leaving. Maren and Owen fight in complete sentences. Wren has not spoken to Owen since 2019."*
+
+Ensemble dynamics work when they name the *feel* of specific pairings and groupings, not just the relationships.
+
+---
+
+## Example — Structural engine
+
+> *"1. **The council meeting** — a Harbor Council session, always in the salt-house, always at night. A vote is taken. Someone loses.*
+> *2. **The tide chapter** — a full-moon night. The Tideward comes closest to surface. Rules of the world bend. Combat, if any, lives here.*
+> *3. **The confession chapter** — one sibling tells one other sibling one thing. Whole story shifts."*
+
+Engines work when each is a shape (not a plot), and the user can mix and match them for new chapters.
+
+---
+
+## Example — Production rule
+
+> *"**Locked physical traits, never omitted:***
+> *- Maren: ash-blonde uneven crop, small silver earring left ear, slight limp*
+> *- Owen: always wearing his father's watch, band cracked, still worn*
+> *- All four siblings: cool fair freckled skin (never tan, never porcelain)*
+> *- All four siblings: no teeth-showing smiles — default expression is watchful, closed-lip"*
+
+Production rules work when they include the "never" clause. What's excluded is as important as what's included.
+
+---
+
+## The universal signal
+
+Every section should pass this test: **could a stranger who has never heard of this story write a scene in it, using only this bible, and get it right?**
+
+If yes, the section is dense enough. If no, keep pushing.