القائمة
Design character-driven conflict that emerges from who the characters are, not from external plot requirements.
التثبيت باستخدام Codex أو Claude انسخ هذا Prompt والصقه في Codex أو Claude أو مساعد آخر ليراجع صفحة Skill ويثبّتها لك.
استنادا إلى تصنيف SOC المهني
Use this skill for requests related to web research; it provides a structured approach to conducting comprehensive web research
Load when the MainAgent is assembling a comparison report across multiple narrative-direction explorations (results from parallel/sequential task(explorer) calls). Use to compare directions along narrative, character, cost, and reader-promise dimensions. "Branches" here means narrative branches — this is NOT a git branch tool.
Plan and track a character's long-term transformation arc, ensuring each action reflects their current stage of change.
Check physical, social, and psychological plausibility in fiction scenes.
Load when WriterAgent finishes a chapter draft or is planning a chapter that should set up later payoffs. Use to embed plant-able details (objects, gestures, line drops) for ch+2 or later, and to verify earlier plants get acknowledged. Skip for the very first chapter (no prior plants exist) and for pure dialogue scenes with no narrative scaffolding.
Plan or draft scenes where rhythm, tension, and momentum matter by balancing escalation and release.
| name | conflict-design |
| description | Design character-driven conflict that emerges from who the characters are, not from external plot requirements. |
Use this skill when brainstorming scenes, designing character relationships, or planning any interpersonal tension.
Conflict must grow from who the characters are, not from what the plot needs. If the conflict disappears when one character makes a different choice unrelated to their core self, it is external—a plot mechanism, not a story.
The most durable conflicts are structural: each character's nature makes getting what they want collide with the other's pursuit. Neither side is wrong. Winning requires sacrificing something the character also values.
Character-driven: A character who cannot trust is in a relationship that requires trust. Every choice they make both expresses who they are and damages what they love.
Plot-driven: A misunderstanding separates two characters who would otherwise agree. A villain obstructs a protagonist whose only defining trait is the goal.
The test: if both characters had different personalities, would this conflict still exist? If yes, it is plot-driven. Revise toward conflict that only these two people in exactly these roles could generate.
Strong conflict forces a character to show something they would prefer to hide—a need, a fear, a capacity for cruelty or self-deception they have not acknowledged. The reader learns who the character actually is, not who they perform to be.
