القائمة
Write close viewpoint fiction by filtering all perception through the viewpoint character's knowledge, mood, and language.
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 | deep-pov |
| description | Write close viewpoint fiction by filtering all perception through the viewpoint character's knowledge, mood, and language. |
Use this skill when writing from a close viewpoint.
Filtering is not just removing impossible knowledge—it is ensuring that what the character perceives reveals who they are. Two characters looking at the same room see different things. The reader should be able to identify the viewpoint character from the specific objects noticed, the language used to describe them, and the order in which they appear.
Weak filter: "The room was cluttered and smelled of old paper. She felt uneasy." Strong filter: "Stacked paper everywhere, and she was already calculating which pile had been touched most recently." —Same facts, but the second tells you something about how this person processes environments.
At moments of strong emotion, the character does not know they are afraid or angry—they know their hands are cold, the other person's voice has gone flat, they have rehearsed this moment and none of the rehearsed lines are available. Render the physical and perceptual experience; let the reader name the emotion.
