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Extended writing reference for documentation and content creation. Load for blog posts, READMEs, technical guides, and long-form writing.
Install with Codex or Claude Copy this prompt, paste it into Codex, Claude, or another assistant, and let it review the skill page and install it for you.
Based on SOC occupation classification
Provides an interface to the user's keyboard. Use this skill when working with keyboard operations, key events, text input, or any keyboard-related operations in LÖVE games.
Can simulate 2D rigid body physics in a realistic manner. This module is based on Box2D, and this API corresponds to the Box2D API as closely as possible. Use this skill when working with physics operations, collision detection, rigid body dynamics, or any physics-related operations in LÖVE games.
Load when working with LÖVE 2D, the LÖVE engine, love2d, .love archives, Lua 5.1/LuaJIT 2.1 game development, or LÖVE callbacks, modules, conf.lua, and packaging.
The primary responsibility for the love.graphics module is the drawing of lines, shapes, text, Images and other Drawable objects onto the screen. Its secondary responsibilities include loading external files (including Images and Fonts) into memory, creating specialized objects (such as ParticleSystems or Canvases) and managing screen geometry. LÖVE's coordinate system is rooted in the upper-left corner of the screen, which is at location (0, 0). The x axis is horizontal: larger values are further to the right. The y axis is vertical: larger values are further towards the bottom. In many cases, you draw images or shapes in terms of their upper-left corner. Many of the functions are used to manipulate the graphics coordinate system, which is essentially the way coordinates are mapped to the display. You can change the position, scale, and even rotation in this way. Use this skill when working with drawing operations, sprites, animations, shaders, or any visual rendering in LÖVE games.
Load for objective audio analysis from ffmpeg metrics - spectral statistics, spectrograms, loudness, EBU R128, LUFS, LU, RMS, dBFS, dBTP, true peak, crest factor, dynamic range, and noise floor. Covers the aspectralstats, astats, ebur128, and loudnorm filters: what each metric measures, how ffmpeg computes it, its units and range, and the external loudness standards and platform targets. Use when reading or producing ffmpeg audio measurements, even when the user names only a metric, filter, or standard.
Use when the user mentions `gh`, `gh api`, the GitHub CLI, the GitHub API, or wants to view, query, search, or change GitHub. Covers querying the GitHub API, raw API calls, PRs/pull requests, issues, workflows/Actions/CI, releases, repos, notifications, status, and any task that views or queries GitHub data.
| name | prose-style-reference |
| description | Extended writing reference for documentation and content creation. Load for blog posts, READMEs, technical guides, and long-form writing. |
Heavy reference for extended writing tasks. For the condensed rules, see writing-clearly-and-concisely.
Based on William Strunk Jr.'s The Elements of Style (1918). These rules produce clear, forceful prose.
The active voice is more direct and vigorous than the passive.
| Passive | Active |
|---|---|
| My first visit to Boston will always be remembered by me. | I shall always remember my first visit to Boston. |
| A survey of this region was made in 1900. | This region was surveyed in 1900. |
| There were a great number of dead leaves lying on the ground. | Dead leaves covered the ground. |
| The sound of a guitar somewhere in the house could be heard. | Somewhere in the house a guitar hummed sleepily. |
| It was not long before he was very sorry that he had said what he had. | He soon repented his words. |
Eliminate perfunctory expressions: there is, there are, it was, could be heard. Replace with verbs that do work.
The passive is acceptable when the receiver of the action is the topic of the paragraph, or when the actor is unknown or unimportant.
Make definite assertions. Use not for denial or antithesis, never evasion.
| Negative evasion | Positive form |
|---|---|
| He was not very often on time. | He usually came late. |
| did not remember | forgot |
| did not pay any attention to | ignored |
| did not have much confidence in | distrusted |
| not important | trifling |
The reader wants to be told what is, not what is not.
Prefer the specific to the general, the definite to the vague.
| Abstract | Concrete |
|---|---|
| A period of unfavourable weather set in. | It rained every day for a week. |
| He showed satisfaction as he took possession of his well-earned reward. | He grinned as he pocketed the coin. |
| In proportion as the manners, customs, and amusements of a nation are cruel and barbarous, the regulations of their penal code will be severe. | In proportion as men delight in battles, bull-fights, and combats of gladiators, will they punish by hanging, burning, and the rack. |
The surest way to hold the reader's attention is to be specific, definite, and concrete.
A sentence should contain no unnecessary words, a paragraph no unnecessary sentences, for the same reason that a drawing should have no unnecessary lines and a machine no unnecessary parts.
| Wordy | Concise |
|---|---|
| the question as to whether | whether |
| there is no doubt but that | doubtless |
| used for fuel purposes | used for fuel |
| he is a man who | he |
| in a hasty manner | hastily |
| owing to the fact that | since |
| in spite of the fact that | though |
| call your attention to the fact that | remind you |
| the fact that he had not succeeded | his failure |
Revise the fact that out of every sentence. Eliminate who is, which was when superfluous:
| Wordy | Concise |
|---|---|
| His brother, who is a member of the same firm | His brother, a member of the same firm |
| Trafalgar, which was Nelson's last battle | Trafalgar, Nelson's last battle |
Combine step-by-step presentation of a single idea into one sentence:
| 51 words | 26 words |
|---|---|
| Macbeth was very ambitious. This led him to wish to become king of Scotland. The witches told him that this wish of his would come true. The king of Scotland at this time was Duncan. Encouraged by his wife, Macbeth murdered Duncan. He was thus enabled to succeed Duncan as king. | Encouraged by his wife, Macbeth achieved his ambition and realised the prediction of the witches by murdering Duncan and becoming king of Scotland in his place. |
Place the most important words at the end of the sentence.
| Weak ending | Strong ending |
|---|---|
| Humanity has hardly advanced in fortitude since that time, though it has advanced in many other ways. | Humanity, since that time, has advanced in many other ways, but it has hardly advanced in fortitude. |
| This steel is principally used for making razors, because of its hardness. | Because of its hardness, this steel is principally used in making razors. |
The beginning of a sentence is the other strong position. Any element other than the subject becomes emphatic when placed first: "Deceit or treachery he could never forgive."
Express co-ordinate ideas in similar form.
| Broken parallel | Parallel |
|---|---|
| Formerly, science was taught by the textbook method, while now the laboratory method is employed. | Formerly, science was taught by the textbook method; now it is taught by the laboratory method. |
| It was both a long ceremony and very tedious. | The ceremony was both long and tedious. |
| A time not for words, but action. | A time not for words, but for action. |
Correlative expressions (both/and, not/but, either/or) must be followed by the same grammatical construction.
When summarising, choose present or past tense and hold it throughout. Shifting tenses signals uncertainty.
LLMs regress to statistical means. Specific, unusual, nuanced facts (statistically rare) are replaced with generic, inflated descriptions (statistically common). The subject becomes simultaneously less specific and more exaggerated.
LLMs puff up significance by attaching claims about broader impact, legacy, or symbolism:
These statements are synthesis: a disembodied narrator claiming what something means rather than stating what it does.
Attaching present participle phrases to make empty claims about significance:
Stronger tell: when the subject of these verbs is a fact, event, or inanimate thing. A person can highlight something; a railway station cannot.
Say what it does. Be specific, not grandiose.
Words that co-occur heavily in LLM output. Where there is one, there are likely others:
aligns/aligning with, crucial, delve/delving, emphasising, enduring, enhance/enhancing, fostering, garnered/garnering, highlight/highlighting (as verb), interplay, intricate/intricacies, key (adjective), landscape (figurative), leveraging, multifaceted, notably, nuanced, realm, robust, seamless/seamlessly, shed light on, showcasing, streamline, tapestry, testament, underpinning, underscores/underscoring, vibrant, vital
Delete these. If the information matters, state it directly.
End with the last substantive point, not a summary of it.
The rigid formula: "Despite its [positive words], [subject] faces challenges..." followed by vague optimism about potential initiatives. Eliminate this pattern entirely.
LLMs avoid repeating words by cycling through synonyms (protagonist, key player, eponymous character). Prefer natural repetition over forced variation. Use the clearest term consistently.
"From X to Y" constructions where no meaningful scale exists between the endpoints. LLMs use these to sound comprehensive. If you cannot identify a coherent middle ground, the range is false.
LLMs overuse triplets: "adjective, adjective, and adjective" or "short phrase, short phrase, and short phrase." One precise word beats three vague ones.
"Not only X, but Y" and "It is not just about X, it's about Y" - common in LLM output, often unsuitable for neutral tone. Use sparingly and only when the contrast is genuine.
