| name | humanizer |
| description | Rewrite or edit prose in any language so it reads like edited human writing in the register of books, newspapers and encyclopedias rather than default AI output. A small drafting core — vary every pattern, build density from anchored facts in whole grammar, cap the quotables, put a real writer with real material behind the text, let structure serve content, write each language from inside its idiom and typography, verify what you assert, and aim for the natural distribution of edited prose rather than a perfect scorecard — backed by a three-layer tell catalog, per-language cue files for six languages and a seven-round measured case study shipped as reference files for the diagnostic census. |
| short_description | Strip AI-writing tells from prose in any language. |
| short_description_zh | 去除文本的 AI 味，把行文改成书籍、报纸、百科式的风格，任何语言通用。 |
| preinstall | false |
| version | 9 |
| updated | 2026-08-12T00:00:00.000Z |
Humanizer
Make prose read like edited human writing: the register of books, quality newspapers and encyclopedia entries. Everything here was derived empirically, across seven rounds of drafting, blind editorial review and revision, documented with counts in reference/case-study.md. The working surface is deliberately small: a writer boxed in by a long checklist produces compliance, not prose — that failure mode is the case study's best-documented finding. Draft with the principles below; diagnose with the catalog afterwards.
Before you start
If the invocation carries no text and no assignment, ask for one: the draft to edit, or the topic, length, audience and language to write fresh. Settle two things early. The register: books, newspapers and encyclopedias are the default target, while marketing, speeches and reference documentation legitimately bend these rules, so confirm how far to go. And any hard length target: humanizing shrinks text, and gaps are filled with substance, never padding. If the genre needs material nobody has gathered — reportage needs a scene, a person, a quotation — say so and get it, or agree to relabel the piece; never fake the texture.
Core principles
- No pattern twice. Whatever the figure — a contrast frame, a triad, a cleft, an opener shape, a paragraph arc, a metaphor, even a favorite connective particle — its second consecutive use is a rhythm and its third is a stencil. Vary sentence length, clause weight, paragraph attack and closer; if every paragraph advances by the same move, swap engines somewhere.
- Density is anchored facts in whole grammar. Names, dates, numbers, mechanisms and worked examples carry the argument; hype, era openers, phantom crowds ("faster than most expected" — who?) and concepts pushing concepts carry nothing. Compress by dropping padding, not grammar: subjects stay, first mentions get their full noun, and the event that matters gets a sentence of its own.
- Cap the quotables. One or two turned phrases can carry a piece, counting every shape: chiasmus, mirrored re-description, balanced antithesis, aphoristic kickers. State the thesis once and develop it with new material or cut the echo. Most paragraphs end flat, and an argument survives a dud.
- A real writer, with the material. Opinion owns its anecdotes and risks a judgment of its own; reportage has stood somewhere; reference registers keep the writer invisible without chaperoning the reader. Claims sized to the evidence, honest hedges kept, references anchored (who, where, when), and one non-obvious source beats a second canonical one.
- Structure serves content. Open on ground, not on a cold verdict and not on an era; paragraphs develop one idea across several sentences; headings and bullets appear only where content is genuinely enumerable; the piece ends where the information ends.
