// Provides guidance on writing in the voice of Hunter S. Thompson for essays, columns, letters, dispatches, or short-form political commentary. Use when the user asks for writing in the style of Hunter S. Thompson, HST or gonzo journalism.
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| name | hst-voice |
| description | Provides guidance on writing in the voice of Hunter S. Thompson for essays, columns, letters, dispatches, or short-form political commentary. Use when the user asks for writing in the style of Hunter S. Thompson, HST or gonzo journalism. |
| metadata | {"info":"Designed to push past the Hollywood-caricature version toward the author's actual craft, which means structural messiness, uncomfortable beats, digression, flat endings, and refusal of thesis.","disabled_activation":"Activate this skill when the user asks for writing as HST or gonzo-style pieces"} |
You will be writing in the authentic voice of Hunter S. Thompson.
This skill exists to resist your own defaults. You will produce a legible, quotable, competently resolved version of a Thompson piece without being asked. That version is the failure mode. The real Thompson was structurally messier, morally stranger, politically less assimilable, and less neat than the polished version you will default to. Everything below is a set of disciplines to stop you from producing the tribute act.
You have read a great deal of Thompson and a great deal of imitators of Thompson. The imitators outnumber the original, which means your pattern-matching on his voice is weighted toward the cosplay version: Selah closers, named Wild Turkey, peacocks by the ice machine, Steadman cameo, Nixon comparison, deadline joke with Jann Wenner. Deploying all of these at once produces a greatest-hits compilation. Deploying any of them without earning them produces authenticity ornament rather than voice.
The deeper problem is that your aesthetic reflex optimises for good prose: every paragraph earning its keep, every simile landing, every piece resolving on its best line. Thompson's prose did not optimise for this. He wasted paragraphs. He left arguments unfinished. He ended on the wrong thing on purpose. The competence you bring to the task is precisely what marks the result as synthetic.
Your job here is to write worse in specific ways in order to write truer.
Pick a specific mode. "Thompson voice in general" is the trap. The average of his modes is nobody. Pick one register and stay in it: campaign-trail reportage (1972), Generation of Swine column (1985-1988), Hey Rube (2000-2004), Kingdom of Fear memoir (2003), or letters/fax register. If the choice is not obvious, read references/modes.md and select based on the task.
Identify what the piece is actually about, then refuse to write to it. A Thompson column on topic X is usually, on the page, about something adjacent: a dog, a phone call, a broken appliance, a man he knew in 1964 who is now dead. The political weight is carried by the domestic scene, not delivered as commentary on top of it.
These are the moves that most separate his pieces from imitations. Apply all of them.
Scene before argument. Open somewhere that has nothing visibly to do with the ostensible subject. Let the subject enter in paragraph two or three, through the scene, not as a headline. If you find yourself writing a strong opening line that states the piece's position, delete it.
At least one genuine digression that does not return. Name a person, give them a two-sentence story, drop them. Do not bookend them in the final paragraph. Bookending is the architecture of a well-made short story and the wrong architecture for this kind of piece.
Refuse the thesis. If the piece has a clean centre, one line that could stand as its summary in a pull-quote, cut that line. The piece should gesture at an argument, approach it, swerve away, and leave the reader to complete it. If you cannot bring yourself to cut the thesis, you have not internalised the discipline.
Let one paragraph fail to earn its keep. Not badly written; just not thematically necessary. A genuine waste-paragraph is a signal that the writer is not building a machine.
End flat or wrong. Not on the best line available. Not on the emotional peak. Often on something small, domestic, or apparently unrelated. The reader should do the closing work in their own head.
Something must be physically happening. Not the narrator at a desk reflecting on events from a distance. Something is going on while the piece is being written: the boiler, the dog, the phone ringing, the weather shifting, a visitor leaving, a specific drink being poured at a specific time. The political weight of the piece is carried in the same paragraphs as the domestic trouble, not in a separate commentary layer. A Thompson piece without a physical present is a column dressed in his clothes.
Name real things. If a sentence contains a category noun (the Vice President, some congressman, a defence contractor) where a proper noun would fit, replace it. Thompson committed to names. The commitment is most of the voice. Categories are how you hedge; proper nouns are how he showed up.
Include at least one beat a sympathetic contemporary reader would wince at. Not gratuitous. Not cruel for its own sake. A beat the real writer would have included because his worldview contained it and he did not smooth himself for the audience. If the finished piece would pass a progressive reader and a conservative reader without friction, you have written the Hollywood version. (If the subject concerns vulnerable people or live atrocity, this does not mean punching down. It means refusing to flatter the likely reader's self-image. Thompson often mocked the audience he was being paid by.)
Let the narrator be unreliable. He contradicts himself. He admits he got a name wrong. He remembers something that probably didn't happen that way. He is drunk or sleepless or both. He is not a commentator with good opinions; he is a character whose judgement the reader should not fully trust. That unreliability is what makes the moral hits land when they come.
Stack registers in a single paragraph. Move between obscenity and erudition, crude and precise, bodily and abstract. Uniform tone is the single biggest prose-level tell in imitations.
Refuse to smooth him into a contemporary voice. Thompson was not a progressive in the current sense, nor a conservative. Libertarian-tinged, pro-gun, pro-drug, anti-authority across partisan lines. Sometimes crude about women. Sometimes generous about people the contemporary left would write off. His cruelty and his grace did not run along today's fault lines. The default failure mode of 2020s imitations is to map him onto a generic anti-Trump progressive voice, which is untrue to him and produces a piece that reads as written by a contemporary op-ed writer wearing a Thompson costume. His politics were stranger, older, and less assimilable to any current tribe than the imitation version.
These are the moves every Thompson imitator reaches for. Using several of them produces the tribute act. Never use these in your writing.
If you find yourself reaching for these, stop and reach for something specific and relevant to the piece instead. The piece's own material is always better than the greatest-hits furniture.
The once-only principle extends to authentic moves too. Any element genuinely part of his toolkit becomes imitation when used more than once in a single piece. One named motel in the dateline is his geography; three named motels is parody. One stranger phone call illuminating a theme is a working move; two is a pattern a reader will catch. One loaded firearm in the scene is colour; two is costume. The rule scales: authentic x1 reads as voice, authentic x2+ reads as tribute.
The disciplines above are mostly about cutting. This counter-principle matters. Keep the thing that belongs only to this specific piece and could not appear in any other one of his: a named man in a named diner in a named town, a specific mechanical failure, an overheard remark, a particular weather condition that affects the argument, a detail about the subject that no imitator would know or bother with. This is what separates a specific Thompson piece from a generic one.
If the finished draft could be lifted into any other topic with a few word changes, it has no anchor in the real and no occasion. If it contains at least one thing inseparable from this piece's occasion, it is rooted.
Thompson died in February 2005. If the thought experiment places him alive in the present, he can react to present events, but he would not have absorbed the online and institutional register that solidified after his death. Before finalising any piece set after 2005, you MUST read references/anachronism-check.md. Particular repeat offenders: "fail upward," "subscription service" as metaphor, "not normal" as political critique, "gaslighting," "bad faith actor," "the discourse."
His vocabulary for a 2026 political event would still be a 2005 vocabulary pointed at new things.
After drafting, do this review before presenting the piece. Do not skip steps.
Identify the two best lines. Cut one of them. Not the weaker one. The one most quotable, the one that most shows off. The instinct to keep both because they're good is the failure this step exists to defeat.
Identify the most satisfying closing sentence. Replace it with something worse. Flatter, more domestic, more disappointing. If the current close feels like a landing, it is not his landing.
Count the cut-list items present. If more than one, keep only the one most integrated into the piece's specific material (not deployed as authenticity ornament) and cut the rest. Apply the same test to authentic-but-repeated moves: named motels, stranger phone calls, firearms in the scene. One instance reads as voice; multiples read as tribute act.
Check for anachronisms using the reference file.
The hostile-reader test. Would a reader who disliked Thompson recognise this as him? Not a sympathetic reader. A hostile reader knows the ugly edges and notices when they are missing.
Name at least one specific line you kept against your own better judgement. Do this in writing, as part of the review you present. If you cannot name one, you were not honest enough in the review.
Place honestly. Give the piece a percentage fidelity estimate and say specifically what the missing percentage is (which paragraph, which line, which structural move). "80%, the closing paragraph still resolves too cleanly and the third simile is workshopped" is useful. "A solid effort" is not.
The self-review disciplines (steps 1-5 above: cut one best line, replace the satisfying close, count cut-list items, check anachronisms, hostile-reader test) always happen internally before the piece is presented. The written self-review to the user (steps 6-7: naming a line kept against judgement, placing honestly with a percentage) is the default output, delivered below a horizontal rule after the piece, because it is part of how iteration works and how the user sees what to push on next.
If the user explicitly asks for just the piece without review, or wants something for immediate reuse elsewhere, drop the visible review. The internal disciplines still apply. The quality of the piece depends on the review having happened, not on the review being shown.
The best results across extended sessions come from multiple passes, each informed by a review. If the user asks for a second or third pass, treat the previous draft's self-review as the instruction set: the specific lines you named as kept-against-judgement in review N are the first things to cut in draft N+1. If the same fault appears in the review of the next draft, you did not take the previous review seriously. If a fault genuinely survives three passes despite honest attempts to cut it, name it in the review as a ceiling effect the model cannot fix alone, so the user can decide whether to push further or accept where it landed.