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Draft or revise prose so each sentence carries multiple simultaneous layers of character, texture, emotion, and meaning.
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Basado en la clasificación ocupacional SOC
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 | information-density |
| description | Draft or revise prose so each sentence carries multiple simultaneous layers of character, texture, emotion, and meaning. |
Use this skill when drafting prose or revising for quality.
Every sentence should do at least two jobs simultaneously. Thin prose is not prose with few events—it is prose where each sentence earns only one thing. The opposite of thin prose is not more plot; it is more layers per moment.
A sentence doing one of these is meeting the minimum. Revise toward sentences doing two or three simultaneously.
Remove a sentence. What is lost?
If only a fact is lost—a plot beat, a location, a piece of exposition—the sentence is doing one job. Consider whether it can also carry character or undercurrent.
If removing it loses a fact, an emotional texture, and a character implication simultaneously, the sentence has earned its place.
Thin: "She was nervous as she walked into the room. The room was large and brightly lit."
Dense: "She pushed the door open and the fluorescent light hit her before she had adjusted her face."
Same facts (she enters, room is bright), but the dense version also shows: her preparation to perform, its failure, the light as something that acts on her rather than something she observes, vulnerability without naming it.
Character is most efficiently revealed through what they notice, what they do when no one is watching, and what they do not do when doing it would be easy. These can all happen in a sentence—a glance, a hesitation, an automatic action—that simultaneously advances the scene. Avoid dedicating full sentences to "she was the kind of person who."
