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Write dialogue or narration that runs two conversations simultaneously: the stated surface exchange and the real meaning underneath.
Instalar con Codex o Claude Copia este prompt, pégalo en Codex, Claude u otro asistente, y deja que revise la página de la skill y la instale por ti.
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 | subtext-craft |
| description | Write dialogue or narration that runs two conversations simultaneously: the stated surface exchange and the real meaning underneath. |
Use this skill when writing dialogue, interiority, or close narration.
Characters rarely say what they mean directly. They say what they think they are allowed to say, what they believe will get them what they want, or what they can risk at this moment. The real meaning lives in what is avoided, deflected, or overstated. Strong prose runs two conversations simultaneously: the stated one and the real one.
What the character notices is who they are. Perception is selective. What someone sees first in a room, what detail catches their attention on a face—these are not neutral. Use the viewpoint character's selective attention as a vehicle for information, characterization, and emotional undercurrent simultaneously. A character who notices the exit first tells you one thing. A character who notices what the other person is holding tells you another.
The incidental detail as information carrier. A fact can be revealed through a minor element of the scene—a photo visible on a phone screen, food that hasn't been touched, a book left open face-down. This technique delivers character, backstory, or stakes with no exposition. The reader does the assembly themselves; the information lands with more force because of the work they did to receive it.
Action as statement. A character who straightens papers while being accused is saying something. A character who doesn't look up is saying something. A character who suddenly laughs at the wrong moment is saying something. The action is the subtext—do not explain it.
The double exchange. In any high-stakes conversation, the characters are having two exchanges at once: the literal topic and the real subject. "Are you hungry?" can be "are you still willing to stay?" Write the literal exchange without losing the real one underneath it.
Read each significant line of dialogue or narration and ask: what is the character actually communicating, and what are they carefully not saying? If there is no gap between what is said and what is meant, the line is operating only at the surface.
