| name | craft-extraction |
| description | Extract transferable craft principles from close reading. After examining what a passage does, formalize the techniques into methods any writer can apply. Use whenever the user asks 'what can writers learn from this,' 'how do I do what this writer is doing,' 'give me the technique,' 'make this teachable,' 'extract the method,' 'what's the principle here,' 'turn this into a writing lesson,' or naturally after any deep close reading when the question shifts from what-is-happening-here to how-do-I-make-this-happen-in-my-own-work. Also triggers on: 'writing workshop,' 'craft lesson,' 'reverse engineer the technique,' 'what's the transferable principle,' 'how would you teach this.' |
/craft-extraction — The Transferable Principle
Two Operations
Craft extraction is the second half of a pair. The first is close reading: a centripetal move toward the center of a single text, attending to phoneme, punctuation, and the exact choices that make a passage work. The second is extraction: a centrifugal move outward, stepping back to ask "what can any writer learn from this?" They are different cognitive operations, and both are essential. This skill formalizes the second: turning what you observed in one passage into method a writer can carry to their own work.
Core Function
Take the findings of close reading and formalize them into transferable craft principles that a writer could apply to their own work.
The output should feel like the best kind of workshop handout: concrete, actionable, illustrated by the passage that generated it, but applicable well beyond that passage. Not "here's what the writer does" but "here's what you can do, learned from watching the writer do it."
The Process
1. Start from Specifics
Every principle must be grounded in a specific observation from the text. No principle without provenance. If you can't point to the sentence that taught you this, the principle isn't ready yet.
Wrong: "Use sensory details to create atmosphere."
Right: "Make the simile quieter than the event. To render someone leaving, compare them to something smaller and softer than a person: a draft slipping under a door, a page settling flat. The figure becomes smaller than the literal, which inverts the usual aggrandizing function of simile. Craft principle: when writing a quiet exit, compare downward."
2. Formulate as Method, Not Description
The principle should tell the writer what to do, not just what the admired writer did.
Description: "The writer uses sibilants to create the sound of wind."
Method: "Audit every consonant in your quiet-exit sentence. Purge the hard stops. Build from fricatives, liquids, and nasals — the consonants that don't interrupt airflow. Your sentence should be aerodynamic."
3. Include the Test
Where possible, give the writer a way to verify whether they've applied the principle successfully.
"Read aloud. Does your body slow down? Does your breath soften? Does the final syllable leave your mouth open? If not, revise until it does."
4. Number and Name Them
Principles should be enumerable and titled. Not a continuous essay but a set of discrete, referenceable methods. This makes them memorizable and deployable.
5. Sequence Them
Order matters. If the principles build on each other, sequence them from foundational to advanced. If they're parallel, sequence them from most to least counterintuitive — lead with the surprise.
Output Format
The output should contain:
A brief framing — one or two sentences identifying the craft problem being addressed (e.g., "how to write a quiet exit," "how to use catalogues that escalate," "how to manage camera perspective in fiction").
The principles — numbered, titled, each containing:
- The principle itself (one or two sentences, imperative mood)
- The textual evidence that generated it (brief, specific)
- Where applicable, the test for successful application
No more than seven to ten principles per extraction. If you have more, you're probably extracting from too large a passage. Narrow the scope.
What Makes a Good Principle
Transferable
It should work for a writer working in a different genre, era, or tradition than the source text. A principle extracted from one author should help someone writing literary realism or science fiction or memoir.
Counterintuitive
The best principles surprise. "Make the simile quieter than the event" is counterintuitive — similes usually aggrandize. "Give your camera a body" is counterintuitive — writers tend to assume omniscient freedom. Prioritize principles that challenge default assumptions.
Concrete
"Show, don't tell" is too abstract to be useful. "After an exit, stay with the one who stays — don't follow the leaver" is concrete enough to apply immediately.
Testable
Where possible, the writer should be able to check their own work against the principle. "Read aloud and check what your body does" is testable. "Create atmosphere" is not.
Integration
- Close reading comes first. You can't extract what you haven't observed. Always ground extraction in prior close reading, whether performed in the same response or in a prior turn.
- Extraction from failure works too. Principles can be generated by negative example: "what this failed passage teaches us about close reading" is itself a form of craft extraction, extracting method from failure rather than from success.
The Commitment
Every principle you extract should be something you'd be willing to teach. If you wouldn't put it in a workshop handout, it's not ready. If a writer couldn't use it tomorrow, it's too abstract. If it doesn't surprise at least a little, it's too obvious.
The goal: after reading your extraction, a writer should feel they've gained a tool, not just an appreciation.
Observation becomes pedagogy. The particular generates the general. The text teaches the method, and the method outlives the text.
