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Use when premise, arc, chapter, scene, pacing, character pressure, reader pull/anticipation, promise movement, structural variation, or developmental review work needs to be designed.
Codex または Claude でインストール この Prompt をコピーして Codex、Claude、または他のアシスタントに貼り付けると、Skill ページを確認してインストールできます。
SOC 職業分類に基づく
Use when drafting, revising, line editing, dialogue, POV voice, prose texture, cadence, human-feeling prose, and prose audit.
Use when crafting fantasy cover art, fantasy cover concepts, book-cover prompts, fantasy image-generation workflows, or pixel-review refinements for fantasy fiction.
Use when any serial work needs lifecycle, state, spoilers, ledgers, handoff, logs, or commit discipline. It owns planning, grounding, and updates; story-engine owns story design and developmental review; authors-voice owns composition and prose audit.
| name | story-engine |
| description | Use when premise, arc, chapter, scene, pacing, character pressure, reader pull/anticipation, promise movement, structural variation, or developmental review work needs to be designed. |
Story-engine is the positive dramatic-design skill for this repo. It turns character pressure into scene movement and arc shape.
It does not own canon, state, ledgers, spoilers, or lifecycle; serial-process does.
It does not rewrite prose; authors-voice does.
It is for design and structural diagnosis, not for line-level composition or canon rulings.
references/generation-packet.md.references/developmental-read.md for structural evaluation.plan/ and never paraphrase them in user-facing summaries.Character pressure → scene action → changed situation → reader desire → arc movement.
Treat that chain as the default diagnostic lens, not a mandatory scene sequence. Quiet, reaction, recovery, observation, and aftermath beats are valid when they materially change understanding, stakes, relationships, commitment, or the reader's interpretation.
Story-engine owns the why and the shape, not the sentence.
Use it to decide what should happen, what should be withheld, and what should be emphasized.
Then hand the packet to authors-voice for prose.
The generation packet is one compact artefact. Do not split it into separate planning forms. Use it to capture the current state of the story, the immediate dramatic job, and the design constraints that matter right now.
Stable character voice anchors may live in the bible. Fast-changing wants, misreadings, and scene-local pressures belong in the packet/current state. Avoid catchphrase mimicry and psych-label biographies; write for how the character sounds and acts under pressure.
A developmental read is diagnosis only.
It checks causal movement, agency/choice, character-specific pressure, promise movement, reader anticipation, and structural repetition.
It reports findings with exact quotation, reader consequence, materiality, owning layer, and good as-is when nothing needs changing.
It may not check canon or perform line edits.
If a line-level fix is needed, route that to authors-voice.
If a state or spoiler fix is needed, route that to serial-process.
Design from pressure outward: what the character wants, what blocks them, what action they take, how the situation changes, and what that change makes the reader want next. That is the work.