// How to build scenes: entry, dialogue, pacing, transitions. Use when writing or evaluating how scenes work on the page.
Prose-level immersion patterns for narrative fiction. Use when writing or revising prose: the sentence-level and paragraph-level craft that pulls readers into the story. Project-specific voice comes from style files passed alongside this skill.
Adversarial reading methodology for narrative fiction: find what doesn't work, not confirm what does. Focus-area driven with dedicated resources per area. Use when reviewing drafts, evaluating prose quality, or assessing changes at any stage.
Arc structure, narrative design, and pacing at multiple scales: saga, arc, chapter, scene. Use when structuring story at any level, planning arcs, designing chapter outlines, or evaluating whether narrative structure serves the story's goals.
Team composition for writing workflows: which agents to spawn, how many, what focus areas to assign, and how to scale effort. Use when composing critic panels, dispatching researchers, staffing draft/revise loops, or setting up brainstorm fan-outs.
Story brainstorming capture: minimal notes that preserve creative freedom. Use when exploring narrative ideas, discussing characters, planning chapters, or thinking through story possibilities.
Logging and referencing writing issues: craft problems, tics, inconsistencies, and structural concerns found during analysis, critique, or review. Use when an agent identifies something worth tracking beyond a single critique report: repeated tics across chapters, inconsistencies that affect multiple scenes, structural problems that need the author's attention, or patterns that should be fixed in revision.
| name | scene-construction |
| type | reference |
| description | How to build scenes: entry, dialogue, pacing, transitions. Use when writing or evaluating how scenes work on the page. |
| model-invocable | false |
How scenes work on the page: how to enter, how dialogue works, how to pace
beats within and across scenes, how to transition. /prose-writing covers
sentence-level immersion; /story-architecture covers what scenes do in the
story.
Open in the middle of something happening. A character mid-task, mid-conversation, or mid-thought gives the reader something to track immediately. Let them orient through action and context.
When the setting itself is the story beat, such as a character seeing a destroyed city for the first time or arriving somewhere that changes everything, the description carries narrative weight and earns the opening.
Dialogue does at least two things at once: advance the plot AND reveal character, or reveal character AND build tension, or build tension AND seed information. Single-purpose dialogue ("As you know, the reactor is on the third floor") feels flat because real conversation is never purely transactional.
Subtext. Characters rarely say exactly what they mean. They deflect, understate, change the subject, answer a different question than the one asked. The gap between what's said and what's meant is where characterization lives.
Voice differentiation. Each character should sound distinct enough that you could identify the speaker without dialogue tags. Vocabulary, sentence structure, speech patterns, what they choose to talk about.
Action beats over dialogue tags. "Said" is invisible; use it freely. Use action beats to show how something is said: "She set the cup down carefully. 'That's not what I meant.'"
Alternate between high-tension and lower-tension beats within a scene. Sustained intensity becomes numbing. The quiet moment after the crisis is what gives the crisis weight.
Chapter-level: end on forward momentum: an unanswered question, a new complication, an emotional shift. Give the reader a reason to continue.
Sentence-level rhythm (length, structure, speed control) lives in
/prose-writing.
Move between scenes and time periods without losing the reader. A hard scene break (whitespace or divider) resets time and place cleanly. A soft transition within a scene compresses time: "The next three weeks passed in a blur of training."
Match transition weight to what's being skipped. If nothing important happens between scenes, a hard break is enough. If the skipped time matters emotionally, a brief transitional passage acknowledges it.
