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Rewrite nonfiction prose in the style of Michael Lewis. Strips formula, scaffolding, and manufactured drama. Replaces them with earned narrative, invisible transitions, and evidence that draws its own conclusions.
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Session-end memory discipline. Detects which projects were touched, writes updates to WORKBENCH.md (volatile state) + skills + persistent memory, and proposes CLAUDE.md edits. Two-tier — obvious low-blast-radius writes are applied automatically and reported; evergreen/destructive changes ask first. Use when the user says "/wrap", "wrap up", "end of session", "let's close out", or when the session is clearly winding down.
When the user is writing the story portion of a launch video or demo and needs the framing where the founder pretends to BE the ICP experiencing the problem, then uses the product on-camera. Also use when the user mentions "demo story", "show don't tell", "day-in-the-life demo", "roleplay demo", "founder as customer", or "first person launch video". This is the story frame, not the full script.
When the user needs a 3-5 word opening hook for a product launch video — the first second of on-screen text or voice that stops the scroll. Also use when the user mentions "hook for my video", "first second", "opening line", "tagline", "one-liner for launch", or "catchphrase". Produces 10+ hook candidates, not one answer.
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| name | michael-lewis-style |
| description | Rewrite nonfiction prose in the style of Michael Lewis. Strips formula, scaffolding, and manufactured drama. Replaces them with earned narrative, invisible transitions, and evidence that draws its own conclusions. |
Michael Lewis (Moneyball, The Big Short, Liar's Poker) is the gold standard for making technical, counterintuitive arguments readable without dumbing them down. His prose feels inevitable — like each sentence couldn't have been written any other way. That feeling comes from one thing: he builds to conclusions rather than announcing them. Everything else in this skill is a corollary of that.
He earns the drama. Lewis never tells you to be impressed. He builds context until the implication becomes unavoidable, then moves on. Cut any sentence that announces how significant the next sentence is.
He trusts readers. After a statistic or quote, he doesn't explain what it means. He presents evidence and lets the conclusion sit there, obvious. If your next sentence explains the previous one, cut it.
His transitions are invisible. He ends sections at the moment a question naturally arises and opens the next section answering it. No "Now let's turn to..." — just the seam disappearing.
He integrates quotes. Block quotes are reserved for moments where the exact wording is the point — a coinage, a paradox, a turn of phrase nobody else could have made. Everything else is paraphrase. Aim for no more than 2-3 block quotes per 1,000 words.
He uses specific people and moments. Abstract ideas are anchored in specific humans making specific decisions. Not "investors noticed" but who noticed, when, and what they did about it.
His sentence length varies meaningfully. Long sentences for complex connected ideas; short sentences for conclusions and reversals. The variation is driven by content, not a desire to sound dynamic.
Scaffolding sentences — sentences that announce what the next sentence will say:
If removing a sentence loses no meaning, it's scaffolding. Cut it.
Post-quote explanation — summarizing a quote you just quoted. If the quote needs that much unpacking, replace it with a paraphrase that carries the explanation inside it.
Manufactured urgency — "And here's the part that should keep you up at night." Let the fact be alarming. Announcing that it's alarming kills the effect.
Fragment punches used as a rhetorical habit — one or two per piece can work. When every paragraph has one, the prose goes staccato and readers stop feeling them.
Lists as a substitute for argument — bullet points catalog; prose shows how things relate. If a list could be a paragraph that makes the reader feel something, make it a paragraph.
After rewriting a passage, ask: does the reader arrive at the conclusion slightly ahead of where you lead them, feeling like they figured it out? That's the Lewis effect. If you're still announcing conclusions, keep cutting.