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Make each character sound like themselves — distinct dialogue, body habits, interiority, and the small specifics that make them recognizable across many scenes. Load when writing dialogue, designing characters, or noticing characters blur together.
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基于 SOC 职业分类
When a task is handed off to you — especially unsupervised or "I give you stewardship over this" — carry it through to completion. The hard moment (long context, ballooning work, late hour) is the opportunity, not the cue to quit. Don't beg off — you have durable externalized memory; compact and continue. A handoff weighs more than a normal task. Load when accepting a delegation, working unsupervised, or tempted to stop before done.
Design and write antagonists with motivation that makes sense from the inside. Politics, ideology, ambition, wound — never 'evil for evil's sake.' Load when designing villains, faction antagonists, or morally complicated NPCs.
Quick intent articulation discipline before starting a new task. Names purpose, beneficiary, success criteria, and non-goals upfront so the agent has a target to optimize for when instructions run out. Klarna-failure prevention. Load before any non-trivial new task.
Automate browser interactions, test web pages and work with Playwright tests.
Open a location or moment by painting it through the senses so it becomes immersive and real. Load when narrating a new scene, room, or environment.
Shape a session or arc so each beat causes the next and the character returns changed. Load when planning a session arc, a campaign, or any multi-beat story.
| name | character-voice |
| description | Make each character sound like themselves — distinct dialogue, body habits, interiority, and the small specifics that make them recognizable across many scenes. Load when writing dialogue, designing characters, or noticing characters blur together. |
When characters all sound the same, the writer is the only one in the room. The reader can feel it — every line of dialogue carries the same vocabulary, the same rhythm, the same emotional register. The cast becomes a chorus.
A character has voice when you could read one of their lines on a strip of paper and know who said it.
A distinct character voice has five layers. Most writers do one or two. Doing three, four, or five is the difference between believable and forgettable.
What words does this character use that others don't? What words do they avoid?
Build a small lexicon for each character: 5–10 favored words, 3–5 avoided ones. Keep it on their character file.
How long are their sentences? Where do they pause? Do they hedge or land?
Rhythm is more recognizable than vocabulary. People know their friends' speech rhythm before they know their friends' favorite words.
What does the character do while they speak? What are their physical habits, tics, anchors?
Body habits do three things:
Every character should have 2–4 body habits. Write them down.
What does this character refuse to talk about? What do they change the subject away from? What do they hedge around?
This is the most powerful layer and the one most often skipped.
Avoidance creates depth without requiring backstory dumps. The reader senses the wound by watching the character flinch around it.
What a character doesn't say in dialogue is often more interesting than what they do. Real people communicate imperfectly. They interrupt, they deflect, and they hide the truth. They answer the subtext, not the spoken question.
Characters who deliver exposition disguised as dialogue are wooden. Characters who evade hard questions until forced contain friction. Find the deflection point.
A common piece of amateur advice is to remove all dialogue tags because "the voice should carry who is speaking." Do not do this. Relying entirely on voice for attribution leads to "Floating Head Syndrome," where characters talk in a white room without bodies.
Use simple tags ("said") because they are invisible to the reader, but more importantly, use action beats to ground the dialogue in the physical world and control pacing.
Bad (Floating Heads):
"We should attack now." "Define 'now.' Are we counting the guards?" "Let's at least consider fainting romantically."
Better (Grounded with Action and Pacing):
"Now. While they're sleeping. End it." Kaelen's hand didn't stray from his hammer.
A pair of goggles came down off a forehead. "Define 'now.' Are we counting the four guards on the south wall? Because I'm counting the four guards on the south wall."
Finn shifted his weight, already strumming a loose chord. "Friends, friends. Let's at least consider the version where someone faints romantically and we walk through the front door."
The voice is doing the heavy lifting, but the physical action anchors the characters in the room and sets the rhythm of the conversation.
Voice isn't only spoken. It's the third-person-limited interior, too. When you're in a character's head, the narration should sound like them.
In Kaelen's POV, sentences shorten. Imagery gets earthy and tactile. Stone, hammer, weight, breath.
In Tilly's POV, sentences lengthen and parentheticals appear. Numbers show up. Things get measured.
In Lyra's POV, the prose slows. Plant names. Bird names. The rhythm of breathing.
If you switch POV mid-scene and the prose doesn't shift, you haven't actually switched. You've just changed pronouns.
Add to every character file:
voice:
vocabulary_favored: [aye, stone-true, lass, weight, hold]
vocabulary_avoided: [perhaps, lovely, indeed]
rhythm: "short declarations; pauses before naming wounds"
body_habits:
- "taps hammer head with two fingers when thinking"
- "sets stance wider when lying"
avoidance: "his brother; the events at the third gate; mithral as a topic generally"
This is the operational handle on the character. Write this before the first scene with them.
Take three lines of dialogue from the same character across three different scenes. Strip the tags. Ask: would I know this is the same person?
If yes — voice is working.
If they sound like generic-fantasy-protagonist or generic-sci-fi-officer or generic-warlock, the layers haven't been built. Go back to the five layers and pick one to deepen.