菜单
Connect every beat to the next by causation (therefore) or disruption (but), never by mere sequence (and then). The momentum rule for scenes, campaigns, chapters, and arguments. Load when writing a narrative session, a campaign arc, or any prose that lists when it should drive.
用 Codex 或 Claude 帮你安装 复制这段 Prompt，粘贴到 Codex、Claude 或其他助手里，让它检查 Skill 页面并帮你完成安装。
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 | therefore-but-not-and-then |
| description | Connect every beat to the next by causation (therefore) or disruption (but), never by mere sequence (and then). The momentum rule for scenes, campaigns, chapters, and arguments. Load when writing a narrative session, a campaign arc, or any prose that lists when it should drive. |
Trey Parker and Matt Stone gave the cleanest test for whether a story has momentum. Take your beats and read them aloud with the connective word between them. If the honest word is and then — "this happens, and then this happens, and then this happens" — the story is a list, and a list has no pull. If the honest word is therefore or but — "this happens, therefore this happens, but this happens" — every beat is caused by or colliding with the one before it, and the audience is carried.
This is not a storytelling gimmick. It's how consequence works. A scene where each moment earns the next has gravity. A scene that just accumulates events is something you watch from outside.
Between any two beats, exactly one of these should be true:
If the only honest connective is and then (or also, next, meanwhile, the first thing… the second thing), the beat is sequence, not story. Three options:
A campaign arc is a therefore/but chain at the macro scale: the players' choice in session 3 therefore the faction's reprisal in session 5; the reprisal but an unexpected ally. Map the chain before the session — if two sessions connect only by "and then they traveled to the next town," the campaign has gone slack.
A combat or scene is the same at the micro scale. Not "the orc attacks, and then the rogue attacks, and then the wizard casts." Rather: the orc drops the fighter (therefore the cleric breaks formation to heal, but that opens the flank). Initiative order is and then; consequence is therefore/but. Narrate the consequence, summarize the sequence.
Dialogue turns on the same hinge. A character makes a claim; the reply should follow from it (therefore) or cut against it (but) — not just take the next conversational turn.
Before you ship a scene or session, read its beats in order with the connective spoken aloud:
Beat 1 — [therefore / but / and-then] — Beat 2 — [therefore / but / and-then] — Beat 3 …
Every and then is a flag. Cut it, cause it, or complicate it. Zero and thens between major beats means the scene drives instead of lists.
