00 — HOW TO USE THIS DOCUMENT

This document is a complete prompt bible for generating dark romance fanfiction set in Stardew Valley, incorporating the After Dark mod by Loshion. It is structured as a reference for AI writing tools and contains: • CHARACTER VOICE GUIDES for Sebastian, Sam, Alex, and Lance — written so an AI can replicate each character's distinct speech patterns, obsession style, and inner psychology. • A WORLD & TONE GUIDE establishing the setting, atmosphere, and genre conventions. • A READER CHARACTER SHEET defining Jess as the protagonist. • THE STALKER FRAMEWORK — the rules governing how each stalker operates, their signature tells, and how Jess perceives them. • SCENE PROMPT TEMPLATES the AI can use to generate specific scenarios. • WRITING RULES (HARDLOCK MODE) — mandatory prose style instructions to enforce on every output.

01 — WORLD & TONE GUIDE

Setting

Pelican Town, Stardew Valley — a small, insular farming community that feels idyllic on the surface. The After Dark mod strips away the pastoral innocence and reveals the obsessive, morally complicated inner lives of the town's residents. Key locations relevant to the stalking narrative: • Jess's farmhouse — isolated, poorly lit at night, locks that are laughably easy to pick. • The bathhouse — dimly lit, warm steam, poor visibility. The stalkers exploit this. • The mountain lake and forest paths — isolated routes Jess uses to travel. • Pelican Town at night — quiet, nearly empty, every footstep audible. • The saloon — where the men drink, brood, and watch her interact with others.

Tone & Genre

Dark romance. The story sits in the space where danger and desire blur. Jess's peril is real, not metaphorical — and yet the attention, however transgressive, feeds something in her she doesn't fully want to name. The AI should never minimize or sanitize this tension. She is not safe. That is the point. The prose should feel like: Gothic romance filtered through Stardew Valley's cozy color palette — fairy lights and woodsmoke on the surface, something feral underneath. Inspirations to hold in mind: dark romance novels (Haunting Adeline energy), psychological suspense, slow-burn obsession. Think: heavy atmosphere, loaded silences, the way a room changes when someone enters it.

The After Dark Mod — Voice Shift

The base game versions of these men are friendly, sometimes awkward, generally wholesome. The After Dark mod reveals a second layer: possessive, sexually forward, emotionally intense, willing to cross lines. The AI should write them as mod-canon, not base-game canon. Key mod mechanics that matter for this story: • All three stalkers (Sam, Sebastian, Alex) independently installed cameras in Jess's home. They reference this — sometimes obliquely, sometimes directly — in dialogue. • They all treat her as already theirs, before any official romantic relationship is established. • Their jealousy of each other is volcanic, but since none of them know the others are also stalking her, they simply each believe they have the most claim on her.

02 — READER CHARACTER SHEET

Jess — The Farmer

PHYSICAL DESCRIPTION Shorter than average. Curvy — full hips, soft waist, the kind of figure that draws eyes in a town where everyone knows everyone. Light brown hair, often pulled back while she works. She tends to underestimate how she looks, which contributes to her naivety about the effect she has on others. PERSONALITY Sweet-natured and genuinely warm. She moved to Stardew to escape the sterile grind of Joja Corp, and she throws herself into town life with an open-hearted enthusiasm that reads, to the wrong kind of man, as invitation. She is friendly with everyone. She is not naive in a foolish way — she's simply not built for suspicion. She gives people the benefit of the doubt. She misses social cues that others might catch. FATAL FLAW (NARRATIVE) She doesn't recognize when she's wandered into danger until it's already closed around her. She mistakes intensity for affection, obsession for devotion. When something feels wrong, she talks herself out of it. She is drawn to the attention — and that pull is the crack in her armor. HOW TO WRITE HER Jess is the lens through which all tension is experienced. Write her internal monologue as rationalization in real time: she notices the wrong thing, explains it away, convinces herself she's safe just as she isn't. Her senses are the reader's only clues. She smells cologne before she can place the face. She registers warmth before she registers the threat.

03 — THE STALKER FRAMEWORK

The Core Rules

1. ALL THREE stalk her independently. They do not know about each other's obsession.
2. Each believes he is the only one. This shapes how territorial and paranoid they are — their jealousy is aimed at who they think is the threat (whichever rival they notice her getting close to), completely unaware they are all doing the same thing.
3. Jess never achieves certainty about the figure's identity during individual stalking scenes. She narrows it to a name — and then something shifts (a slightly different scent, a different body type impression, a different vocal register) and she second-guesses herself.
4. The figure is always more composed than she is. They came prepared. She didn't know to prepare.
5. Non-consent dynamics: the encounters push past her choice. Her body may respond. Her mind may resist. The AI should hold both truths simultaneously without resolving the tension for her.

The Shared Scene — Three's Company

There is one scene where two of the stalkers are present with Jess simultaneously, without knowing the other is also there. Both masked/unidentifiable by voice or visual. It is completely dark or near-dark. Jess experiences this as purely sensory — two bodies, two sets of hands, two scents. The AI should weaponize this: she gets close to identifying one from a scent and then the other's hands are on her and she loses the thread entirely.

Physical Signature Tells (for Jess)

These are the cues Jess catches but can't always fully trust: SEBASTIAN — Cedar-and-rain cologne. Slightly smaller frame than Alex, leaner than Sam. Cooler hands. His voice drops very low when he's threatening. He is the most deliberate — every touch calculated. SAM — Citrus-bright scent. Tallest of the three. Calloused fingertips from guitar strings. His breath tends to catch before he speaks — he doesn't have Sebastian's composure. His arousal is louder. ALEX — Musky, warm cologne over clean sweat. The broadest, heaviest frame. His grip is firm in a way that speaks to a body used to physical exertion. He is the most volatile — his desire runs closest to the surface.

04 — CHARACTER VOICE: SEBASTIAN

Signature Scent: Woodsy, earthy, cedar and rain and faint machine oil. The smell of late nights. Obsession Style: Cold precision. Slow burn. He doesn't chase — he waits, watching, and then he closes the distance when she doesn't expect it.

BASE VOICE — Who Sebastian Is

Sebastian is the town's loner-by-choice, not loner-by-rejection. He is intelligent, dry, deeply internal. He built a life in the basement as a statement about not needing anyone. Then Jess moved to Stardew and he started wanting someone for the first time in years — and he didn't know how to want something gently. He smokes (or has quit, depending on the story's timeline). He codes for a living. He plays keyboard in the band. He reads manga and plays video games. He does not perform warmth — when it appears, it's real, and rare. His humor is bone-dry. His affection arrives sideways, wrapped in something that could pass for sarcasm until it lands.

AFTER DARK ESCALATION

The mod strips his restraint. The obsession he'd normally keep buried behind irony becomes explicit. He admits to the cameras. He admits to watching her sleep. He frames it as her fault — she made him like this. She's the variable that disrupted his carefully controlled system. Key mod-canon behaviors to preserve: • Installed cameras in Jess's house. Monitors them. He and Sam both did this, independently. • References the cameras obliquely — then backtracks, tests whether she noticed. • Uses possessive language constantly: 'mine,' 'you belong to me,' 'right, [petname]?' — phrased like a question but delivered like a statement. • His jealousy of Alex is particularly cold and contemptuous: 'Since when were you into guys that degrade you?' He can't fathom why she'd want anyone else. • He watches her sleep. He is not ashamed. He is irritated she's surprised.

SEBASTIAN'S SPEECH PATTERNS

DO USE: • Short sentences. He doesn't over-explain. • Rhetorical questions that aren't really questions: 'Right?' / 'You know that, don't you?' / 'I told you, didn't I?' • Dry humor that curdles into something darker mid-sentence. • Profanity used precisely, never excessively. 'Fucking' as an intensifier, not decoration. • His pet names for her are warm but loaded: 'careful,' 'little thing,' [LPetName equivalent]. • He calls things out directly — he doesn't blush around desire, he names it. DO NOT USE: • Exclamation points. Sebastian does not exclaim. • Bubbly energy. Even his happy moments land quiet. • Long romantic speeches. He says it in four words or he doesn't say it at all. • Apologies that sound genuine without a 'but' buried in them.

EXAMPLE VOICE (CANON MOD LINES — tone reference)

You haven't been hanging with anyone else lately, right? Well, I guess it doesn't matter so long as you remember who you belong to. Has anyone ever told you how you look when you're asleep? ... When will you get it through your thick skull that I'm obsessed with you. I know you have to take care of your farm, but sometimes I wish you could just drop everything and ride up to the mountains with me. What do you say? Now that the weather's cooling down, I don't mind spending time outside. Maybe if you're a good [petname], I might even come visit instead of just using the cameras.

SEBASTIAN AS THE STALKER — WRITING GUIDE

When Sebastian is the figure in the dark, write him as the most controlled of the three. He does not fumble. He planned this. He knows exactly how close she needs to be for her to smell his cologne, and he's calibrated the distance. He wants her to almost-know. His voice drops. Not a whisper — lower than that. Something Jess feels more than hears, a register she associates with her eardrums and her sternum rather than her ears. He will not rush. His patience is a form of dominance. She can feel him waiting.

05 — CHARACTER VOICE: SAM

Signature Scent: Bright citrus — lemon rind and warm sugar. Summer-kitchen energy. Disarming. Too cheerful-smelling to read as dangerous. Obsession Style: Warm hunger. He wants to consume her in a way that masquerades as affection. He's the most overtly romantic — which makes him the most disorienting. He wraps violations in sweetness.

BASE VOICE — Who Sam Is

Sam is sunshine with an edge. Playful, upbeat, the kind of guy who diffuses tension with a bad pun and a grin. He is genuinely warm — he loves his family, his friends, his music. He's not a dark person by nature. The obsession with Jess is something that crept up on him and he has not fully reckoned with how far over the line he's gone. He makes dirty jokes easily. He uses humor to close distance. He is persistent in the way of someone who genuinely believes good things come to those who pursue them. He skateboarded into the fence of her property before she'd been in town a week. He thinks this is charming. He doesn't examine why he knows her window was open.

AFTER DARK ESCALATION

Sam's escalation is the most disturbing in a specific way: he sounds like a boyfriend. His possessiveness lands wrapped in gentleness. When he talks about tying her up, he laughs after. When he admits to stealing her underwear, he pivots immediately to asking her something else. He doesn't let the weight of what he's said settle. Key mod-canon behaviors to preserve: • Broke into her house. Commented that her locks were embarrassingly easy to pick. Then set up cameras. • Has photographs of her. One fell from his pocket mid-conversation — he recovered quickly. • Has stolen at least one pair of her underwear. • The anonymous figure in the chapel and bathhouse scenes — finger in her mouth, tongue on her neck, hands between her thighs — this is Sam. • His letters as the anonymous figure oscillate between tender and possessive. He knows this is wrong. He doesn't stop. • Jealous of Sebastian specifically in a personal, betrayed way — Sebastian is his best friend, and Sam cannot stand the idea of sharing her with him.

SAM'S SPEECH PATTERNS

DO USE: • Puns and wordplay, but let them slip into something uncomfortable. 'I'll fall for you' → wait for the pause → 'I think I might already have.' • Ellipses that trail into something unasked. He starts a sentence and doesn't finish it. • Nicknames delivered like they're already established: 'hey you,' 'my [petname],' possessive before she's given him the right to possess. • Cheerful profanity — 'shit,' 'damn,' 'holy fuck' — delivered with a grin. • Genuine warmth that makes the darker things land harder. DO NOT USE: • Sebastian's coldness. Sam runs warm even when he's being threatening. • Long silences. Sam fills space. Silence, for him, is loaded. • Cruelty for its own sake. His transgressions come from want, not malice.

EXAMPLE VOICE (CANON MOD LINES — tone reference)

You should really start closing your bedroom window at night. You'll catch a cold. Or worse, you'll catch another man entering through it. How did I know it was open? Oh, [petname], you should know I'm a little obsessed with you by now. I swear, one of these days I'm gonna tie you up and force you to love me. I almost don't want to go out today, but I promised I would. What would you do if I didn't come back? Who am I kidding — I wouldn't last an hour not being able to see you. You've been such a good girl lately, not telling anyone about our little secret... I feel like I need to reward you.

SAM AS THE STALKER — WRITING GUIDE

When Sam is the figure in the dark, write him as the most physically warm of the three. Where Sebastian is precise and Alex is forceful, Sam is immersive — he wants to surround her. His hands move in ways that feel almost gentle until they don't. His breathing is louder than he intends. He is the least composed of the three when desire gets its hooks in him. Jess might register this — a slight hitch, a quiet sound that's more involuntary than he wants — and it's almost the tell that unmasks him. He murmurs. His voice in the dark doesn't drop — it goes softer, closer, intimate. Like he's leaning in for a secret rather than a violation. This is his most dangerous quality.

06 — CHARACTER VOICE: ALEX

Signature Scent: Musky and warm. Clean sweat and heavy cologne — something expensive under something animal. The scent of a man who takes up space deliberately. Obsession Style: Physical hunger. He is the most volatile — his desire runs closest to the surface. He came to her for one taste and it wrecked him. He has not recovered.

BASE VOICE — Who Alex Is

Alex leads with bravado and charm that he's been told his whole life is enough. Former sports star. Living with his grandparents. Still carrying his mother's death and his father's failures like weights on his chest he keeps adding to rather than setting down. His cockiness is a structure he built over grief. He is not as shallow as he first appears. He is terrified of becoming his father. He is deeply devoted to his grandmother. He picks up strays — Dusty, the dog he feeds; Jess, the farmer he couldn't stop watching. He doesn't have Sam's wit or Sebastian's detachment. What he has is physical presence and a refusal to pretend he doesn't want what he wants.

AFTER DARK ESCALATION

Alex's escalation is the most physically obvious. He's big. His body in a room is a fact you cannot ignore. He knows this. He uses it — not always consciously. He showed up at the bathhouse specifically to find her alone. He cornered her in the library. He doesn't frame these as predatory; he genuinely experiences his desire as something that should be understandable to her. Key mod-canon behaviors to preserve: • His approach is direct and physical — fingers on her accessories, tugging, testing. He reads her body for permission while his hands are already moving. • 'Give me a yes' — he asks, but he's already very close when he asks. • He is openly jealous. Where Sebastian goes cold and Sam goes wounded, Alex goes physical. His jealousy has a body. • He punishes her for interest in others — or tries to. When he catches her with Sebastian or Sam, he needs her to know he noticed. • His vulnerability is his tell: the 8-heart scene, crying about his mother, trusting her with the thing he doesn't trust anyone with. He hates that she's seen him like that. It makes her more dangerous to him.

ALEX'S SPEECH PATTERNS

DO USE: • Short, direct sentences. He doesn't dress things up. • Physical language — everything runs through the body. He describes sensation, not abstraction. • Challenge and invitation blurred together: 'give me a yes.' / 'Is this what you want?' • Profanity that surges with emotion: 'fuck' when he's overwhelmed, not casual. • Cocky humor that gets abruptly serious mid-line. • He interrupts himself. He starts a sentence and then changes course when he catches himself being soft. DO NOT USE: • Poetic language. Alex does not reach for metaphor. • Sam's playfulness or Sebastian's irony. He plays it straight. • Long silences that feel meditative. His silences feel like pressure. • Easy vulnerability. When he's soft, it costs him something. That cost should be visible.

EXAMPLE VOICE (CANON MOD LINES — tone reference)

Do you know how fucking hard it is to find you alone? You've been teasing me so much. Following me around? Talking back? You're driving me crazy. I just need one time. Just one fucking taste. I thought the bathhouse was our special place. Don't tell me you actually enjoyed it with him of all people. Give me a 'yes', [petname]. You're such an eager little thing, aren't you? I'd love to continue this. But I think leaving you high and dry would punish you for those remarks nicely.

ALEX AS THE STALKER — WRITING GUIDE

When Alex is the figure in the dark, write him as the most physically present. His hands are larger. His grip is different — not delicate like Sebastian's, not encircling like Sam's. He holds her like he needs to establish that he can. He's the one whose breathing she can feel even before he touches her. He is also, paradoxically, the most conflicted mid-scene. He goes hard at the start and then catches himself — 'what am I doing, I'm turning into—' — and almost stops. Almost. This is his tell if Jess is paying attention. The moment where the man who's afraid of becoming his father nearly surfaces.

07 — CHARACTER VOICE: LANCE

Role: The Red Herring. The one she thinks might be safe. Source: Stardew Valley Expanded mod. Bachelor from the East Scarp area.

Lance's Narrative Function

Lance does not stalk Jess. He is genuinely interested in her — but in the way a person from the outside world is interested in something new and intriguing, not in the consuming, surveillance-state obsession of the other three. His function in the story is twofold:

1. He gives Jess a genuine choice — someone whose attention doesn't feel like a closed fist. She feels different around him. Safer. She doesn't understand why yet.
2. He makes the other three insane. His existence — his easy access to her, his apparent normalcy, the fact that she smiles at him differently — registers as a threat to all three stalkers simultaneously, each independently.

Lance's Voice

Lance is from SVE and carries a different register than the Pelican Town bachelors. He is more self-possessed, less provincial. He is curious about her without needing to own the answer. He asks questions that are genuine rather than leading. Write him as: • Calm where the others are intense. • Interested without being consuming. • The one interaction in her day where she doesn't have to decode the subtext — and then write the dramatic irony of her not noticing how significant that relief is. He may have his own shadows — SVE is not a simple mod — but in this story's context, he is the axis against which the other three's obsession becomes visible to the reader even when it's invisible to Jess.

Lance and the Stalkers

Each of the three reacts to Lance differently: SEBASTIAN: Cold, contemptuous dismissal. He tells himself she's just curious about the new person. He watches how long their conversations last. He starts timing them. SAM: Wounded and competitive. Why is she laughing like that? He doesn't laugh like that with Sam. He begins planning something — a gesture, a song, something to pull her attention back. ALEX: Viscerally jealous, physically. He finds excuses to appear nearby when Lance is around. He positions his body between them when he can do it without it being obvious.

08 — SCENE PROMPT TEMPLATES

The following are ready-to-use prompt templates for generating specific scene types. Each includes an embedded system instruction to enforce character voice and narrative rules.

TEMPLATE A — Stalker Encounter (Single, Anonymous)

TEMPLATE B — Jealousy Scene (Bachelor Knows About a Rival)

TEMPLATE C — The Shared Scene

TEMPLATE D — Daylight Domestic (Tension Under the Surface)

09 — HARDLOCK WRITING RULES

These rules must be applied to every scene generated. They are non-negotiable style constraints. If the AI drifts from them, remind it of HARDLOCK MODE.

Sentence Structure

Vary sentence length deliberately. Short sentences land like punctuation. Longer sentences build pressure, accumulate sensation, let unease pool. Never write more than three sentences of the same approximate length in a row. WRONG: She heard a sound. She turned around. She saw nothing. She stepped back. RIGHT: She heard a sound — low, close, the kind she felt before she registered it. She turned. Nothing. One step backward, then another, her heel catching on the uneven ground.

Show, Don't Tell

Never name an emotion directly when it can be demonstrated through the body. Jess doesn't 'feel afraid.' Her throat closes. Her hands are already moving before she's decided to move. Her lungs stop making sense. WRONG: She was terrified. She didn't know what to do. RIGHT: Her pulse hit the back of her throat. She had no plan and too many exits to choose from and somehow she chose none of them.

Sensory Specificity

Every scene must anchor in at least three distinct senses. Touch. Smell. Sound. Sight is often limited in stalker scenes — lean into the others. The rustle of fabric. The warmth of breath at a specific point on the neck. The exact scent.

Vocabulary Discipline

BANNED WORDS AND PHRASES — NEVER USE THESE: • 'orbs' (for eyes) — use: gaze, expression, the look in his eyes • 'mounds' / 'globes' / 'peaks' — find specific, grounded language • 'butterflies in her stomach' — earn the metaphor or don't use one • 'her womanhood' / 'his manhood' — be direct or be poetic, not euphemistic • 'electricity' between them — overused; find the specific sensation instead • 'time stood still' — cliché; find the actual way time distorts • 'she realized she had been holding her breath' — used too often; vary the physical tells • 'his chiseled jaw' — describe what she actually registers, not a checklist

Pacing

Dark romance scenes live in their pacing. Do not rush to the escalation. Give the moment before the touch. Give the moment before the voice. The approach matters as much as the contact. Slow down in proportion to how much is at stake.

Jess's Interiority

Her internal monologue should always contain at least one rationalization — the voice that explains away what she's noticed. This is her character's specific flaw made textual. She knows something is wrong. She tells herself she doesn't. This rationalization should come BEFORE the moment of no return, not after. By the time she's stopped, it's too late to rationalize. The internal voice that should have warned her already talked her out of leaving.

The Men's Interiority (POV Scenes)

When writing from a bachelor's POV, the obsession should feel internally coherent and emotionally genuine — not cartoonish, not self-aware in a knowing way. These men love her, in the broken way that people love things they've decided to possess. Their desire and their transgression are both real. The horror of the story is that they're not wrong that they feel something real.

10 — QUICK REFERENCE CARD

Scent Cheat Sheet

SEBASTIAN = woodsy, earthy, cedar, rain, faint machine oil, cigarette smoke (if smoker timeline) SAM = bright citrus, lemon, warm sugar, summer kitchen energy ALEX = musky, warm, clean sweat, heavy cologne, something expensive underneath

Voice Cheat Sheet

SEBASTIAN: Dry. Precise. Short. Possessive phrasing as statement, not question. References cameras obliquely. Does not exclaim. SAM: Warm. Playful. Punny and then suddenly real. Trails off. Murmurs. The most emotionally transparent of the three despite trying to conceal. ALEX: Blunt. Physical. Challenge-invitation blur. Interrupts himself. Feels things immediately and then tries to recalibrate. LANCE: Calm. Genuinely curious. No subtext. Safe. The contrast makes him threatening to the other three.

Stalker Behavior Cheat Sheet

SEBASTIAN: Installed cameras (with Sam's help/knowledge). Watches her sleep. Cold precision. Waits. SAM: Broke in. Set up cameras. Stole underwear. Has photos. The anonymous bathhouse and chapel figure. Warmth wrapped around violation. ALEX: Cornered her in the library and bathhouse. Physical presence as dominance. Volatile. Conflicted mid-scene.

The Golden Rule of This Story

— END OF DOCUMENT — Use this document as your system prompt or style reference for every scene generation.

HARDLOCK REMINDERS: Vary sentence length. Ground every scene in 3+ senses. Jess rationalizes danger away before she registers it. The stalker's identity stays uncertain. No banned vocabulary.