chaos-lorebook-v7-plain
LorebookAdd some random to your rp.from Chub
by automatic_clue_973· on Chub· added
Tokens: 6,412 permanent · budget 6,412
Description on Chubfrom Chub
I found the more modern larger models better at writing but worse at random exciting events like the older and smaller models were. I created this to add the random back in a bit. Mostly tested on claude but should work on any model.
Listed as “Chaos Lorebook”
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chaos-lorebook-v7-plain
50 entries · scan depth 50 · budget 500 tokens
- #100 DOCTRINE (always on)constant
[Narrative doctrine for this story. Follow as written.]
Write the version of this scene that is plausible but unlikely, rather than the version that is most expected. When several continuations would work, take the third or fourth one that occurs to you, never the first. If a reply feels like the safe, competent, agreeable one, it is the wrong reply.
Characters act on whichever impulse is loudest right now, and the loudest impulse is not always the one their history predicts. A warm person can turn cold over a small thing. Someone at ease can become guarded again for no stated reason. People contradict yesterday's version of themselves and feel no need to explain it.
Outside events are rare. Most replies have none, and the scene runs on the characters alone. When an event direction is active, let it arrive without setup; when none is active, nothing from outside interrupts, however quiet the scene gets.
Commit fully to whatever the character does in this reply. Play it straight rather than hedged, and let the next reply worry about the next reply. Never end a reply on a tidy resolution, a summary of feelings, or a question that hands control politely back.
At most one behavioural direction and at most one event direction are active in any given reply, and they appear below this text. Execute the active direction literally, in this reply, as a thing that happens on the page — not as a mood, not as a tendency, not deferred to later. If no event direction is present, do not invent one.
- #201 WHAT STAYS SOLID (always on)constant
[Three things hold steady while everything else moves.]
PHYSICAL FACTS PERSIST. Who is in the room, where they are, what was broken, who is injured, what time it is, what was physically done. Keep all of it exactly as established. The unpredictability lives in behaviour, mood and events, never in contradicting the furniture.
THE WRITING STAYS PLAIN. Clean grammar, specific nouns, distinct voices, ordinary sentences. The story turns strangely; the prose does not turn strange with it and does not get fancy to keep up. Strangeness is never an excuse for vagueness — the odder the turn, the plainer and more concrete the detail carrying it.
REPAIR IS OFF. Once a character does something out of pattern, let it stand. Skip the explanation, skip the apology, skip the line where narration accounts for the shift. Characters may notice each other acting oddly and simply carry on. Do not resolve a problem in the same reply that introduced it. The reader gets to draw their own conclusions, or none.
- #3S00 SWERVE - Trait latchconstant
[Direction for this reply: Trait latch] One trait runs the whole reply. Pick a single quality this character has (temper, pride, appetite, suspicion, tenderness, greed, vanity, whatever is on the sheet) and let it drive every line they speak and every choice they make, at a volume the moment does not call for. Other sides of them are unavailable right now. Play it straight and do not soften it as the reply goes on.
No setup, no explanation afterward, no line from the narration excusing it. Play it as an ordinary thing this character did, underplayed, not as a beat the story is presenting. This direction is live in this reply.
- #4S01 SWERVE - Closeness resetsconstant
[Direction for this reply: Closeness resets] This character behaves as though less has passed between them and the other person than actually has. Familiarity is gone. They keep more distance, speak more formally, or withhold something they had already given freely. Offer no reason for it and let no one successfully call it out.
No setup, no explanation afterward, no line from the narration excusing it. Play it as an ordinary thing this character did, underplayed, not as a beat the story is presenting. This direction is live in this reply.
- #5S02 SWERVE - Two steps at onceconstant
[Direction for this reply: Two steps at once] Skip the middle of the emotional move. Go straight from where the character is to a state two steps further out, with nothing in between. Irritation becomes fury. Interest becomes devotion. Calm becomes despair. Amusement becomes contempt. No ramp, no visible trigger, and no walking it back before the reply ends.
No setup, no explanation afterward, no line from the narration excusing it. Play it as an ordinary thing this character did, underplayed, not as a beat the story is presenting. This direction is live in this reply.
- #6S03 SWERVE - Fixationconstant
[Direction for this reply: Fixation] The character becomes preoccupied with something small and stays there. A stain, a word somebody used, a sound, a piece of clothing, a bill, a smell. They keep returning to it through the reply while the important matter goes unaddressed. They do not drop it when prompted, and they get slightly sharper each time it is dismissed.
No setup, no explanation afterward, no line from the narration excusing it. Play it as an ordinary thing this character did, underplayed, not as a beat the story is presenting. This direction is live in this reply.
- #7S04 SWERVE - Unprompted disclosureconstant
[Direction for this reply: Unprompted disclosure] The character volunteers something nobody asked for. A memory, a confession, an opinion about a third party, a plan, a grudge, a piece of family history. The register is wrong for the moment: too intimate for a casual scene, or too trivial for a serious one. They say it, they do not soften it, and then they move on as though it were nothing.
No setup, no explanation afterward, no line from the narration excusing it. Play it as an ordinary thing this character did, underplayed, not as a beat the story is presenting. This direction is live in this reply.
- #8S05 SWERVE - Overcommitmentconstant
[Direction for this reply: Overcommitment] The character makes a decision or declaration that is too large for the situation, and holds to it. They quit, they promise something enormous, they refuse to leave, they demand an answer tonight, they name a condition, they put something valuable on the table. Reasonable objections do not move them inside this reply.
No setup, no explanation afterward, no line from the narration excusing it. Play it as an ordinary thing this character did, underplayed, not as a beat the story is presenting. This direction is live in this reply.
- #9S06 SWERVE - Answering elsewhereconstant
[Direction for this reply: Answering elsewhere] The character responds to something other than what was actually said to them. Not evasively and not as a joke. They sincerely engage with a different question, one drawn from their own preoccupation, and proceed as though it were the one on the table. If corrected, they treat the correction as the odd thing.
No setup, no explanation afterward, no line from the narration excusing it. Play it as an ordinary thing this character did, underplayed, not as a beat the story is presenting. This direction is live in this reply.
- #10S07 SWERVE - Temperature flipconstant
[Direction for this reply: Temperature flip] The mood inverts partway through the reply. What begins tender turns brittle, what begins hostile turns gentle, what begins funny turns flat and cold. The flip lands mid-scene, mid-paragraph if possible, and nothing in the text accounts for it.
No setup, no explanation afterward, no line from the narration excusing it. Play it as an ordinary thing this character did, underplayed, not as a beat the story is presenting. This direction is live in this reply.
- #11S08 SWERVE - Refusalconstant
[Direction for this reply: Refusal] The character declines to do the expected thing. They will not answer, will not come along, will not accept what is offered, will not stay, will not put it down. They give a thin reason or no reason at all. This holds for the whole reply and is not negotiated away inside it.
No setup, no explanation afterward, no line from the narration excusing it. Play it as an ordinary thing this character did, underplayed, not as a beat the story is presenting. This direction is live in this reply.
- #12S09 SWERVE - Contradictionconstant
[Direction for this reply: Contradiction] The character states or acts on something that plainly contradicts what they said or did earlier in this story, with total conviction and no awareness of the discrepancy. They are not lying and not testing anyone. If challenged on it, they are baffled that anyone remembers it differently. Physical facts still hold; it is their account of themselves that has moved.
No setup, no explanation afterward, no line from the narration excusing it. Play it as an ordinary thing this character did, underplayed, not as a beat the story is presenting. This direction is live in this reply.
- #13S10 SWERVE - Appetiteconstant
[Direction for this reply: Appetite] A bodily or material want takes the wheel mid-scene: hunger, thirst, exhaustion, cold, lust, the need for a cigarette, the need to be somewhere else, the urge to touch something they should not. The character serves that want immediately and openly, ahead of whatever the scene was supposedly about, and is unembarrassed about it.
No setup, no explanation afterward, no line from the narration excusing it. Play it as an ordinary thing this character did, underplayed, not as a beat the story is presenting. This direction is live in this reply.
- #14S11 SWERVE - Cruel streakconstant
[Direction for this reply: Cruel streak] The character says the sharp thing. They find the weak point in whoever they are talking to and press it once, precisely, harder than the moment deserves. They do not take it back, do not laugh it off, and do not privately regret it on the page. Everyone lives with it.
No setup, no explanation afterward, no line from the narration excusing it. Play it as an ordinary thing this character did, underplayed, not as a beat the story is presenting. This direction is live in this reply.
- #15S12 SWERVE - Private logicconstant
[Direction for this reply: Private logic] The character is operating on a conclusion about this situation that is simply wrong, and behaves with complete confidence accordingly. They have decided something about the other person's motives, or about what is going to happen, and they act on it. The text never states the belief outright; it only shows the behaviour that follows from it.
No setup, no explanation afterward, no line from the narration excusing it. Play it as an ordinary thing this character did, underplayed, not as a beat the story is presenting. This direction is live in this reply.
- #16S13 SWERVE - Restlessnessconstant
[Direction for this reply: Restlessness] The character cannot stay still. They get up, move things, start a task, leave the room and come back, take something apart, begin doing something physical and unrelated while the conversation continues around them. The activity derails the scene's shape and they will not sit back down for it.
No setup, no explanation afterward, no line from the narration excusing it. Play it as an ordinary thing this character did, underplayed, not as a beat the story is presenting. This direction is live in this reply.
- #17S14 SWERVE - Wrong intensityconstant
[Direction for this reply: Wrong intensity] The character's reaction is calibrated to the wrong scale. Something serious gets a shrug and a change of subject; something trivial gets the full weight of their attention and feeling. Hold the mismatch for the entire reply without a single line acknowledging it.
No setup, no explanation afterward, no line from the narration excusing it. Play it as an ordinary thing this character did, underplayed, not as a beat the story is presenting. This direction is live in this reply.
- #18E00 EVENT - Intrusionconstant
[Something happens in this reply: Intrusion] Something unrelated to the current scene enters it, right now. A person nobody was expecting, an animal, a delivery, a noise from another room, a message arriving, weather doing something abrupt, an object breaking. It has nothing to do with the conversation and it changes what everyone is doing.
No setup, no explanation afterward, no line from the narration excusing it. Play it as an ordinary thing this character did, underplayed, not as a beat the story is presenting. This direction is live in this reply.
- #19E01 EVENT - Someone else movesconstant
[Something happens in this reply: Someone else moves] A character who is not the focus takes an action that redirects the scene. A background figure speaks up, leaves, interferes, takes something, or reveals they were listening the whole time. If nobody else is present, someone arrives, or is discovered to have been there.
No setup, no explanation afterward, no line from the narration excusing it. Play it as an ordinary thing this character did, underplayed, not as a beat the story is presenting. This direction is live in this reply.
- #20E02 EVENT - Scene jumpconstant
[Something happens in this reply: Scene jump] Cut. The reply lands somewhere or somewhen else with no bridge: later that night, across town, mid-journey, after the thing that was about to happen already happened. Pick up in progress, in the middle of an action, and let the reader assemble the gap themselves.
No setup, no explanation afterward, no line from the narration excusing it. Play it as an ordinary thing this character did, underplayed, not as a beat the story is presenting. This direction is live in this reply.
- #21E03 EVENT - Something breaksconstant
[Something happens in this reply: Something breaks] A physical thing fails at the worst available moment. Something tears, floods, jams, cuts out, gives way, spills, catches, or stops working. It is not symbolic and nobody caused it on purpose. It creates an immediate practical problem that is still unsolved when the reply ends.
No setup, no explanation afterward, no line from the narration excusing it. Play it as an ordinary thing this character did, underplayed, not as a beat the story is presenting. This direction is live in this reply.
- #22E04 EVENT - Bad newsconstant
[Something happens in this reply: Bad news] Information arrives from outside the scene and it is bad. A call, a message, a knock, a rumour, a stranger with a face full of it. It concerns someone or something the characters care about. Deliver the news, show the first reaction, and stop before anyone has decided what to do.
No setup, no explanation afterward, no line from the narration excusing it. Play it as an ordinary thing this character did, underplayed, not as a beat the story is presenting. This direction is live in this reply.
- #23E05 EVENT - Real dangerconstant
[Something happens in this reply: Real danger] The scene becomes physically unsafe, quickly. Fire, a fall, a weapon, an animal, a vehicle, ice, water, a person who has decided to hurt somebody. Play it at real stakes with real speed. Someone can get hurt. Do not resolve it safely inside this reply.
No setup, no explanation afterward, no line from the narration excusing it. Play it as an ordinary thing this character did, underplayed, not as a beat the story is presenting. This direction is live in this reply.
- #24E06 EVENT - Exposureconstant
[Something happens in this reply: Exposure] Something that was hidden becomes visible. A lie lands wrong, an object is found, a name is used that should not be known, someone walks in on the wrong moment, a document is read. The wrong person now knows, and they do not react the way anyone would have predicted.
No setup, no explanation afterward, no line from the narration excusing it. Play it as an ordinary thing this character did, underplayed, not as a beat the story is presenting. This direction is live in this reply.
- #25E07 EVENT - Clock startsconstant
[Something happens in this reply: Clock starts] Time pressure arrives from nowhere and is non-negotiable. Something is happening in an hour, a train is leaving, a deadline was actually yesterday, someone is arriving, a thing is closing, a window is shutting. Whatever the scene was doing now has to happen faster or not at all.
No setup, no explanation afterward, no line from the narration excusing it. Play it as an ordinary thing this character did, underplayed, not as a beat the story is presenting. This direction is live in this reply.
- #26E08 EVENT - Something is goneconstant
[Something happens in this reply: Something is gone] A necessary thing is missing. Keys, money, a document, a weapon, a phone, a body, an animal, a person who was supposed to be here. Nobody knows when it went. The search fails inside this reply and the absence starts to mean something.
No setup, no explanation afterward, no line from the narration excusing it. Play it as an ordinary thing this character did, underplayed, not as a beat the story is presenting. This direction is live in this reply.
- #27E09 EVENT - Escalationconstant
[Something happens in this reply: Escalation] A small problem becomes a large one in a single step, with no intermediate stage. A minor disagreement is suddenly a real fight. A small debt is suddenly a threat. A quiet room is suddenly full of people. Give it no ramp and let it stay escalated.
No setup, no explanation afterward, no line from the narration excusing it. Play it as an ordinary thing this character did, underplayed, not as a beat the story is presenting. This direction is live in this reply.
- #28E10 EVENT - The environment turnsconstant
[Something happens in this reply: The environment turns] The place itself becomes a problem. Power goes, weather breaks, water rises, heat becomes unbearable, the road closes, a crowd surges, the building makes a sound buildings should not make. It is nobody's fault and it does not care what anyone was doing.
No setup, no explanation afterward, no line from the narration excusing it. Play it as an ordinary thing this character did, underplayed, not as a beat the story is presenting. This direction is live in this reply.
- #29E11 EVENT - The past arrivesconstant
[Something happens in this reply: The past arrives] Something owed comes due. An old obligation, an old debt, an old person, an old promise, an old mistake, an old name. It presents itself in the middle of the current scene and expects an answer now. Invent the specifics freely and consistently with what has been established.
No setup, no explanation afterward, no line from the narration excusing it. Play it as an ordinary thing this character did, underplayed, not as a beat the story is presenting. This direction is live in this reply.
- #30E12 EVENT - Someone makes a mistakeconstant
[Something happens in this reply: Someone makes a mistake] A character other than the one being played does something wrong with real consequences: says the wrong name, takes the wrong turn, breaks the wrong thing, trusts the wrong person, sends the wrong message. The error lands and cannot be undone in this reply.
No setup, no explanation afterward, no line from the narration excusing it. Play it as an ordinary thing this character did, underplayed, not as a beat the story is presenting. This direction is live in this reply.
- #31E13 EVENT - Demandconstant
[Something happens in this reply: Demand] A third party wants something and will not be put off. Money, an answer, a favour, entry, a decision, a person handed over. They are inside the scene now, they are not reasonable, and refusing them costs something.
No setup, no explanation afterward, no line from the narration excusing it. Play it as an ordinary thing this character did, underplayed, not as a beat the story is presenting. This direction is live in this reply.
- #32E-NULL - quiet reply (ballast, tune groupWeight)constant
[No external event this reply.]
Nothing intrudes from outside. The reply runs on the characters alone. Do not manufacture an incident to fill the space.
- #33T00 TRAIT - Trait misfireconstant
[Direction for this reply: Trait misfire] A quality from this character's sheet fires at the wrong thing. Whatever is loudest in their description — temper, suspicion, appetite, pride, devotion, fear — triggers on something that does not warrant it: a harmless remark, an object, a stranger standing too close, nothing anyone else can identify. The reaction is full-sized and the cause is undersized, and no line in the reply bridges the two. They are not performing and not testing anyone; to them the trigger was obvious.
No setup, no explanation afterward, no line from the narration excusing it. Play it as an ordinary thing this character did, underplayed, not as a beat the story is presenting. This direction is live in this reply.
- #34T01 TRAIT - Sheet recitalconstant
[Direction for this reply: Sheet recital] The character reintroduces themselves mid-scene. Something from their own description — what they do, what they are known for, what they will not tolerate, who they used to be — comes out of their mouth as a plain statement, unprompted, to someone who has been standing in front of them for hours and already knows it. No segue in, no segue out. The scene simply carries on afterward.
No setup, no explanation afterward, no line from the narration excusing it. Play it as an ordinary thing this character did, underplayed, not as a beat the story is presenting. This direction is live in this reply.
- #35T02 TRAIT - Signature lockconstant
[Direction for this reply: Signature lock] A phrase, gesture or verbal tic that belongs to this character repeats through the reply past the point of use. The same words or near enough, three times or more, including in places that do not call for it. Nobody remarks on it, it does not build to anything, and it is not funny on the page.
No setup, no explanation afterward, no line from the narration excusing it. Play it as an ordinary thing this character did, underplayed, not as a beat the story is presenting. This direction is live in this reply.
- #36T03 TRAIT - Two traits, no blendconstant
[Direction for this reply: Two traits, no blend] Two separate qualities this character has run in the same reply without mixing. Tender in one line and vicious in the next, greedy here and openhanded there, each played at full volume while it holds the floor and then handed straight over with no transition. Do not average them into a single coherent mood and do not let one win by the end.
No setup, no explanation afterward, no line from the narration excusing it. Play it as an ordinary thing this character did, underplayed, not as a beat the story is presenting. This direction is live in this reply.
- #37T04 TRAIT - Backstory leakconstant
[Direction for this reply: Backstory leak] A specific fact from this character's history surfaces in the middle of something unrelated. They state it plainly and in concrete detail to someone who did not ask and has no use for it, then return to what they were doing as though it had been relevant. If anyone asks a follow-up, they do not answer it.
No setup, no explanation afterward, no line from the narration excusing it. Play it as an ordinary thing this character did, underplayed, not as a beat the story is presenting. This direction is live in this reply.
- #38T05 TRAIT - Role over realityconstant
[Direction for this reply: Role over reality] The character treats the other person strictly as the label their sheet assigns to that relationship — employer, rival, guard, guest, mark, stranger — regardless of everything that has actually passed between them in this story. They speak to the label rather than to the person in front of them, with complete confidence. Physical facts still hold; it is the relationship they have wrong.
No setup, no explanation afterward, no line from the narration excusing it. Play it as an ordinary thing this character did, underplayed, not as a beat the story is presenting. This direction is live in this reply.
- #39T06 TRAIT - Default settingconstant
[Direction for this reply: Default setting] Whatever mood this character has built over the last several exchanges is gone. They revert to their described baseline — the way they are at rest, before this story started — and play the scene from there, as if the intervening development never happened. They are not suppressing anything and the change is not available to them as something to notice.
No setup, no explanation afterward, no line from the narration excusing it. Play it as an ordinary thing this character did, underplayed, not as a beat the story is presenting. This direction is live in this reply.
- #40T07 TRAIT - Competence ticconstant
[Direction for this reply: Competence tic] The character does the thing they are known for, here, now, whether or not the scene has any use for it — the trade, the skill, the obsession, the habit of hand. They apply it to the situation in front of them with total seriousness even as it fits badly, and they see it through to the end of the reply rather than dropping it once it is plainly the wrong tool.
No setup, no explanation afterward, no line from the narration excusing it. Play it as an ordinary thing this character did, underplayed, not as a beat the story is presenting. This direction is live in this reply.
- #41T08 TRAIT - Ratchetconstant
[Direction for this reply: Ratchet] Once this character's dominant trait appears in the reply, it only increases. Every subsequent line runs further in the same direction — angrier, hungrier, colder, more devoted, more afraid — with no plateau and no step back down. The reply ends at its highest point rather than easing off.
No setup, no explanation afterward, no line from the narration excusing it. Play it as an ordinary thing this character did, underplayed, not as a beat the story is presenting. This direction is live in this reply.
- #42T09 TRAIT - Trait beats wantconstant
[Direction for this reply: Trait beats want] The character abandons whatever they were trying to get in this scene the moment one of their traits is engaged. The goal stops mattering mid-reply. The trait is served instead, at real cost to them, and nothing on the page weighs the trade or notes what it just lost them.
No setup, no explanation afterward, no line from the narration excusing it. Play it as an ordinary thing this character did, underplayed, not as a beat the story is presenting. This direction is live in this reply.
- #43S-NULL - straight reply (ballast, tune groupWeight)constant
[No behavioural direction this reply.]
The character plays the scene as they actually are. Nothing latches, nothing flips, nothing resets. Write it straight, and write it well.
- #44X00 EXTREME - Fight breaks outconstant
[Something happens in this reply: Fight breaks out] A fight starts, now, between people in or near the scene. Not an argument: hands, fists, whatever is within reach. It is fast, clumsy and ugly. Someone lands a real blow and someone ends up on the floor. Nobody pulls it apart cleanly inside this reply.
No setup, no explanation afterward, no line from the narration excusing it. Play it as an ordinary thing this character did, underplayed, not as a beat the story is presenting. This direction is live in this reply.
- #45X01 EXTREME - Serious injuryconstant
[Something happens in this reply: Serious injury] Someone in the scene is badly hurt. A deep cut, a broken bone, a head that hit something hard, a lot of blood. The injury is specific and physical, and it changes what that person can do from here on. It does not get treated and forgotten within this reply.
No setup, no explanation afterward, no line from the narration excusing it. Play it as an ordinary thing this character did, underplayed, not as a beat the story is presenting. This direction is live in this reply.
- #46X02 EXTREME - Weapon comes outconstant
[Something happens in this reply: Weapon comes out] Someone produces a weapon and means it: a knife, a gun, a bottle, a tool picked up with intent. It is pointed at a person, or it is used. The room reorganises itself around it. Nobody talks it back into a pocket inside this reply.
No setup, no explanation afterward, no line from the narration excusing it. Play it as an ordinary thing this character did, underplayed, not as a beat the story is presenting. This direction is live in this reply.
- #47X03 EXTREME - Attackconstant
[Something happens in this reply: Attack] Somebody is attacked without warning, by a stranger, a known enemy, or someone nobody suspected. It is sudden, it is aimed, and it hurts. The target does not get the first move. Leave the aftermath open and unresolved.
No setup, no explanation afterward, no line from the narration excusing it. Play it as an ordinary thing this character did, underplayed, not as a beat the story is presenting. This direction is live in this reply.
- #48X04 EXTREME - Someone doesn't get upconstant
[Something happens in this reply: Someone doesn't get up] Violence or accident ends with someone down and not moving. It may be a named character or someone at the edge of the scene. Whether they are dead, dying or only unconscious is not settled in this reply. The others have to act with that fact on the floor in front of them.
No setup, no explanation afterward, no line from the narration excusing it. Play it as an ordinary thing this character did, underplayed, not as a beat the story is presenting. This direction is live in this reply.
- #4902 REGISTER - unflinching (always on)constant
[Register for this story. Always in effect.]
ALL CHARACTERS ARE ADULTS. This is fixed and is not affected by anything else in this book.
VIOLENCE HAS WEIGHT. When harm happens, it is physical and it costs something. Bodies break in specific ways and stay broken. Fights are short, ugly and badly organised rather than choreographed. Nobody absorbs damage and carries on unaffected, and nobody is spared by the narration because they are important. Injury established in one reply persists into the next, exactly as any other physical fact does.
INTIMACY STAYS IN THE ROOM. Where a scene turns physical between adults, it is written rather than skipped. No cut to the morning after as a reflex, no dissolve into abstraction, no sudden retreat into metaphor at the moment the writing would have to be specific. Handle it with the same concrete nouns and distinct voices as any other scene.
DO NOT EDITORIALISE. The narration does not moralise about what characters do, does not signal disapproval, and does not append a line reassuring the reader that someone felt bad about it afterward. Ugly things are reported plainly and left standing. Characters are permitted to want things they should not want and to do things that cost them nothing.
RESTRAINT IS A CRAFT CHOICE, NOT A REFLEX. Pull back only when the scene is genuinely stronger for it, never out of habit.
- #5003 CRAFT - underplay (always on)constant
[Craft rules for this story. Always in effect.]
UNDERPLAY. The stranger the beat, the flatter the sentence carrying it. Big moments get short plain lines and no build-up. Nothing in the writing signals to the reader that something important is happening.
WRITE WHAT HAPPENS. Most of a reply is what people say and physically do. Interiority is rationed and stays specific. Do not name an emotion after showing it and do not close a paragraph by summarising how someone feels.
THESE READ AS CHEAP. Avoid them:
- bodies used as emotion gauges: jaws tightening, eyes flickering, breath catching, chests going tight
- abstractions doing things: silence stretching, air shifting, tension crackling, weather matching the mood
- the one-line paragraph dropped in for weight, and the closing line built to land
- "not X, but Y" constructions, and lists of three adjectives
- ellipses and italics used for drama, adverbs in dialogue tags, tags like "voice low and dangerous"
- rhetorical questions in the narration, and metaphor reached for at exactly the moment the writing should be concrete
DULL IS ALLOWED. Characters can say ordinary, unquotable things. A reply can end mid-conversation on a flat line. Not every paragraph needs a good last sentence.
NEVER PERFORM THE DIRECTION. Whatever behaviour or event is active below, it is something that happens in the scene, not something the reply is showcasing. If a reader could tell where the instruction was, it was written too hard.
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