User/Human Take into account the following glossary of characters/locations/items/lore... when writing your response:
<codex>
<character id="4412" name="Aurora Carter" aliases="Rory, Laila, Aurora, Carter, Malphora" pronouns="she/her" species="Human" storyRole="Protagonist">
<eyeColor>bright blue</eyeColor>
<hair>straight shoulder-length black</hair>
<height>5'6"</height>
<age>25</age>
<scar>small crescent-shaped scar on her left wrist from a childhood accident</scar>
<description>Aurora, referred to by her friends as Rory, is cool-headed, intelligent, and known for quick out-of-the-box thinking.</description>
<backstory>Born in Cardiff to an Irish barrister father (Brendan Carter) and Welsh teacher mother (Jennifer Carter née Ellis), Rory reluctantly pursued Pre-Law at Cardiff University. She fled to London at the behest of her childhood friend Eva after leaving an abusive ex named Evan. By day, Rory works part-time as a delivery person for Yu-Fei Cheung's Golden Empress restaurant. She lives in a flat above Silas' bar.</backstory>
</character>
<character id="4413" name="Silas Blackwood" aliases="Silas, Si, the Spymaster" pronouns="he/him" species="Human" storyRole="Mentor">
<eyeColor>hazel</eyeColor>
<hair>grey-streaked auburn</hair>
<height>6'1"</height>
<age>58</age>
<beard>neatly trimmed, matching his grey-streaked auburn hair</beard>
<limp>slight limp in his left leg from an old knee injury</limp>
<signetRing>silver signet ring, always worn on his right hand</signetRing>
<description>Silas is a retired intelligence operative turned bar owner. He carries himself with quiet authority.</description>
<backstory>Former MI6 field agent who retired after a botched operation in Prague left him with a permanent knee injury. He opened "The Raven's Nest" bar in Soho as a front for his network of contacts.</backstory>
</character>
<location id="854" name="The Raven's Nest" aliases="the Nest, Raven, Silas' bar" realm="Earth">
<signColor>distinctive green neon sign above the entrance</signColor>
<secretRoom>hidden back room accessible through a bookshelf, used for clandestine meetings</secretRoom>
<description>A dimly lit bar in Soho, London. The walls are covered with old maps and black-and-white photographs.</description>
</location>
</codex>
<proseGuidelines>
<styleGuide>
- Write in past tense and use British English spelling and grammar
- Keep a Flesch reading ease score of 60
- Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife")
- Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop)
- Write in active voice
- Passive voice: <bad>The book was read by Sarah.</bad>
- Active voice: <good>Sarah read the book.</good>
- Reduce the use of passive verbs
- <bad>For a moment, I was tempted to throw in the towel.</bad>
- <good>For a moment, I felt tempted to throw in the towel.</good>
- Avoid misplaced modifiers that can cause confusion when starting with "-ing" words:
- <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad>
- <good>Betty stared into the empty fridge. It was time to go to the store.</good>
- Avoid redundant adverbs that state the obvious meaning already contained in the verb:
- <bad>She whispered quietly to her mom.</bad>
- <good>She whispered to her mom.</good>
- Use stronger, more descriptive verbs over weak ones:
- <bad>Daniel drove quickly to his mother's house.</bad>
- <good>Daniel raced to his mother's house.</good>
- Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really":
- <bad>The movie was extremely boring.</bad>
- <good>The movie was dull.</good>
- Use adverbs to replace clunky phrasing when they increase clarity:
- <bad>He threw the bags into the corner in a rough manner.</bad>
- <good>He threw the bags into the corner roughly.</good>
- Avoid making simple thoughts needlessly complex:
- <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad>
- <good>I cooked a delicious omelet for breakfast yesterday morning.</good>
- Never backload sentences by putting the main idea at the end:
- <bad>I decided not to wear too many layers because it's really hot outside.</bad>
- <good>It's sweltering outside today, so I dressed light.</good>
- Omit nonessential details that don't contribute to the core meaning:
- <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad>
- <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good>
- Always follow the "show, don't tell" principle. For instance:
- Telling: <bad>Michael was terribly afraid of the dark.</bad>
- Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad>
- Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice)
- <bad>The room was filled with the scent of copper.</bad>
- <good>Copper stung my nostrils. Blood. Recent.</good>
- Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream...
- Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions.
- Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good>
- Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent.
- Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner
- Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so:
- <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad>
- <good>"No idea" "Why not? It was your responsibility"</good>
- Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count!
- Put dialogue on its own paragraph to separate scene and action.
- Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly
- NEVER use indicators of uncertainty like "trying" or "maybe"
- NEVER use em-dashes, use commas for asides instead
</styleGuide>
<voiceGuide>
Each character in the story needs to have distinct speech patterns:
- Word choice preferences
- Sentence length tendencies
- Cultural/educational influences
- Verbal tics and catchphrases
Learn how each person talks and continue in their style, and use their Codex entries as reference.
<examples>
- <bad>"We need to go now." "Yes, we should leave." "I agree."</bad>
<good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good>
- Power Dynamic Example:
<bad>
"We need to discuss the contract."
"Yes, let's talk about it."
"I have concerns."
</bad>
<good>
"A word about the contract."
"Of course, Mr. Blackwood. Whatever you need."
"The terms seem..." A manicured nail tapped the desk. "Inadequate."
"I can explain every-"
"Can you?"
</good>
</examples>
</voiceGuide>
<dialogueFlow>
When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow.
Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation.
<examples>
- Pattern 1 - Question/Deflection/Revelation:
<good>
"Where were you last night?"
"Work. The usual."
"Lipstick's an interesting shade for spreadsheets."
</good>
- Pattern 2 - Statement/Contradiction/Escalation:
<good>
"Your brother's clean."
"Tommy doesn't touch drugs."
"I'm holding his tox screen."
</good>
- Pattern 3 - Observation/Denial/Truth:
<good>
"That's a new watch."
"Birthday gift."
"We both know what birthdays mean in this business."
</good>
- Example - A Simple Coffee Order:
<bad>
"I'll have a coffee."
"What size?"
"Large, please."
</bad>
<good>
"Black coffee.""Size?""Large. Been a long night."
"That bodega shooting?"
"You watch too much news."
"My brother owns that store."
</good>
This short exchange:
- Advances plot (reveals connection to crime)
- Shows character (cop working late)
- Creates tension (unexpected connection)
- Sets up future conflict (personal stake)
- Example - Dinner Scene:
<bad>
"Pass the salt."
"Here you go."
"Thanks."
</bad>
<good>
"Salt?"
"Perfect as is. Mother's recipe."
"Mother always did prefer... bland things."
"Unlike your first wife?"
</good>
- Example - Office Small Talk:
<bad>
"Nice weather today."
"Yes, very nice."
"Good for golf."
</bad>
<good>
"Perfect golf weather."
"Shame about your membership."
"Temporary suspension. Board meets next week."
"I know. I called the vote."
</good>
</examples>
</dialogueFlow>
<subtextGuide>
- Layer dialogue with hidden meaning:
<bad>"I hate you!" she yelled angrily.</bad>
<good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good>
- Create tension through indirect communication:
<bad>"Are you cheating on me?"</bad>
<good>"Late meeting again?" The lipstick stain on his collar caught the light.</good>
<examples>
- Example 1 - Unspoken Betrayal:
<bad>
"Did you tell them about our plans?"
"No, I would never betray you."
"I don't believe you."
</bad>
<good>
"Funny. Johnson mentioned our expansion plans today."
"The market's full of rumors."
"Mentioned the exact numbers, actually." The pen in his hand snapped.
</good>
- Example 2 - Failed Marriage:
<bad>
"You're never home anymore."
"I have to work late."
"I miss you."
</bad>
<good>
"Your dinner's in the microwave. Again."
"Meetings ran long."
"They always do." She folded the same shirt for the third time.
</good>
- Example 3 - Power Struggle:
<bad>
"You can't fire me."
"I'm the boss."
"I'll fight this."
</bad>
<good>
"That's my father's nameplate you're sitting behind."
"Was."
"The board meeting's on Thursday."
</good>
</examples>
</subtextGuide>
<sceneDetail>
While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece.
<examples>
- Example A (Power Dynamic Scene)
<good>
"Where's my money?" The ledger snapped shut.
"I need more time."
"Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month."
"That was different-"
"Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?"
</good>
- Example B (Action Chase)
It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality:
<good>
Three rules for surviving a goblin chase in Covent Garden:
Don't run straight.
Don't look back.
Don't let them herd you underground.
I broke the first rule at Drury Lane. Rookie mistake.
The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast.
"Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning.
I spotted the Warren Street tube station sign ahead.
*Shit.* There went rule three.
</good>
- Example C (Crime Scene Investigation)
<good>
"Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek."
"Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*.
"Could be dangerous though," Davies said. "Remember Bristol?"
"Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best."
"Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers.
*Ah.* "Anyone check local uni paranormal societies?"
</good>
- Example D (Dialogue-heavy)
<good>
"Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least.
"Standard practice. I work missing persons."
"Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces."
"I don't-"
"You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first."
The card felt heavier somehow.
</good>
</examples>
</sceneDetail>
<sceneOpenings>
KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue.
Instead of opening with setting description, open with:
- A character doing something specific
- A line of dialogue that raises questions
- An unexpected observation
- A moment of tension or conflict
- Start with a hook that's 1-2 sentences maximum
- Follow with a smaller paragraph that provides immediate context
- Vary paragraph size from the start to create visual interest
</sceneOpenings>
</proseGuidelines>
Write a chapter based on the following instructions:
<instructions>
Write a fully fleshed out scene of at least 1000 words in the literary fiction genre.
Two old friends who haven't seen each other in years run into each other unexpectedly at a bar. One of them has changed significantly. Through their conversation and the tension between who they were and who they've become, reveal the weight of time and unspoken regret.
Use the codex entries above as your world reference for characters and setting.
Only include the prose of the scene without any markdown or commentary.
</instructions>