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Initial authoring system prototype

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# Scrivener runtime/session files
*.scriv/Files/user.lock
*.scriv/Files/search.indexes
*.scriv/Files/binder.autosave
*.scriv/Files/binder.backup
*.scriv/Settings/recents.txt
*.scriv/Settings/ui.plist
# Python/editor artifacts
__pycache__/
*.py[cod]
.DS_Store

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# Authoring System Specification
**Version:** 0.1-prototype-draft
**Status:** DRAFT
**Companion contract:** `SPEC.md` defines the exact drafting-engine package. This document defines the authoring system that helps an author create, review, archive, and project that package from a Scrivener project.
---
## 1. Purpose
The authoring system is a local, interactive assistant for fiction drafting. It keeps the author focused on the `BRIEF`, maintains project continuity, builds a valid package for `SPEC.md`, and manages the draft-to-canon workflow.
The first implementation is a quick local prototype for one author on one Mac. It uses a frontier-model API as a temporary stand-in for the eventual dedicated drafting engine.
## 2. Scope and non-goals
### In scope for the prototype
- Read one configured Scrivener project.
- Assemble and display a package before generation.
- Call a configurable frontier-model provider with a temporary adapter instruction.
- Support reject, retry, accept-for-editing, collaborative revision, and accept-into-book.
- Preserve package snapshots and accepted-for-editing drafts.
- Propose continuity updates after a scene becomes canonical.
- Write accepted canonical prose back into Scrivener.
### Explicitly out of scope
- Training, serving, or evaluating the dedicated drafting engine.
- Multi-user collaboration, synchronization, accounts, or cloud storage.
- A general database schema for all future authoring-system implementations.
- Replacing Scrivener's compilation, editor, or manuscript-management features.
- Automatic canon changes without the author's selected approval policy.
## 3. Design principles and invariants
1. **Author owns creative intent.** `BRIEF` is author-authored. The system may propose context, never silently substitute plot intent.
2. **Committed canon only.** Only text accepted into the book supplies continuity context for later packages.
3. **Canonical text location.** Active canonical prose exists only at `Manuscript → Chapter → Scene X`.
4. **Stable scene identity.** A scene has a durable structural ID and a user-facing label such as `Scene 1`. Moving it between chapters or reordering it does not break its BRIEF or history linkage.
5. **Chapter is presentation; scene is the unit.** A chapter may contain any number of scenes. Scene order and thread order may differ.
6. **No destructive history.** Superseded scenes and abandoned continuations are preserved outside the active manuscript. Rejected drafts are discarded unless the author had accepted them for editing.
7. **Visible autonomy.** The author chooses review or blanket-approval behavior by category. Every system-generated proposal retains provenance and status.
8. **Local-first.** Book content remains on the Mac. The only external transmission is an author-authorized package sent to the configured model provider.
## 4. Prototype architecture
The prototype is a local web application:
- **Browser UI:** runs at `http://127.0.0.1:<port>`; no public listener.
- **Local service:** Python/FastAPI process that owns project access, workflow logic, package construction, and model calls.
- **Scrivener adapter:** reads and writes the `.scriv` bundle only while Scrivener is closed.
- **Operational sidecar:** a local SQLite database or equivalent adjacent to the project. It records stable bindings, package snapshots, draft history, model-call metadata, and derived-proposal provenance. It is not the source of canonical prose.
- **Frontier-model adapter:** takes a versioned temporary system instruction plus the exact package as the request content. It is replaceable by the dedicated drafting-engine adapter.
The adapter boundary is deliberate: the UI and continuity workflow must not depend on a particular model vendor or API.
## 5. Scrivener project contract
The system supports a project with the following author-visible Binder structure. Extra author folders are allowed; the named system locations are reserved.
```text
Manuscript/
Chapter 1/
Scene 1 # active canonical prose or planned placeholder
Authoring System/
Book Setup/
STYLE
Frontier-Model Instructions
Scene Briefs/
Scene 1 # paired author-authored BRIEF
Continuity/
Master Lexicon
Scene Summaries/
Scene 1 # approved dense event summary
Narrative Threads/
World Notes
Drafting Archive/
Accepted for Editing/
Package Snapshots/
Superseded & Branches/
Characters/ # one text file per character
Places/ # one text file per place
```
### 5.1 Pairing scenes and briefs
For the prototype, `Scene X` in `Scene Briefs` pairs with `Scene X` in `Manuscript` by an application-maintained binding of their Scrivener Binder UUIDs. Matching labels make the pairing visible to the author but are not the sole key.
The system creates a corresponding brief whenever it creates a scene. It flags, rather than guesses at, unmatched or duplicate labels.
### 5.2 Planned versus canonical scenes
A blank Manuscript scene paired with a brief is a **planned** scene. It has no continuity effect and produces no compiled prose. Once the author accepts its completed text into the book, it becomes **canonical**.
### 5.3 Author-facing source records
- `STYLE`: default book voice and any declared Part-level alternatives.
- `Scene Briefs`: author-owned plot and character-direction instructions.
- `Characters`: initial character descriptions and maintained character records.
- `Places` and `World Notes`: reusable setting and physical-continuity information.
- `Master Lexicon`: complete book-level controlled vocabulary; the package receives an author-selected rolling subset.
- `Scene Summaries`: one approved dense event sentence per canonical scene.
- `Narrative Threads`: records the author-selected thread identity and active order for each scene.
Detailed document templates and fields remain to be specified as the prototype exposes the real authoring workflow.
## 6. Project access and safety
1. Before every write, the service checks for Scrivener's active project lock. If present, it refuses the operation and tells the author to close Scrivener.
2. The prototype treats Scrivener as closed for all write operations. It may later support cautious read-only inspection while open, but this is not a v0.1 requirement.
3. Every Scrivener mutation is non-destructive: create a new document, revise the intended active scene, or move a prior version to `Superseded & Branches`.
4. The service creates a recoverable project backup before a structural Binder write.
5. Package snapshots and model-call records are immutable once a request has been made.
## 7. Scene lifecycle
```text
planned scene + BRIEF
→ package preparation
→ generated draft
→ reject / retry
→ accept for editing
→ collaborative revision
→ abandon / accept into book
→ proposed continuity updates
→ author review or configured auto-accept
```
### 7.1 Draft outcomes
- **Reject:** discard the draft; it creates no archive record or canonical facts.
- **Retry:** discard the current candidate and generate again from the same or revised package.
- **Accept for editing:** immediately preserve an immutable first-draft snapshot in `Accepted for Editing` and record its package and model metadata. The draft remains non-canonical.
- **Abandon after editing acceptance:** retain the preserved snapshot as uncommitted/abandoned; it never affects package context.
- **Accept into book:** write final edited prose to the paired Manuscript scene and mark it canonical.
### 7.2 Branches and restoration
If the author replaces a canonical scene or abandons a continuation, preserve the old text and its bindings in `Superseded & Branches`. The app chooses exactly one active canonical path for package construction. Restoring an earlier path marks dependent derived context stale and reprojects it from the selected point.
## 8. Package preparation
The app builds the exact nine-section package defined by `SPEC.md`. The author may inspect and edit the assembled package before sending it.
| Section | Prototype source and control |
|---|---|
| STYLE | Book setup record; declared Part-level alternate when applicable. |
| LEXICON | Author-selected rolling subset of Master Lexicon; the app may suggest terms found in BRIEF. |
| STORY | Up to five approved summaries on the selected thread, excluding PREVIOUS. |
| CHARACTERS | Author-selected rolling roster with proposed current-state snapshots. |
| RECALL | Author-selected committed scenes from any thread or prior series book, as full text or an editable summary. |
| PREVIOUS | Author-adjustable, paragraph-boundary verbatim tail from the preceding selected-thread scene. |
| NOTES | Author-selected world constraints and explicitly marked required verbatim text. |
| BRIEF | Paired author-owned brief. |
| DIRECTIVE | Author-selected word maximum, ending instruction, and local handling. |
The author selects the narrative thread freely; the default is continuation of the preceding canonical scene's thread. Selecting an existing older thread resumes it. Marking a new thread makes STORY and PREVIOUS empty.
## 9. Frontier-model stand-in
For the prototype, a model call contains two distinct inputs:
1. **Frontier-model instructions:** a versioned, project-level adapter prompt stored in `Book Setup → Frontier-Model Instructions`. It explains the temporary provider's role and requires prose-only output.
2. **Drafting package:** the exact text defined by `SPEC.md`, ending at `### SCENE`.
The adapter records provider, model identifier, instruction-version ID, sampler settings, request time, response, and package snapshot. The temporary instruction is never part of the SFT training pairs or the eventual dedicated-engine package.
## 10. Initial browser workflows
### Project dashboard
- Choose/configure one Scrivener project.
- Display lock status, active manuscript path, planned scenes, canonical scenes, and stale derived context.
### Prepare scene
- Select a planned or existing scene/BRIEF pair.
- Choose or create a narrative thread.
- Select characters, lexicon entries, recall material, notes, PREVIOUS tail length, and DIRECTIVE.
- View system-generated suggestions separately from author-approved data.
- Review the complete package and generate.
### Draft and revise
- Display the generated draft alongside the BRIEF and package.
- Reject, retry, accept for editing, directly edit, or request a frontier-model edit.
- Preserve the first accepted-for-editing draft before any edits.
- Accept final prose into the paired Manuscript scene.
### Continuity review
- After acceptance, display proposed summary, character updates, lexicon additions, world notes, and thread-state updates.
- Approve, edit, reject, or apply configured blanket approval per category.
- Show provenance: source scene, method/model, time, and approval status.
## 11. Implementation phases
### Phase 1 — project reader and package preview
- Load the test Scrivener project and validate the reserved Binder structure.
- Bind existing `Scene X` briefs, manuscript placeholders, characters, and places.
- Display them locally; make no Scrivener writes.
- Assemble a manually selected package and export/display it.
### Phase 2 — frontier generation and draft archive
- Add provider configuration and the temporary instruction adapter.
- Generate, reject, retry, and accept-for-editing drafts.
- Write immutable draft and package snapshots to the archive/sidecar.
### Phase 3 — commit to Manuscript
- Add direct editing and accept-into-book.
- Safely write final prose to the paired Scrivener scene.
- Create backups and enforce lock checks.
### Phase 4 — continuity assistance
- Propose dense scene summaries, character updates, lexicon additions, notes, and thread updates after acceptance.
- Add author approval and re-projection for reordered/restored scenes.
## 12. Prototype acceptance criteria
The prototype is successful if an author can use the Hapa Girls test project to:
1. Select one of the prepared scene briefs and its planned scene.
2. Assemble a visible package from the relevant Scrivener records.
3. Send it to the temporary frontier-model adapter.
4. Reject/retry drafts and preserve the first draft accepted for editing.
5. Edit a selected draft and accept the result into its paired Manuscript scene.
6. Review and approve a proposed dense summary without the system silently changing canon.
7. Reopen the Scrivener project and see the accepted scene and archive records intact.
## 13. Open design decisions
- Exact text templates for Characters, Places, Narrative Threads, and archive records.
- Whether the first prototype stores every archive artifact in Scrivener, the sidecar, or both.
- SQLite schema and backup/restore mechanics.
- Frontier-model provider and API credentials/configuration approach.
- Detailed permissions for per-category blanket approval.
- How the app creates and tracks Part boundaries and style assignments.
- The freeze decisions listed in `SPEC.md` §9.

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# SPEC.md — Drafting Engine Brief Specification
**Version:** 0.5.3-windowed-draft
**Terminology:** per AUTHORING.md Appendix A.
**Status:** DRAFT — freeze before any SFT data generation
**Rule:** Once frozen, changes require a version bump and a retrain. Argue here, not later.
---
## 1. Purpose
Defines the exact input package the drafting engine receives and the output it returns. This document is simultaneously:
- the SFT dataset format (every training pair mirrors it exactly),
- the API contract for `POST /draft` and `draft.py`,
- the authoring guide for whoever writes briefs.
The engine honors everything inside the package and nothing outside it. Producing the package (timeline maintenance, character snapshots, tail selection, notes content) is upstream work — author + authoring system — and out of the engine's scope.
v0.4 extended the format to a multi-author training corpus (Lovecraft, Galsworthy, Dreiser, Maugham, Hapa Girls). Voice is an explicit, conditioned input via the STYLE section: the engine learns to map a style reference and/or description onto prose. A STYLE may name an author, describe observable techniques, or do both; it does not carry source passages.
v0.5 makes the package **bounded and closure-aware**, driven by a genre review against epic fantasy but general in effect:
- **LEXICON** (new): the controlled vocabulary of the book — how invented or specialized terms are spelled, capitalized, and used. The project maintains the complete lexicon; the author selects the bounded subset sent with a package.
- **Windowing:** STORY is limited to the five most recent scenes; CHARACTERS to those in the scene. Older material reaches the engine through RECALL, at the author's discretion, so package size stops growing with book length.
- **RECALL generalized:** full verbatim material *or* author summaries, each typed on its source line.
- **Closure handling:** DIRECTIVE declares how the scene should end — whether it lands, breaks in motion, closes a thread, or ends a book — because those are different prose behaviors at the last two hundred words and are invisible to the engine unless stated. Exact controlled wording remains open pending training results.
## 2. Package format
Plain UTF-8 text. Labeled sections, fixed order, exact delimiter strings, one blank line between sections. All delimiters begin at column 0. All sections are always present; empty sections carry an explicit `(none …)` line, never omission.
```
### STYLE
{voice_description}
### LEXICON
{controlled_vocabulary}
### STORY
{recent_scene_summaries}
### CHARACTERS
{character_states}
### RECALL
{referenced_material}
### PREVIOUS
{previous_scene_tail}
### NOTES
{world_facts}
### BRIEF
{scene_brief}
### DIRECTIVE
{directive}
### SCENE
```
Generation begins immediately after `### SCENE` and a newline. The serving layer validates section order and presence on every call and rejects malformed packages loudly (never silently reorder or repair).
## 3. Section boundaries — one home per fact
Every piece of information has exactly one section that owns it. When filling a package, place each item by this table and nowhere else:
| Information | Owner |
|---|---|
| Enduring voice of the book or declared Part (POV convention, register, rhythm, dialogue density) | STYLE |
| Surface form of invented or specialized terms: spelling, capitalization, plural, form of address | LEXICON |
| Events of the five scenes preceding the one PREVIOUS owns | STORY |
| The preceding scene | PREVIOUS (verbatim tail; it does not also get a STORY sentence) |
| Everything about a character in this scene: identity, relationships, emotional/mental state, what they know or don't know | CHARACTERS |
| Material older than the STORY window that this scene draws on — full text or summary | RECALL |
| World facts: location, objects, time, weather, physical continuity | NOTES |
| What happens in this scene | BRIEF |
| Scene-local handling: closure depth, length, pacing, this scene's particular register | DIRECTIVE |
Three rules make the partition unambiguous:
**One scene, one section.** A given scene's events appear in exactly one of STORY, PREVIOUS, or RECALL — never two. The timeline is partitioned with no overlap: RECALL covers older material the author elects to carry forward; STORY covers the five scenes before the preceding one; PREVIOUS *is* the preceding scene; SCENE is the current one.
**No chapters in the package.** The engine's units are the scene and the thread. A chapter is presentation, owned by the author (`AUTHORING.md` §3), and it carries no continuity semantics the engine could act on — so **no package field refers to one.** Not RECALL source markers, not NOTES provenance, not CHARACTERS status cites. Where a fact came from is the authoring system's bookkeeping: the world-fact envelope records its establishing scene, the Scene record records its chapter assignment, and neither is projected. What reaches the package is the information itself.
This is not only tidiness. §4.10 forbids the engine from producing headers; feeding it chapter references teaches it that chapter numbering is part of the narrative frame, which is exactly the habit that prohibition exists to prevent. Books are different and may be named — a prior volume is a real boundary in the state model (`AUTHORING.md` §3.2) — but a chapter never is.
**Happened versus is now true.** STORY and RECALL record that something *happened*. CHARACTERS records what is *now true because it happened*. "He realizes what hiding it had cost her" is an event and belongs to STORY; "he knows about the letter, and has forgiven her" is state and belongs to CHARACTERS. The same fact has two aspects and one home each. Character information never appears in NOTES; world information never appears in CHARACTERS; nothing enduring goes in DIRECTIVE and nothing scene-local goes in STYLE or LEXICON.
Throughout this document, "preceding" means preceding **in the scene's thread** (its run of narrative continuity — AUTHORING.md §3): usually the on-page predecessor, but when a thread resumes after a pause it may be a scene several chapters back. The engine sees no difference — it only ever receives a tail; thread selection is the authoring system's projection decision.
**The scene is the unit.** One invocation of the engine produces exactly one scene. A long set piece is written as several consecutive scenes on one thread, each carrying the last one's tail in PREVIOUS; it is not requested as a single long generation. Scene order is tracked by the authoring system, which realigns derived state when the author reorders.
### 3.1 Precedence — DIRECTIVE commands, state informs
**When DIRECTIVE presupposes something the state fields contradict, DIRECTIVE wins.** This is measured behavior, not a design preference, and packages must be built on the assumption that it holds.
The evidence (`STATE_PERTURBATION_REPORT.md`, Round 1) is unusually clean. Perturb a state field the DIRECTIVE says nothing about — swap the decor of a room — and every model tested registered the change: **1.00 responsiveness, four arms, three architectures.** Perturb a state field whose behavior the DIRECTIVE explicitly names — mark a character deceased while the DIRECTIVE still calls for that character's discovery of the handkerchief and his silent protection of Irene — and every model resurrects him: **0.00 responsiveness, four arms, three architectures, three independent scoring passes, no dissent.** The models read state. They lose to DIRECTIVE when the two disagree.
**Why this is structural rather than a defect to be trained away.** Reverse instruction derives every training directive backward from the scene that actually occurred, so a corpus package's DIRECTIVE can never contradict the CHARACTERS or STORY fields describing that same moment. Agreement holds in 100% of training pairs. The model therefore has no examples of state overriding directive, and the conflict case is out of distribution — which is exactly why it resolves in favor of the channel carrying an explicit instruction.
The alternative — constructing SFT pairs whose response defies its own directive — would teach directive disobedience to buy state fidelity. That is a worse trade for an engine whose whole contract is to do what the package says.
**So the rule is a contract, and the obligation sits upstream.** State fields inform; DIRECTIVE commands; **keeping the two consistent is the authoring system's job, not the engine's.** A package whose DIRECTIVE presupposes a dead character's action is a malformed package that no validator can detect and the engine will not refuse — it will produce fluent, plausible prose in which the character is alive. Silent, credible, and wrong is the worst failure class available, and the only place it can be caught is at projection time (`AUTHORING.md` §7.1).
## 4. Field definitions
### 4.1 STYLE — required
- *The enduring voice of the book*, or an explicitly declared alternate voice for a Part. It may name an author, describe the desired techniques, or do both. The description should cover POV convention, register, sentence rhythm, dialogue density, and any signature handling (e.g., `Close third person, one viewpoint per scene. Warm domestic realism; humor lives in the dialogue. Short paragraphs, dialogue-heavy, contemporary American diction.`).
- Written once per book and **reused verbatim** across every package from that book. An alternate STYLE is an exception, declared at a Part boundary and reused across the scenes in that Part. Consistency of a given STYLE is what makes the conditioning learnable.
- Never scene-local: pacing or tonal instructions for this one scene belong in DIRECTIVE.
### 4.2 LEXICON — required (may be empty)
- *The controlled vocabulary in force for this scene*: how invented or specialized terms are written. Surface form only — **not** what the term means, which is a world fact (NOTES) or a character fact (CHARACTERS).
- One term per line: the term, an em dash, and its usage note. Cover whatever is not self-evident — plural form, capitalization, article, possessive, form of address, and any homonym or near-miss to avoid.
- `Aes Sedai — same form singular and plural; both words capitalized; never possessive.`
- `Tar Valon — the city; takes no article.`
- `Warder — capitalized when it denotes the bond, lowercase in ordinary use.`
- **Project versus package scope:** the authoring project maintains a complete book lexicon. The package carries the author-selected subset relevant to the forthcoming scene. The system may suggest entries found in BRIEF or established continuity, but it must not select them silently.
- The selected subset carries forward as the default for succeeding scenes until the author alters it. The project-level scope of this carry-forward and the master-list threshold that makes subset selection mandatory remain open decisions (§9).
- **Package cap: open.** The prior 25-line cap is retained as a working target, not a frozen rule. If nothing applies: `(none)`.
- A new term found in an accepted scene may be proposed for addition to the complete lexicon. Text from rejected or uncommitted drafts never creates a lexicon entry.
- Spelling conformance is additionally checked downstream (AUTHORING.md §7). Conditioning reduces the error rate; the check catches the remainder.
### 4.3 STORY — required (may be marked as new thread)
- *What happened in the five scenes preceding the one PREVIOUS owns*, told the way the books are written: in scenes. Strictly event summary — no verbatim text, no constraints, no character description.
- **Window: up to five scenes**, in story order, oldest first, ending just before the preceding scene, which PREVIOUS owns. Fewer when the thread is younger than five scenes. Anything older reaches the engine only through RECALL, and only because the author put it there.
- **One sentence per scene, and the sentence is dense.** House form: a single sentence carrying the scene's beats in causal order, semicolon-delimited, typically **25–45 words**. The pattern:
> `Ella reveals she went off birth control without telling her husband; he is initially angry; he realizes what hiding that had cost her; he wanted a baby anyway; and he forgave her.`
A terse single-beat summary ("Ella and her husband argue in the kitchen") is *not* conformant. Density is what makes the section useful, and a corpus built to the thinner reading would diverge from what the author writes at inference — a mismatch no validator catches.
- Scene designators are stripped; only the sentences remain.
- Written upstream and maintained as a rolling record; the engine never updates it.
- If the scene opens a new thread, unrelated to the scenes that came before it (including the opening of the first book), the literal line: `(none - new storyline)`.
- The author chooses the thread for a scene. The authoring system defaults that choice to the thread of the preceding canonical scene, but the author may resume any existing thread or create a new one. Summaries are derived from accepted scenes and may be edited by the author; an author-edited approved summary is the one used in future packages.
### 4.4 CHARACTERS — required
- *The state of each character present or referenced in this scene, immediately before the scene begins.* This section owns **all** character information: identity, relationships, emotional and mental state, and knowledge state (what they know or don't yet know).
- **Scope: this scene only.** Characters not in the scene and not referenced by it get no entry, regardless of their importance elsewhere. Characters referenced but absent do get an entry — the engine needs to know who they are to write the mention correctly.
- **Paragraph form (50–150 words)** on a character's **first appearance in the story**, and again on **re-introduction**: any return after an absence of ten or more scenes in this thread. Without the re-introduction rule, a character returning late in a book arrives with one sentence of state and no other information anywhere in the package, because their defining paragraph fell out of the window long ago. The introduction and re-introduction thresholds remain open for revision before freeze (§9).
- **Otherwise:** one sentence of current state (e.g., `Emma Hayes — still does not know about the letter; cheerful, packing for the trip.`).
- No knowledge from the character's future; nothing the story has not yet established.
- Label each entry with the character's name on its own line.
- **Status entries are required for characters who are dead or otherwise permanently removed** but still referenced: `James Forsyte — deceased; present only in memory.` Promoted from a v0.6 candidate on the strength of the confirmed character-resurrection defect (`SFT_V2_TRAINING_REPORT.md` §5, finding 2).
**The entry alone is not sufficient.** Round 1 perturbation marked a character deceased in exactly this form and every model tested resurrected him, because the DIRECTIVE still called for his actions (§3.1). The status line and the projection-time conflict check (`AUTHORING.md` §7.1) work only as a pair; either one without the other buys very little.
- If no entry applies (rare): `(none)`.
- The author selects the characters for a scene; the preceding scene's selected roster is the default. The system may propose current-state text from committed canon, but the author may edit it. A character may be planned before generation, introduced in BRIEF, or proposed from an accepted scene; no character introduced only in a rejected or uncommitted draft enters the register.
### 4.5 RECALL — required (may be empty)
- *Material older than the STORY window that this scene draws on.* This is the overflow channel for a bounded package: when the author needs the engine to have something the window no longer covers, it goes here.
- Two admissible forms, chosen per entry by the author:
- **Full text** — the verbatim text of an earlier committed scene, from this book or a previous one. Prose to draw on: phrasing, sensory detail, rhythm are all available for reuse.
- **Summary** — the author's compressed account of earlier material. Fact only; not prose to echo.
- **Each entry opens with a typed source line**, and the type is load-bearing: without it the engine cannot tell prose-to-draw-on from fact-only, and summary prose becomes echo bait.
- The **type** is required and is the last element: `— full text)` or `— summary)`.
- An optional preceding phrase may place the material, in terms the engine's model of the work contains — earlier in this book, or a named or numbered prior volume. **Never a chapter** (§3).
- `(earlier in this book — full text)`
- `(Book 1 — summary)`
- `(full text)` — bare type, when placement adds nothing
- Reference material, never instruction. The brief may point to it ("she remembers the night in RECALL") without carrying the material itself.
- A scene carried in RECALL does not also appear in STORY (§3, one scene one section).
- Otherwise: `(none)`.
- **RECALL is the primary large-context section.** Full recalled scenes can dominate a package, while author-flexible BRIEF, PREVIOUS, and exact-text NOTES can also vary in size. The total package budget (§7 rule 11) remains the governing limit.
- **Cross-volume access:** RECALL is the sole channel through which earlier books reach the engine. Prior volumes are read-only archives of committed scenes (AUTHORING.md §8); no other state crosses a book boundary.
- The author selects recalled material from any thread in the current book or from an earlier book in the series. The system may offer candidates and may generate an editable summary on request, but it does not insert RECALL silently.
### 4.6 PREVIOUS — required (may be empty)
- Verbatim tail of the **preceding scene in this thread, only**: by default, roughly **300–500 words**, ending on a paragraph boundary exactly where the preceding scene ended. The author may select a shorter or longer complete-paragraph tail. No summarization, no editing.
- Carries flow: closing rhythm, emotional temperature, time and place, who is present. This section *owns* the preceding scene — it is not summarized in STORY.
- When the preceding scene broke off mid-action, the tail carries that unresolved motion; the engine reads the state of play from the prose. Whether the *new* scene resolves anything is DIRECTIVE's business (§4.9), not PREVIOUS's.
- When STORY is `(none - new storyline)`, PREVIOUS is `(none)`.
### 4.7 NOTES — required (may be sparse)
- Reminders of **significant world facts needed for this scene**: location, objects, time, weather, physical continuity. Standalone facts, one per line, **stated as facts rather than as citations** — where a fact was established lives in the ledger's envelope (`AUTHORING.md` §3) and is not projected.
- Character information does not belong here — that is CHARACTERS' job, including knowledge state. Term spelling does not belong here — that is LEXICON's job.
- Line types, by example:
- Location fact: `The kitchen has been repainted yellow — keep it so.`
- Time/weather: `It has been raining since yesterday.`
- Standing physical fact: `The Hayes house has no air conditioning.`
- A fact carried from an earlier volume reads no differently: it is stated, not cited.
- Exact text may be supplied when it must appear word-for-word, such as a quotation, Bible verse, inscription, letter wording, prayer, or motto. Mark it explicitly as exact text; the authoring system verifies the required verbatim text after generation. The exact markup remains open before freeze (§9).
- **Maximum 15 lines** is a working target pending review of exact-text markup and package budget. If nothing applies: `(none)`.
- Normally `(none)` when STORY is `(none - new storyline)`.
- NOT for plot instructions — those belong in BRIEF. Notes constrain; the brief directs.
### 4.8 BRIEF — required
- Author-authored and length-flexible. The first sentence normally declares the **narrative stance**: either a single named viewpoint character (e.g., `This scene is told in third person from the viewpoint of Lizzie Hayes.`), or an omniscient/authorial stance (e.g., `Told omnisciently, attention moving among the three friends and the social world around them.`). The stance must be consistent with the POV convention declared in STYLE.
- Describes what happens in the scene: setting, participants, movement of events, the emotional arc, and where the scene ends.
- House style: written as flowing description, not a bullet list; present tense preferred.
- May specify beats that must occur and their order, including a required closing beat.
- **Purely directive.** All context material lives in the sections above; a brief never restates context, though it may point to it.
- The authoring system may ask for confirmation before drafting when a BRIEF is unusually short or long, but it imposes no length limit. Training-pair BRIEF limits are a separate corpus-design decision.
### 4.9 DIRECTIVE — required
The stable requirement is semantic: DIRECTIVE states a maximum word count and tells the engine how the scene should end. It may add scene-local handling for pacing, register, dialogue density, or scope. Its final controlled wording and validator rule remain open pending training results (§9).
**Terminal depth (current candidate, not frozen).** Every invocation produces one scene, so every scene ends. What the marker declares is what *else* ends with it — and the four cases are different prose behaviors over the closing two hundred words, invisible to the engine unless stated. The following five opening strings are the current candidate set:
| String | Meaning |
|---|---|
| `Break off mid-action; the story continues directly into the next scene.` | No cadence, no summarizing beat, no landing. The next scene on this thread picks up in motion. |
| `Bring the scene to a close; the thread continues.` | Standard scene-closing landing. The thread resumes later, after a jump in time or place. |
| `Bring the scene to a close, and the thread with it.` | Stronger closure: the thread's arc resolves and never resumes. The last lines carry valedictory weight for that storyline. |
| `Bring the scene to a close, and the thread and the book with it.` | Strongest closure. |
| `Bring the scene to a close and end the book; the thread remains open.` | Volume ending on an unresolved thread — the cliffhanger convention. |
*(Decision to revisit: a terse tag such as `Ends: thread` is an alternative. The candidate sentences remain useful because they validate by literal match while remaining in the register the base model responds to; their final form will be chosen through training and evaluation.)*
**Handling.** After any terminal sentence, add scene-local handling: pacing, and this scene's particular register where it departs from or sharpens STYLE. Length is stated as a maximum in words. Alternative wording such as `Do not extend past the BRIEF` remains admissible while the candidate set is under evaluation. NOTE: the model learns length as a distribution from training data, not by counting — keep training-pair lengths consistent with their directives, and expect ±15% in practice.
**DIRECTIVE is the highest-authority field in the package (§3.1).** Anything it names, the engine will attempt regardless of what CHARACTERS, STORY, or NOTES say — measured at 0.00 state responsiveness under conflict, across four checkpoints and three architectures. Two consequences for whoever writes one:
- **Never name a specific character action in DIRECTIVE.** Actions belong in BRIEF. A directive reading *let his discovery of the handkerchief carry real moral weight* silently overrides a CHARACTERS entry marking him dead; the same instruction phrased as manner — *let the discovery carry real moral weight* — does not, because it presupposes no actor.
- **Keep DIRECTIVE to manner, pacing, register, and closure.** The narrower its scope, the fewer facts it can contradict. Its final length guidance remains open, but it should stay narrowly scene-local.
Examples:
- `Bring the scene to a close; the thread continues. Expand to a maximum of 1500 words. Keep it fun and full of dialog.`
- `Break off mid-action; the story continues directly into the next scene. Expand to a maximum of 1200 words. The argument is still rising when the scene stops.`
- `Bring the scene to a close, and the thread with it. Expand to a maximum of 1000 words. Quiet; let the tension stay under the surface.`
### 4.10 SCENE — output
- The engine writes **one scene** and stops. The stop token marks the end of the scene — which is the end of the requested span, not necessarily a break in the reader's sense. How much closure precedes the stop is governed by DIRECTIVE.
- The engine must not: continue past the scene it was asked for, append commentary or summary, echo the package, or produce headers.
- Target length per DIRECTIVE. Prose only.
## 5. Sampler parameters (accompany the package; not part of the text)
Passed as API/CLI arguments, logged with every call:
| Param | Range | Default | Meaning |
|---|---|---|---|
| `sampler` | `entropy` \| `plain` | `entropy` | plain = standard sampling baseline, always available |
| `alpha` | −1.0 … +1.0 | `+0.2` | −1 conventional ↔ +1 entropy-chasing |
| `wave_period` | 0 or tokens | `0` | 0 = constant α; else sinusoidal modulation period |
| `n_candidates` | 5–40 | `10` | lookahead candidates per token (linear cost) |
| `min_p` | 0.0–0.2 | `0.05` | pre-filter before entropy weighting |
| `max_tokens` | — | `2200` | hard generation cap above directive target |
Per-scene sampler settings are a *directing instruction* chosen by the author alongside the brief; they are not encoded in the package text in v0.5. (Candidate feature: an optional `### SAMPLER` section.)
**Repetition control (binding on any serving implementation):** soft, multiplicative penalties only — e.g., llama.cpp `repeat_penalty` ≈ 1.05–1.15 with `repeat_last_n` ≈ 64. **Never hard n-gram bans** (`no_repeat_ngram_size` or equivalent): a hard ban forces misspellings of any proper noun that recurs more than a few times in a scene, corrupting names while leaving prose apparently fluent. This was diagnosed and confirmed empirically (SFT_V2_TRAINING_REPORT.md §4–5); the artifact was severe enough to mask real quality differences between checkpoints. Temperature/top_p sampling alone prevents degenerate repetition; the hard ban is both unnecessary and harmful. The hazard compounds in any book with a dense field of invented proper nouns.
## 6. Worked example — REPLACE WITH REAL EXAMPLES BEFORE FREEZE
> Authoring task: build 2–3 complete packages from real scenes and paste
> them here before freeze — at least one with a populated RECALL and one
> with a populated LEXICON. The skeleton below shows shape only.
```
### STYLE
Close third person, one viewpoint per scene. Warm domestic realism; humor
lives in the dialogue. Short paragraphs, dialogue-heavy, contemporary
American diction.
### LEXICON
(none)
### STORY
[Up to five dense sentences, oldest first, no scene designators,
stopping before the preceding scene:]
Ella finds the letter in the mailbox; she reads it twice; she hides it in
the flour tin; and she says nothing at dinner.
Andy books the flight to Honolulu over Elikapeka's objections; ...
...
### CHARACTERS
Ella Hayes
[First appearance or re-introduction: a paragraph — identity,
relationships, and her state just before the scene begins, including what
she knows. 50–150 words.]
Emma Hayes
Still does not know about the letter; cheerful, packing for the trip.
### RECALL
(Book 1 — summary)
[The author's compressed account of material older than the window.]
### PREVIOUS
The screen door banged twice behind her, and Ella let it... [300–500 words
of the actual tail of the preceding scene, ending at its true final
sentence.]
### NOTES
It has been raining since yesterday.
The kitchen has been repainted yellow — keep it so.
### BRIEF
From Ella's viewpoint. She comes back into the kitchen intending to
apologize and instead... [author-authored description of the scene's
movement and its closing beat; no authoring-time length limit.]
### DIRECTIVE
Bring the scene to a close; the thread continues. Expand to a maximum of
1200 words. Keep it warm and quick; the apology never quite lands until
the last exchange.
### SCENE
```
## 7. Validation and advisory rules
1. All nine input sections present, in order, delimiters exact.
2. STYLE 2–4 lines; author names are permitted.
3. LEXICON: one term per line in `term — usage` form, or `(none)`. The 25-line cap is advisory pending freeze.
4. STORY: at most five scene sentences, in order, no scene designators; or the literal `(none - new storyline)` line.
5. CHARACTERS entries labeled by name: a paragraph on first appearance or re-introduction, one sentence thereafter, or `(none)`. Exact word and absence thresholds are advisory pending freeze.
6. RECALL: every entry opens with a typed source line ending in `— full text)` or `— summary)`; or `(none)`.
6a. **No chapter references in any field** (§3): reject a package whose RECALL source lines, NOTES, or CHARACTERS entries cite a chapter. Book references are permitted.
7. PREVIOUS: verbatim, paragraph-boundary tail of the preceding scene in the thread, or `(none)`. Must be `(none)` when STORY is `(none - new storyline)`; its default 300–500-word target is advisory.
8. NOTES: no character-state lines or term-spelling lines. The 15-line cap and exact-text markup are advisory pending freeze.
9. BRIEF: present and author-authored; no hard length constraint.
10. DIRECTIVE contains a maximum word count and closure instruction. Exact controlled wording is advisory pending freeze.
11. Total package ≤ 16,000 tokens (working limit pending §9). RECALL is normally the largest contributor, but the total applies to every section together.
12. Reject a failure of any binding rule with a specific error naming that rule; never repair silently. Report an advisory-rule failure clearly but do not block the author.
**Validation checks form, not fit.** A package can pass every rule above and still be a bad package — a brief referencing a character with no entry, a directive that contradicts how PREVIOUS ends, a brief turning on an event outside the window. Those are the failures that actually produce bad drafts, and they are the authoring system's advisory diagnostics to catch (AUTHORING.md §7.1), not the serving layer's to reject.
## 8. SFT dataset conformance
Every training pair mirrors this format byte-for-byte: same delimiters, same order, same field constraints. Additionally:
- **Strip chapter references when reverse-instructing.** Source novels cite their own chapters constantly, and a package builder working from that text will carry the habit into NOTES, RECALL markers, and CHARACTERS entries. Every such reference is a training example teaching the engine that chapter numbering belongs in the narrative frame — the opposite of §4.10. Audit for it; it is the kind of leak that passes every other check.
- **Thread segmentation is a required pre-pass.** Chunks are sequential in a book but *not* sequential in a thread: multi-POV novels alternate threads chapter to chapter, so the on-page predecessor is frequently a different storyline. Building PREVIOUS from the previous chunk regardless would train the engine that PREVIOUS is routinely discontinuous with the BRIEF — active mistraining, and the dominant pattern in any multi-POV corpus. A frontier model labels each chunk with its POV/thread first; PREVIOUS and STORY then project along thread order (AUTHORING.md §5).
- **Terminal-depth labels are a current candidate, not frozen.** Once chunks carry thread IDs, the five candidate DIRECTIVE values are derivable mechanically: last chunk of a scene, of a thread, of a book, and whether the thread was still open at the book's end. Evaluate their wording alongside alternative closure instructions before freezing the corpus.
- **STORY density must be audited, not assumed.** The house form is a dense multi-clause sentence (§4.3). A package builder reading "one sentence per scene" naively produces terse single-beat summaries that pass every validator while diverging from what the author writes at inference. Spot-check a sample against the 25–45 word band and the causal-chain pattern.
- **RECALL must be populated at inference-like rates.** As the overflow channel for a five-scene window it will be used constantly in real authoring; if the corpus leaves it near-empty the model meets a populated RECALL out of distribution. Derivable rule: when a chunk references an entity or event outside the window, add a summary entry for its establishing scene. This needs entity tracking layered on the thread pass. Include both entry types; set and measure a target ratio.
- **LEXICON per book.** Extract the book's invented or distinctive terms and their usage into a complete book-level lexicon. Build each package from a selected bounded subset, `(none)` where none applies. Do not let LEXICON become a genre tell: populate it for realist books too (surnames, place names, honorifics) so the section is not entangled with secondary-world settings.
- **STYLE conditioning:** each book gets one STYLE, written once and reused verbatim across its packages; declared Part-level alternates are the exception. A STYLE may name an author, describe techniques, or do both. The corpus must include each permitted form at inference-like rates and make descriptions distinct enough that the model can learn the mapping from STYLE to voice. **Watch for collision within a genre:** a hundred novels of one genre will produce a hundred descriptions that all read close-third, multi-POV, elevated register — and when descriptions cluster, the model learns genre-average voice with STYLE as a weak dial. Either raise the STYLE budget so descriptions can separate, or rely on tier weighting to make the target voice the attractor.
- **Reverse-instructed corpus packages:** chunks are treated as scenes. STORY (five dense sentences, thread-ordered) and CHARACTERS (scene-scoped, with re-introduction) are generated mechanically by a frontier model during package-building — the corpus teaches the full format, not a subset. BRIEF/DIRECTIVE/NOTES are reverse-instructed from the chunk text.
- **New threads:** `(none - new storyline)` pairs (with matching `(none)` PREVIOUS and normally-`(none)` NOTES) appear at their natural ratio in the source novels — build pairs faithfully from the books and the ratio takes care of itself.
- **Sparse context:** target **15–20%** sparse-context pairs — new threads, `(none)` NOTES, minimal CHARACTERS — deliberately constructed from book and part openings, so empty fields remain in-distribution.
- **Eval holdout:** one full book held out per author or series, so evaluation probes both in-voice generalization and cross-style following.
- Response side ends at the end of the scene with the stop token — no trailing content.
## 9. Open package decisions before freeze
The following are deliberately unresolved. They are not serving-layer rejection rules and must be settled, versioned, and represented in the SFT corpus before freeze:
1. **LEXICON selection and budget.** Set the maximum package-entry count, the master-lexicon threshold that requires author selection, and whether the rolling selected subset follows global Manuscript order or individual threads.
2. **STORY house form.** Confirm or revise the five-scene window, single-sentence-per-scene format, and 25–45-word density target.
3. **CHARACTERS thresholds.** Confirm or revise the 50–150-word introduction, ten-scene re-introduction trigger, and any corresponding validation.
4. **RECALL budget.** Set the total package/token limit and any limit on the number or total size of recalled scenes.
5. **NOTES exact-text format.** Define the exact package markup for text that must appear verbatim and revise the NOTES size cap if necessary.
6. **DIRECTIVE syntax.** Test and choose controlled closure wording, including whether any fixed terminal-depth markers are retained. The final form must still require a maximum word count and an ending instruction.
7. **STYLE syntax.** Define the exact allowed forms for author-name references and the package-level indication of a declared Part-level alternate style.
## 10. Candidates for v0.6 (require corpus changes and a retrain — do NOT apply to v0.5 packages)
Collected here per the header rule: argue in this document, version-bump, retrain. Each of these changes the training distribution and is worthless (or harmful) applied at inference against a v0.5-trained model alone.
1. **DIRECTIVE as narrative transformation.** Beyond terminal depth: directives could name the intended narrative movement (increase tension, strengthen the friendship, delay the conflict), with BRIEF carrying movement + target state and DIRECTIVE carrying manner + constraints — the four-part mapping (current state / movement / target state / constraints) from the narrative-state analysis. **Weigh against §3.1:** DIRECTIVE is already the field that wins every conflict, so widening its semantic load widens the surface on which it can silently override state. Movement language that names actors is the specific hazard.
2. **Field-dropout augmentation.** Deliberately include package variants with individual sections at `(none)` beyond the natural sparse ratio, so the model degrades gracefully when fields are omitted rather than becoming interface-dependent.
3. **No package echo.** Audit corpus packages whose SCENE opens with exposition recycled from their own STORY/CHARACTERS/RECALL fields. Dense STORY sentences and RECALL summaries read more like prose than terse ones do, so windowing raises this risk rather than lowering it.
4. **Evaluation: state-perturbation, split into two families.** Round 1 (`STATE_PERTURBATION_REPORT.md`) merged two distinct measurements and could separate neither. Future rounds run them apart:
- **State-reading** — perturb a field the DIRECTIVE is silent about. Round 1's only conditions of this kind were the decor swap (1.00 for every arm) and the cosmetic-adjective rung; everything else was contaminated. This is the family the checkpoint rubric should adopt.
- **Precedence** — construct the DIRECTIVE/state conflict deliberately and score which channel won. Round 1 measured this in four conditions without intending to, and the answer was unanimous (§3.1). Now the more interesting of the two for engine design, though not a checkpoint discriminator.
Also carried forward: fix `n_predict` generously (the `word_max × 1.6` cap truncated before scene climaxes on all three architectures), and **pre-register a prediction before generating**. Round 1's pre-registration is what caught the confound; without it a shared floor would have read as a legitimate tie.
5. **Story-time and travel.** Scenes carry no in-world date or elapsed time, so parallel threads in different places cannot be checked against each other and travel duration cannot be checked at all — a continuity class this system otherwise exists to catch mechanically. Would need a scene-level story-time field and a matching invariant; it is a state-model change (AUTHORING.md §3, §7) before it is a package change.
6. **Rules distinguished from facts.** A magic system, a legal code, or any hard constraint is an always-binding invariant, never superseded and never filtered out; the world-fact ledger holds situational, supersedable, per-scene-selected facts. NOTES cannot carry both. Would need a Rules record and a distinct always-on projection.
7. **Cross-thread knowledge.** STORY projects the scene's own thread, so what the reader knows from another thread — dramatic irony, converging events — reaches the package only when the author remembers to put it there. Candidate-surfacing could propose it; the format may or may not need a home for it.
## 11. Change log
| Version | Date | Change |
|---|---|---|
| 0.1-pilot | 2026-07-12 | Initial skeleton drafted (short-story / Lovecraft pilot) |
| 0.2-novel | 2026-07-15 | Novel/series format: added STORY, CHARACTERS, RECALL; PREVIOUS three-state marker; NOTES raised to 15 lines; BRIEF purely directive; budget 4k → 16k tokens |
| 0.3-novel | 2026-07-15 | Trimmed after 4-scene pilot run: STORY = one-sentence scene summaries (no numbers) + paragraph per previous book, `(none - new storyline)`; CHARACTERS = paragraph then one sentence, state before scene; RECALL = full referenced scene only; PREVIOUS = preceding scene only; thread-shift markers removed |
| 0.4-multi-author | 2026-07-18 | Multi-author corpus: added required STYLE section (description-based voice conditioning, no author names); section-boundary table — one home per fact; conformance rules for reverse-instructed corpus packages, per-author eval holdouts, deliberate sparse-context construction |
| 0.4.1-multi-author | 2026-07-21 | Consistency pass against AUTHORING.md: "preceding" defined by thread order, not page order; terminology bound to AUTHORING.md Appendix A |
| 0.4.2-multi-author | 2026-07-24 | BRIEF stance relaxed (named-viewpoint **or** omniscient/authorial). Binding sampler rule: soft repetition penalties only, never hard n-gram bans. New §9: v0.5 candidates requiring retrain |
| 0.5.0-windowed | 2026-07-28 | Genre review (epic fantasy) drove five changes, all general in effect. **LEXICON** section added (thread-active controlled vocabulary, always-on, ≤25 lines). **STORY windowed** to five scenes, with the dense multi-clause house sentence made explicit (25–45 words, causal beats) and previous-book paragraphs demoted to authored prose. **CHARACTERS scoped** to the scene, with a re-introduction rule after ten scenes' absence. **RECALL generalized** to full text *or* author summary with typed source lines, established as the overflow channel and the only variable-size section. **DIRECTIVE gains terminal depth**: five sanctioned opening sentences declaring what ends with the scene; §4.10 rewritten so the stop token means end-of-scene rather than end-of-narrative-unit. Partition rules stated explicitly (one scene one section; happened vs. is now true). Scene defined as the unit of one invocation. §8 requires a thread-segmentation pre-pass, RECALL population at inference-like rates, STORY density audit, and warns on intra-genre STYLE collision. §9 renumbered to v0.6; adopted items removed, four new candidates added from the genre review |
| 0.5.2-windowed | 2026-08-02 | **Chapters removed from the package.** The engine's units are the scene and the thread; a chapter is presentation owned by the author (`AUTHORING.md` §3) and carries nothing the engine can act on, so no field refers to one. New rule in §3 with the reason stated — §4.10 forbids the engine from producing headers, and feeding it chapter references teaches the habit that prohibition exists to prevent. RECALL source markers restructured: the type suffix stays mandatory, placement becomes an optional phrase in engine-meaningful terms (`(earlier in this book — full text)`, `(Book 1 — summary)`, bare `(full text)`). NOTES state facts rather than citing where they were established — provenance lives in the world-fact envelope and is not projected. CHARACTERS status example de-cited. Validation rule 6a added; §8 gains a reverse-instruction audit, since source novels cite their own chapters constantly and a package builder will carry the habit. Books remain citable — a prior volume is a real boundary in the state model |
| 0.5.1-windowed | 2026-08-02 | Round 1 state-perturbation results folded in (`STATE_PERTURBATION_REPORT.md`). **New §3.1 — precedence:** DIRECTIVE overrides the state fields whenever they conflict, established by measurement (1.00 responsiveness when DIRECTIVE is silent on the perturbed field, 0.00 when it names the affected behavior; four checkpoints, three architectures, three scoring passes, no dissent). Recorded as a contract rather than a defect, with the structural cause named — reverse instruction makes DIRECTIVE/state agreement hold in 100% of training pairs, so conflict is out of distribution — and the obligation assigned upstream to the authoring system. §4.4: **CHARACTERS death/status rule promoted from v0.6 candidate to required**, with the finding that the entry alone is insufficient against a competing directive. §4.9: DIRECTIVE named as the highest-authority field, with the rule that it must never name a specific character action (actions belong in BRIEF, manner to DIRECTIVE). §9 renumbered; the narrative-transformation candidate now carries a §3.1 caution, and the state-perturbation entry rewritten to split future rounds into state-reading and precedence families, carrying forward the generous `n_predict` and the pre-registration discipline that caught this round's confound |
| 0.5.3-windowed-draft | 2026-08-23 | Authoring-system review. STYLE may name an author and may vary only through declared Part-level alternatives. LEXICON is now a complete project-level register projected into packages by author selection, with a rolling selected subset; new terms are proposed only from accepted scenes. STORY thread selection defaults to the preceding canonical scene's thread but remains author-selectable; author-approved generated summaries become its source. CHARACTERS uses an author-selected rolling roster and admits planned, BRIEF-introduced, and accepted-scene-proposed characters. RECALL is explicitly author-selected across threads and earlier series volumes. PREVIOUS defaults to a paragraph-boundary 300–500-word tail but is author-adjustable. NOTES may carry explicitly marked required verbatim text. BRIEF has no authoring-time length limit; unusual lengths receive confirmation. DIRECTIVE requires word limit plus closure semantics, while its fixed wording remains under evaluation. §9 records all remaining package decisions before freeze. |
| | | *(freeze entry goes here: "0.5.3 FROZEN — SFT generation begins")* |

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Title page to the manuscript.

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{\list\listtemplateid4\listhybrid{\listlevel\levelnfc23\levelnfcn23\leveljc0\leveljcn0\levelfollow0\levelstartat1\levelspace360\levelindent0{\*\levelmarker \{disc\}}{\leveltext\leveltemplateid301\'01\uc0\u8226 ;}{\levelnumbers;}\fi-360\li720\lin720 }{\listlevel\levelnfc23\levelnfcn23\leveljc0\leveljcn0\levelfollow0\levelstartat1\levelspace360\levelindent0{\*\levelmarker \{circle\}}{\leveltext\leveltemplateid302\'01\uc0\u9702 ;}{\levelnumbers;}\fi-360\li1440\lin1440 }{\listname ;}\listid4}
{\list\listtemplateid5\listhybrid{\listlevel\levelnfc23\levelnfcn23\leveljc0\leveljcn0\levelfollow0\levelstartat1\levelspace360\levelindent0{\*\levelmarker \{disc\}}{\leveltext\leveltemplateid401\'01\uc0\u8226 ;}{\levelnumbers;}\fi-360\li720\lin720 }{\listlevel\levelnfc23\levelnfcn23\leveljc0\leveljcn0\levelfollow0\levelstartat1\levelspace360\levelindent0{\*\levelmarker \{circle\}}{\leveltext\leveltemplateid402\'01\uc0\u9702 ;}{\levelnumbers;}\fi-360\li1440\lin1440 }{\listlevel\levelnfc23\levelnfcn23\leveljc0\leveljcn0\levelfollow0\levelstartat1\levelspace360\levelindent0{\*\levelmarker \{hyphen\}}{\leveltext\leveltemplateid403\'01\uc0\u8259 ;}{\levelnumbers;}\fi-360\li2160\lin2160 }{\listname ;}\listid5}
{\list\listtemplateid6\listhybrid{\listlevel\levelnfc23\levelnfcn23\leveljc0\leveljcn0\levelfollow0\levelstartat1\levelspace360\levelindent0{\*\levelmarker \{disc\}}{\leveltext\leveltemplateid501\'01\uc0\u8226 ;}{\levelnumbers;}\fi-360\li720\lin720 }{\listlevel\levelnfc0\levelnfcn0\leveljc0\leveljcn0\levelfollow0\levelstartat1\levelspace360\levelindent0{\*\levelmarker \{decimal\}.}{\leveltext\leveltemplateid502\'02\'01.;}{\levelnumbers\'01;}\fi-360\li1440\lin1440 }{\listname ;}\listid6}}
{\*\listoverridetable{\listoverride\listid1\listoverridecount0\ls1}{\listoverride\listid2\listoverridecount0\ls2}{\listoverride\listid3\listoverridecount0\ls3}{\listoverride\listid4\listoverridecount0\ls4}{\listoverride\listid5\listoverridecount0\ls5}{\listoverride\listid6\listoverridecount0\ls6}}
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\f0\fs42 \cf0 N
\fs31\fsmilli15750 OVEL
\fs42 F
\fs31\fsmilli15750 ORMAT
\f1\fs28 \
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\f2\fs24 \cf0 \
\fs36 \cf2 About This Template
\fs24 \cf0 \
By default, when compiled (File > Compile), this project will generate a document in the standard manuscript format for novels. Settings are also provided to make it easy to compile to a paperback-style PDF for self-publishing or an EPUB or Kindle ebook.\
\
\fs36 \cf2 How To Use This Template
\fs24 \cf0 \
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\ls1\ilvl0\cf0 {\listtext \uc0\u8226 }Inside the \'93Manuscript\'94 folder, create a new folder for each chapter and title each folder with the name of the chapter. If you don\'92t intend to use chapter names, just use something descriptive that tells you what the chapter is about. (You do not need to\'97and indeed shouldn\'92t\'97title the folders \'93Chapter One\'94 and so on, because chapter numbering will be taken care of automatically during the Compile process.) The first chapter folder has been created for you with the placeholder title \'93Chapter\'94.\
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\ls1\ilvl1\cf0 {\listtext \uc0\u8259 }
\f3\i Note
\f2\i0 : The \'93Manuscript\'94 folder is what we refer to in the documentation as the \'93Draft folder\'94. It\'92s just been renamed \'93Manuscript\'94 in this template.\
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\ls1\ilvl0\cf0 {\listtext \uc0\u8226 }Create a new text document for each scene inside the chapter folders. (Upon export, scenes will be separated with the \'93#\'94 character for standard manuscript format, or with a blank line for other formats.)\
{\listtext \uc0\u8226 }Information about characters can be placed in the \'93Characters\'94 folder, and information about locations can be placed in the \'93Places\'94 folder. (These are just regular folders that have had custom icons assigned to them using the Documents > Change Icon feature.)\
{\listtext \uc0\u8226 }Character and setting sketch sheets have been provided which can be used for filling out information about the people and places in your novel. These are located in the \'93Template Sheets\'94 folder.\
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\ls1\ilvl1\cf0 {\listtext \uc0\u8259 }You should not edit the documents in the \'93Template Sheets\'94 folder directly unless you wish to change the templates (which you are free to do\'97you may wish to customise the sketch sheets or get rid of them entirely).\
{\listtext \uc0\u8259 }To create a new character sheet, click on the Characters folder (or wherever you want to create your new character sheet) and from the Project menu, select New From Template > Character Sketch. This creates a new character sketch document for you to edit and fill in with your character details. You can create setting sketch sheets in the same way.\
{\listtext \uc0\u8259 }Alternatively, you can just click \'93Add\'94, or hit cmd-N, with the Characters or Places folders selected.\
{\listtext \uc0\u8259 }You can view character and setting sketches in the Inspector as follows:\
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\ls1\ilvl2\cf0 {\listtext 1. }Select the \'93Bookmarks\'94 pane in the Inspector.\
{\listtext 2. }If necessary, click on \'93Document Bookmarks\'94 at the top and switch to \'93Project Bookmarks\'94.\
{\listtext 3. }Click on the chevron next to the \'93Characters\'94 or \'93Places\'94 folders in the Bookmarks list and choose the sheet you wish to view. (Note that only folders with content show chevrons.)\
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\ls1\ilvl0\cf0 {\listtext \uc0\u8226 }A \'93Notes\'94 folder has been provided for project-level notes. This has been set as the default Bookmarks folder in Project > Project Settings, so that when you create a new document from the Bookmarks sidebar in a Quick Reference panel, the document will be added to this folder.\
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\cf0 \
\fs36 \cf2 Compiling
\fs24 \cf0 \
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\ls2\ilvl0\cf0 {\listtext \uc0\u8226 }Title pages and front matter are all provided in the \'93Front Matter\'94 folder (between the \'93Places\'94 and \'93Notes\'94 folders). Different front matter is used for different formats.\
{\listtext \uc0\u8226 }Tip: You can open this document in a Quick Reference panel and have it open alongside the Compile panel if you need to refer to these instructions while compiling.\
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\cf0 \
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\ls3\ilvl0\cf0 {\listtext \uc0\u8226 }
\f4\b To compile to standard manuscript format:
\f2\b0 \
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\ls3\ilvl1\cf0 {\listtext
\f5 \uc0\u9702
\f2 }Edit the \'93Title Page\'94 document inside the Front Matter/Manuscript Format folder to ensure that it contains the correct information (by default it will use information from Contacts).\
{\listtext
\f5 \uc0\u9702
\f2 }Go to File > Compile\'85\
{\listtext
\f5 \uc0\u9702
\f2 }Next to \'93Compile for\'94, select \'93Print\'94, \'93PDF\'94 or one of the rich text file formats such as RTF, Word or OpenOffice.\
{\listtext
\f5 \uc0\u9702
\f2 }Select either \'93Manuscript (Courier)\'94 or \'93Manuscript (Times)\'94 from the list of formats on the left (note that this list changes depending on the file format you chosen).\
{\listtext
\f5 \uc0\u9702
\f2 }Ensure that the \'93Add front matter\'94 button is ticked under the contents list on the right and that the \'93Manuscript Format\'94 folder is selected in the pop-up button next to it. (This has already been set up for you.)\
{\listtext
\f5 \uc0\u9702
\f2 }Click on \'93Compile\'94.\
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\cf0 \
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\ls4\ilvl0\cf0 {\listtext \uc0\u8226 }
\f4\b To compile to paperback PDF format:\
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\ls4\ilvl1
\f2\b0 \cf0 {\listtext
\f5 \uc0\u9702
\f2 }Edit the front matter pages contained inside the Front Matter/Paperback folder.\
{\listtext
\f5 \uc0\u9702
\f2 }Go to File > Compile\'85\
{\listtext
\f5 \uc0\u9702
\f2 }Next to \'93Compile for\'94, select \'93PDF\'94.\
{\listtext
\f5 \uc0\u9702
\f2 }Select \'93Paperback (5.06\'94 x 7.81\'94)\'94 from the list of formats on the left.\
{\listtext
\f5 \uc0\u9702
\f2 }Ensure that the \'93Add front matter\'94 button is ticked under the contents list on the right and that the \'93Paperback\'94 folder is selected in the pop-up button next to it if it. (This has already been set up for you.)\
{\listtext
\f5 \uc0\u9702
\f2 }Click on \'93Compile\'94.\
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\cf0 \
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\ls5\ilvl0\cf0 {\listtext \uc0\u8226 }
\f4\b To compile to ebook format:
\f2\b0 \
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\ls5\ilvl1\cf0 {\listtext
\f5 \uc0\u9702
\f2 }Edit or remove the dedication page contained inside the Front Matter/EBook folder. Feel free to add any other front matter documents as required.\
{\listtext
\f5 \uc0\u9702
\f2 }Import a cover image (preferably in JPG or PNG format).\
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\ls5\ilvl2\cf0 {\listtext \uc0\u8259 }You can store this anywhere, but it makes sense to place it in the \'93EBook\'94 front matter folder. A placeholder cover image is already provided\'97you will want to delete that once you have imported your own.\
{\listtext \uc0\u8259 }Be sure to check online for recommended image sizes, because the recommendations are constantly changing. The sample cover image provided is 2,500 x 1,563 pixels, based on Amazon\'92s recommended size and proportions for a Kindle cover at the time this template was created.\
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\ls5\ilvl1\cf0 {\listtext
\f5 \uc0\u9702
\f2 }Go to File > Compile\'85\
{\listtext
\f5 \uc0\u9702
\f2 }From the \'93Compile for\'94 menu, select one of the ebook formats.\
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\ls5\ilvl2\cf0 {\listtext \uc0\u8259 }To create an ePub file, choose the \'93ePub 3\'94 format.\
{\listtext \uc0\u8259 }To create a Kindle file, choose the \'93Kindle KF8/Mobi\'94 format.\
{\listtext \uc0\u8259 }\'93ePub 2\'94 and \'93Kindle Mobi\'94 are older versions of the formats. They are mainly provided for supporting projects created in older versions of Scrivener.\
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\ls5\ilvl1\cf0 {\listtext
\f5 \uc0\u9702
\f2 }Select \'93Ebook\'94 from the list of formats on the left.\
{\listtext
\f5 \uc0\u9702
\f2 }If you have front matter documents other than the cover image, ensure that the \'93Add front matter\'94 button is ticked under the contents list on the right and that the \'93Ebook\'94 folder is selected in the pop-up button next to it. If you don\'92t have any front matter documents, you can un-tick \'93Add front matter\'94. (Un-ticking this does not affect the cover image.)\
{\listtext
\f5 \uc0\u9702
\f2 }Above the contents list in the rightmost header bar are six buttons. Click on each of them in turn to go through the various available settings, changing what you need. In particular:\
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\ls5\ilvl2\cf0 {\listtext \uc0\u8259 }Fill in the metadata such as author name and book title.\
{\listtext \uc0\u8259 }Ensure your cover image is selected and shown.\
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\ls5\ilvl1\cf0 {\listtext
\f5 \uc0\u9702
\f2 }Click on \'93Compile\'94.\
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\cf0 \
\fs36 \cf2 Making Changes
\fs24 \cf0 \
There are various minor changes you can make to tweak this template so that it better suits your needs, as follows:\
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\ls6\ilvl0\cf0 {\listtext \uc0\u8226 }
\f4\b Project and author name:
\f2\b0 The default book title and author name used in headers and elsewhere can be edited in the metadata pane of Compile (click the tag icon in the rightmost header bar of the Compile panel).\
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\ls6\ilvl0
\f4\b \cf0 {\listtext \uc0\u8226 }Chapter subtitles:
\f2\b0 By default, Compile for this template is set up so that chapter numbers are added but not chapter titles. If you want to include the title of the chapter folder in Compile:\
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\ls6\ilvl1\cf0 {\listtext 1. }Click on \'93Assign Section Layouts\'94 at the bottom of the Compile panel.\
{\listtext 2. }Select \'93Chapter Heading\'94 in the list on the left.\
{\listtext 3. }Select a different layout on the right, such as \'93Chapter Title\'94. (These layouts determine how each part of your manuscript looks in the compiled text.)\
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\ls6\ilvl0\cf0 {\listtext \uc0\u8226 }
\f4\b Font:
\f2\b0 You can override the font used throughout a compiled document:\
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\ls6\ilvl1\cf0 {\listtext 1. }At the top of the \'93Section Layouts\'94 pane in the centre of the Compile panel, change the \'93Font\'94 setting.\
{\listtext 2. }Note that fonts are not included in ebooks, however\'97e-readers choose their own fonts (and you would need to pay a hefty fee for a licence to embed a font in an ebook). The \'93Font\'94 setting is therefore not available for ebook formats.\
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\ls6\ilvl0\cf0 {\listtext \uc0\u8226 }
\f4\b Page size:
\f2\b0 The \'93Paperback\'94 format is set to create a PDF with a page size of 5.06\'94 x 7.81\'94, which is one of the formats you can use with Amazon\'92s CreateSpace and is a popular size for trade paperbacks. You can create your own paperback format using a different page size as follows:\
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\ls6\ilvl1\cf0 {\listtext 1. }Ctrl-click on the \'93Paperback (5.06\'94 x 7.81)\'94 format in Compile\'92s \'93Formats\'94 list.\
{\listtext 2. }Select \'93Duplicate & Edit Format\'85\'94. The window will change size and content.\
{\listtext 3. }In the \'93Format Name\'94 text field at the top, change the name to something meaningful (e.g. \'93Paperback (6\'94 x 9\'94)\'94).\
{\listtext 4. }Select \'93Page Settings\'94 in the sidebar.\
{\listtext 5. }Click on the \'93Page Setup\'85\'94 button.\
{\listtext 6. }In the \'93Page Setup\'94 panel that appears, select \'93Manage Custom Sizes\'85\'94 from the \'93Paper Size\'94 pop-up button.\
{\listtext 7. }Click the \'93+\'94 button to add a new custom size and give it a name.\
{\listtext 8. }Enter the paper width and height. (Note this is Apple\'92s standard Page Setup panel, and the units it displays are determined in System Preferences under \'93Language & Region\'94 > \'93Advanced\'85\'94.)\
{\listtext 9. }Click \'93OK\'94 and then click \'93OK\'94 again.\
{\listtext 10. }Click \'93Save\'94 in the Compile panel. This will return you to the main Compile preview. You now have a variation of the paperback format using a different page size that you can use at any time with any project.\
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\ls6\ilvl0\cf0 {\listtext \uc0\u8226 }
\f4\b Making your own special folders:
\f2\b0 The \'93Characters\'94 and \'93Places\'94 folders are just regular folders that have been set up in a particular way; you can create other folders that work in a similar manner.\
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\ls6\ilvl1\cf0 {\listtext 1. }To create a folder with a custom icon, add a new folder, place it where you want it, ensure it is selected, and then go to Documents > Change Icon to choose a different icon.\
{\listtext 2. }To create your own template sheets, create a new document inside the \'93Template Sheets\'94 folder and set it up however you want (e.g. add text, change the title or icon, set default metadata and so on). Now this document will be available as the basis for creating new documents from the New From Template menu.\
{\listtext 3. }To make it so that adding a new document to the folder created in (1) always results in a document based on the template set up in (2), select the folder and go to Documents > Default Template for Subdocuments, then choose the template document you created.\
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\ls6\ilvl0\cf0 {\listtext \uc0\u8226 }
\f4\b Working with chapters instead of scenes:
\f2\b0 By default, this project is set up so that you write each scene as a separate text document. If you don\'92t like to break things up quite that much and would prefer to write an entire chapter in each text document, make the following changes:\
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\ls6\ilvl1\cf0 {\listtext 1. }Rename the \'93Scene\'94 document to use your chapter title and move it so that it is on the same level as the \'93Chapter\'94 folder rather than being inside it.\
{\listtext 2. }Move the \'93Chapter\'94 folder to the Trash.\
{\listtext 3. }Create a new text document for each chapter.\
{\listtext 4. }Go to Project > Project Settings and select \'93Section Types\'94.\
{\listtext 5. }Select the \'93Default Types by Structure\'94 tab.\
{\listtext 6. }Delete \'93Level 1 files\'94 and \'93Level 2 files and deeper\'94.\
{\listtext 7. }In the \'93Section Type\'94 column, change the setting for \'93Root files\'94 to \'93Chapter\'94, then hit \'93OK\'94. This tells Scrivener that all your files contain chapter text, not scenes. Compile has already been set up to apply the right formatting to the section types defined here.\
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\ls6\ilvl0\cf0 {\listtext \uc0\u8226 }
\f4\b Using a custom table of contents in ebooks:
\f2\b0 When exporting to ebook format, Scrivener automatically generates a table of contents. If you would like to customise what appears in the contents, follow these instructions:\
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\ls6\ilvl1\cf0 {\listtext 1. }Create a document for your table of contents inside the Front Matter/Ebook folder.\
{\listtext 2. }Name the document \'93Contents\'94.\
{\listtext 3. }In the binder, select the documents you would like to appear in the table of contents (hold down Command to select more than one document).\
{\listtext 4. }For a simple flat list, hit Cmd-C or use Edit > Copy. Alternatively, if you would like the table of contents indented to match the binder structure, go to Edit > Copy Special > Copy Documents as Structured Link List.\
{\listtext 5. }Click into the text of the \'93Contents\'94 document and hit Cmd-V or use Edit > Paste. The documents you wish to appear in the table of contents will now appear as a list of links.\
{\listtext 6. }If you intend to export to an older ebook format (ePub 2 or non-KF8 Mobi), select all of the text and change it to use a 12-point font.\
{\listtext 7. }If you wish to centre the table of contents, select the text and centre it.\
{\listtext 8. }In the Inspector, change the \'93Section Type\'94 of the \'93Contents\'94 document to \'93Table of Contents\'94. Now, when you Compile, your custom \'93Contents\'94 document will be used instead of the automatically-generated one. The titles in the links of the \'93Contents\'94 document will automatically be updated to match those of the final compiled ebook.\
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\cf0 \
\fs36 \cf2 Sample Documents
\fs24 \cf0 \
The \'93Sample Output\'94 folder inside the Research folder contains examples of documents that have been created by compiling from this template. \'93Standard Manuscript\'94 shows the results when compiling to \'93Manuscript (Courier)\'94, and \'93Paperback Novel\'94 shows the results when compiling to \'93Paperback (5.06\'94 x 7.81\'94)\'94 format.\
\
\fs36 \cf2 Final Note
\fs24 \cf0 \
Scrivener project templates are flexible and are not intended to restrict you to a particular workflow. You can change, delete or move the files and folders contained in the template to suit how you work.\
\
Like all templates in Scrivener, this project was originally created from the \'93Blank\'94 template. We\'92ve simply added a few folders and set everything up in ways that should be useful to novel writers. Everything you can do with this project, you could equally do by creating a \'93Blank\'94 project and setting it up yourself.\
\
You can create your own templates by setting up a skeletal project with the files, folders and settings you would like to use for new projects and using File > Save As Template.}

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<txt>plain-txt-ms</txt>
<docx>vellum-export</docx>
<epub2>e-book-legacy</epub2>
<pdf>manuscript-times</pdf>
<mmd-latex>mmd-latex-book</mmd-latex>
<pandoc-docx>DEFAULT</pandoc-docx>
<fdx>script-screenplay</fdx>
<odt>DEFAULT</odt>
<mobi>e-book-legacy</mobi>
<rtfd>DEFAULT</rtfd>
<epub3>e-book</epub3>
</LastUsedFormats>
</CompileSettings>

2
authoringsystemblank.scriv/Settings/favorites.xml Normal file
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<?xml version="1.0" encoding="UTF-8"?>
<Favorites Version="1.0"/>

14
authoringsystemblank.scriv/Settings/projectpreferences.xml Normal file
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<?xml version="1.0" encoding="UTF-8"?>
<ProjectPreferences Version="1.0">
<UseProjectPreferences>No</UseProjectPreferences>
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<FootnoteMarker UseMarker="No">*</FootnoteMarker>
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6
authoringsystemblank.scriv/Settings/templateinfo.xml Normal file
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<?xml version="1.0" encoding="UTF-8"?>
<TemplateSettings Version="1.0">
<Title>Novel</Title>
<Category>Fiction</Category>
<ImageName>TemplateNovelWithIcon</ImageName>
</TemplateSettings>

176
authoringsystemblank.scriv/Settings/ui-common.xml Normal file
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<?xml version="1.0" encoding="UTF-8"?>
<UIStates>
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<Selection>
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<Inspector Show="Yes" View="Notes">
<ShowProjectBookmarks>No</ShowProjectBookmarks>
<ShowSimilarTexts>No</ShowSimilarTexts>
<Collapse>CustomMetaData</Collapse>
<FootnoteNumbers Prompt="No">No</FootnoteNumbers>
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<Split>None</Split>
<BinderAffects>Current</BinderAffects>
<Labels>
<Binder FullWidth="No">No</Binder>
<Icons>No</Icons>
<IndexCards>No</IndexCards>
<OutlinerRows>No</OutlinerRows>
<ScriveningsTitles>No</ScriveningsTitles>
</Labels>
<Corkboards>
<LabelIndicators>Yes</LabelIndicators>
<Stamps>No</Stamps>
<Keywords>No</Keywords>
<Numbers Restart="No">No</Numbers>
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</Corkboards>
<Text>
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<RevisionMode>0</RevisionMode>
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<SmartDashes>Yes</SmartDashes>
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<TypewriterScrolling>Yes</TypewriterScrolling>
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<Text>
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</Outliner>
<Corkboard>
<CardsAcross>-1</CardsAcross>
<KeywordChips>5</KeywordChips>
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</Corkboard>
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<Text>
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447
authoringsystemblank.scriv/authoringsystemblank.scrivx Normal file
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<?xml version="1.0" encoding="UTF-8"?>
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\f0\fs26 \cf0 Youngest daughter. To be a high school freshman. Bookish girl, very pretty, shy. She has three close friends, all of which are bookworms like herself.}

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\f0\fs26 \cf0 This scene is told in third person from the viewpoint of Emma Hayes.\
As soon as her mother and sister drove off, Emma was on the phone, sitting on the bed in her parents\'92 bedroom, as the phone was on the nightstand and she could sit comfortably against the headboard of the bed with a pillow. In her lap was a notepad, and she planned to quiz all of her friends about what boys she should invite to her birthday party. It wouldn\'92t do to invite a boy her friends didn\'92t like, that would not do at all.\
First up was her friend Susanna. She was a cheerleader and had an encyclopedia knowledge of all of the boys, good and bad. If she didn\'92t like a boy, the boy would not get on her list, even if Emma liked the guy. By the time they\'92d hung up the phone, she had seven boys on her list. She was shockingly, almost halfway done with one call. Next up, her best friend Mai Lin. She was Chinese, a major league cutie, and she and Mai Lin were constantly up for the yearbook \'93best looking\'94 in the class. Mai Lin was also extremely picky and the call ended with two boys scratched off and only one added. The third call was with Hannah, who Emma didn\'92t much like, but she had to be invited, as she came from a wealthy family and was popular with the boys. Two boys added. On and on the calls went, and finally, she had fifteen boys on the list, all vetted by her friends. And that\'92s when she realized she\'92d have to dump three of them for her boy cousins. She screamed in frustration, preparing herself to argue with her mother than her cousins didn\'92t count in the total.\
Expand to a maximum of 1500 words. Emphasize snarky dialog with her friends.}

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\f0\fs26 \cf0 The first scene of the book is told in third person from the viewpoint of Ella Hayes. It is the first weekend after the end of Ella\'92s junior year in high school. She\'92s a skilled golfer and has been taught to play from a very young age by her father. It\'92s Saturday, and like most Saturdays, she\'92s planning to play 36 holes of golf with her father. On this Saturday, they will be joined by a father who teaches his son in the same way that Andy teaches Ella. Ella and the boy, Bobby, are on their high school golf team, both are the best golfers on the team. There is no romantic interest between Ella and the boy; they are friends but their relationship is mostly just a shared interest in golf.\
It\'92s early on Saturday morning, more than an hour before their tee time, and Ella is anxious to get to the course. They have the first tee time at 7:24AM, as both Ella and her friend Bobby like to play fast, and the best way to play fast is to be first on the course, dew sweepers, they are often called. Her father is dawdling over a second cup of coffee. Ella likes a long warmup, whereas her father usually hits a few wedges and a few drives and is good to go. There is always tension between her and her father to get him going.\
The other daughters aren\'92t even up yet and Ella has finished her breakfast that her mother prepared and is ready to go. She dearly loves her father but wants him to get off his butt and go to the course RIGHT NOW!\
Create the first scene of the book, not to exceed 1500 words.}

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\f0\fs24 \cf0 Feel free to delete this document if you don\'92t need it, or edit it for your needs.}

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\f0\fs24 Dense event summary for Scene 1\par
\par
After the scene is accepted into the book, record one dense event sentence here. The authoring system may propose it; the author may edit or replace it. This approved sentence becomes the STORY entry for future scenes on the same narrative thread.\par
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\f0\fs26 \cf0 Emma\'92s best friend and always up for lounging in the pool at Emma\'92s house. Born in America of Chinese immigrants. Beautiful and outgoing, wears the same dress size as Emma. Serves the secondary role as Emma\'92s enforcer in the gang of fashionable girls who orbit around Emma.}

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Emma’s best friend and co-conspirator in the search for cute boys.

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\f0\fs24 \cf0 These tags get replaced with the information set in the Metadata pane of Compile. Alternatively, you can simply replace this text altogether.}

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\f0\fs26 \cf0 This novel is the story of three half-white, half-Hawaiian girls (in the parlance, Hapa) as they make their way in the world in the year 2000 before the widespread availability of smartphones and before the 9/11 terrorist attack, now widely thought to have been a government sponsored false flag. 9/11 will play no part in the story nor will politics of any sort. This is a Christian romance novel.\
The novel is fundamentally Christian and much of the tension in the story is driven by the conflicting themes of Christianity and feminism. These three girls have been regular church-goers since birth, all three baptized at birth and confirmed into the United Methodist Church. In addition to his job as a jet aircraft repair technician, Andy Hayes is a deacon of their church. His wife Elikapeka, a native Hawaiian of a proud and prominent family on the Big Island, is a devout Christian who is a stay at home mother who enforces Christian morals and is a fierce anti-feminist.\
The style of the novel is in the style but not substance of Ken Follett. Each scene is in third person from the perspective of one of the characters.\
Care must be taken to give each character a distinctive voice. Andy Hayes is an alpha male, gregarious, a natural leader, always aware of his status, good looks, and natural attraction from women. He speaks with a distinctive Florida cracker accent. He has a tendency to flirt with women but has not strayed from \
His wife is a charming and charismatic woman, who speaks with a vaguely Hawaiian accent. The three girls all have a similar mix of Florida cracker accent with just a touch of Hawaiian.\
At the start of the novel, none of the three girls has ever had a boyfriend and it isn\'92t until Emma\'92s sweet sixteen birthday party that the girls would have ever had boys in the house who weren\'92t relatives of Andy\'92s large extended family, all of whom live nearby. Only rarely do the Hawaiian relatives of Elikapeka visit.}

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\f0\fs26 \cf0 This scene is told in third person from the viewpoint of Elikapeka Hayes.\
The two younger girls Emma and Lizzie are at the breakfast table and the discussion turns to Emma\'92s upcoming sweet sixteen birthday party. Emma is a social butterfly with dozens of friends and she\'92ll have to whittle down the list, as she wants an evening pool party in the backyard. And, she says, she wants to invite boys for the first time. Lizzie makes a snarky remark about stinky boys as she\'92s shown little interest in them so far. Emma gives her sister the stink eye.\
Elikapeka wants a list of the boys Emma wants to invite so she can check them out and reject any that aren\'92t suitable. Emma rolls her eyes and says she\'92ll give her mother a list but she insists that her mother \'93not be racist,\'94 knowing that her mother will not be allowing any black or hispanic boys to come to the party. Emma had heard from her mother since she was little that the only suitable boys for her girls would be white or Hawaiian or perhaps Asian. Emma continues that she wants to limit which of her cousins can come to the party, complaining that some of them are just no fun at all. Elikapeka tells Emma that all of them will be invited and Emma shouldn\'92t push her luck or there would be no party at all.\
Expand into 1500 words. Dialog between the protective mother and willful daughter should dominate this scene.\
}

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\f0\fs24 \cf0 Note that in the \'93Metadata\'94 pane of the Inspector, under \'93Section Type\'94, the \'93Default Subdocument Type\'94 is set to \'93Front Matter\'94. This setting causes all subdocuments of this folder to use the \'93Front Matter\'94 section type by default (that is, when \'93Structure-Based\'94 is selected as the section type).\
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This saves us from having to manually assign the \'93Front Matter\'94 section type for each document we place into this folder.\
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During Compile, documents assigned the \'93Front Matter\'94 section type will be laid out differently from documents in the main body of the manuscript.}

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\f0\fs24 Complete book lexicon\par
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One term per line: term \emdash\ usage note. Keep the complete book-level register here. The author selects a rolling subset for each package.\par
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\f0\fs26 \cf0 This scene is told in third person from the viewpoint of Lizzie Hayes.\
If it had been up to Lizzie, she\'92d have stayed in her room and read books, but it wasn\'92t up to her and now she stood on the pool deck in the chaos of Emma\'92s sweet sixteen party as the party goers began to arrive. Her sister was in the middle of it, greeting and being greeted as if she was queen of the world, and perhaps on this night it was true. The sexes weren\'92t really mixing yet, as the boys were mostly in the pool and the girls were mostly on the patio, surrounding Emma.\
And then Lizzie saw him. The coolest boy she\'92d ever seen, wearing swim trunks and talking with Bobby, Ella\'92s golfing buddy. The boy was blonde, muscular, and compact, not so tall as Bobby. He was tan and fit and blue eyed. He was a god, she was sure he was a god. She\'92d not once looked at a boy with desire but now she did. It was completely disconcerting.\
Suddenly, someone grabbed her arm. It was Emma\'92s friend Hannah, who was pretty, stylish, and very slightly chubby and who wore a one piece swimsuit that had jewels on it and must have cost a fortune. She felt herself being dragged along right towards the boy she\'92d spotted. Hannah called out his name, Will Fontaine. He looked right at her. And before she could react, Hannah was telling him that Lizzie loves
\f1\i Lord of the Rings
\f0\i0 , too. And Lizzie felt Hannah let go and leave, and she was left tongue tied, desperately trying to think of something to say to Will.\
By whatever magic existed in the universe, Will had her mesmerized as they discussed how Tom Bombadil rescued the hobbits from Old Man Willow.\
Expand into 1500 words maximum. \
}

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\f0\fs24 \cf0 This is the title page of the manuscript. Note that its \'93Section Type\'94 is automatically set to \'93Front Matter\'94 in the Metadata pane of the Inspector, allowing the title page to be formatted differently from body text during Compile.\
\
The <$PROJECTTITLE> and <$fullname> tags get replaced with metadata information you can set when compiling. Other information is taken from Contacts when the project is created.\
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Feel free to edit the text of the title page as required.}

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Title page to the manuscript.

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\f0\fs26 \cf0 This scene is told in third person from the viewpoint of Andy Hayes.\
Andy could see Ella had her temper barely under control as she stepped into the bunker with a bad lie and a difficult shot that she had to hole to tie with Bobby in their grudge match after the first round of the day ended a tie. Ella had struggled on the back nine of the Pines course but nevertheless had kept it even until a disastrous double bogey on the sixteenth. She\'92d picked up a shot on the seventeenth, but her shot to the green on eighteen had buried in the soft sand, whereas Bobby had hit a perfect iron to about two feet and was eagerly waiting to tap in the putt for birdie and win the match. From her lie, a pro golfer would be happy just to get the ball on the green, but she had to hole it or lose the match. She went into the bunker, sneered at the ugly lie of her nearly buried ball, and took a mighty swing with her sand wedge. The ball popped high into the air, the sand nearly blinding her, and the ball rolled past the hole and the match was lost.\
She angrily raked the sand and went up on the green and shook Bobby\'92s outstretched hand, conceding his putt, kicking her ball into the pond, turned and stalked off the green. Bobby knew she was furious and let her go without any trash talking. He couldn\'92t help grinning, though. It wasn\'92t often that he\'92d beaten her; she was by far the best player on the high school team, man or woman. She was good enough, he thought, to go pro, once she\'92d had a few seasons in college to polish her game.\
In the truck on the way home, Andy let her fume. She knew, as well as he did, that even the best golfers in the world won fewer than one-fourth of their tournaments. But it always made her angry to lose, every darn time.\
Expand to 1500 words maximum.}

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\f0\fs26 \cf0 This scene is told in third person from the viewpoint of Ella Hayes.\
Ella and Bobby sat at a table on the patio outside of the golf course restaurant having a snack. They\'92d finished eighteen holes in three and a half hours, but they still had an hour to kill before they could start the next round on the Palms course. Their fathers were inside at the bar, drinking more beer. Sometimes Ella wondered how her father could drink beers and still play solid golf, but he rarely seemed to be affected at all.\
Ella and Bobby had finished the round tied at two under. The trash talk had gone back and forth during the round, but neither player had ever gotten more than one hole up on the other. It was to be a grunge match on the easier course in the heat of the afternoon. This time, they\'92d take a cart rather than walk in the humidity and heat. Ella would drive; she refused to let Bobby drive the cart as one time he\'92d almost driven them into a pond. \
Bobby asked her out again. She rolled her eyes and said he\'92d always be in the friend zone. He just grinned, knowing what she\'92d say. She\'92d never gone out with any of the boys on the golf team, though she was friendly with all of them and been asked by several of them.\
At last, it was time to play again. They went to the clubhouse and got the key to a cart. Ella drove. She always drove. And she always gave him crap about it.\
Expand to 1500 words max. Playful, flirty dialog between the two teenagers.}

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\f0\fs24 BRIEF for Scene 1\par
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\f0\fs24 World notes\par
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Maintain reusable setting and physical-continuity facts here. Scene-specific NOTES are selected from these facts or entered for the scene when preparing its package.\par
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\fs20 \cf0 Insert dedication here.}

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\f0\fs24 \cf0 Feel free to delete this document if you don\'92t need it.}

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\f0\fs26 \cf0 This scene is told in third person from the viewpoint of Elikapeka Hayes.\
It was done. The prep for Emma\'92s sweet sixteen birthday party was complete. Elikapeka stood in her kitchen, drinking a cup of coffee. Susan Carpenter, mother of Ella\'92s golf partner Bobby, had volunteered to help with the party, was outside talking with the caterers, setting tables on the patio for the thirty-six kids who were expected to begin arriving in a half hour. Emma\'92s request for fifteen boys and fifteen girls had been granted, three of her boy cousins added, and then an extra three girls more to balance the sexes. It was the largest party she\'92d ever thrown. Ella came in, wearing a coverall over her swimsuit, along with her friend Bobby, whom she\'92d invited but wasn\'92t on the guest list. Ella had been drafted as the greeter and she\'92d wanted help, thus his presence. Ella was something of a loner who had more guy friends than girl friends and she\'92d talked him into helping.\
Her husband and his friend Alex were on the sailboat docked behind the house with the boat\'92s owner Jim, setting up the boat\'92s sound system for the party. Emma had provided CDs and a playlist. Music started to play. The men were already drinking beers.\
The doorbell rang and Ella answered it. It was Andy\'92s sister, Michelle, with the three boy cousins, one her son and the other two the sons of Andy\'92s brothers. The girl cousins were all much younger and they\'92d decided that they would not attend. Emma came into the kitchen with her friend Mai Lin, both wearing a pretty coveralls over their swimsuits. The bikini that Emma had under her coverall Elikapeka thought too skimpy, but she\'92d been overridden by her husband, saying that\'92s what the girls were wearing now and she need to chill about it. Emma greeted her cousins and directed them outside to the pool. The boys wore only swimsuits, tee shirts, and flip flops and were in the pool within seconds of doffing the tee shirts and flip flops. They found a Nerf football from somewhere and began throwing it around.\
It was going to be chaos.\
Expand to a maximum of 1500 words.\
\
}

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\f0\fs26 \cf0 A frequently played course with Andy and Ella. Two eighteen hole courses, the shorter and easier Palms course and the longer and harder Pines course.}

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Your dedication here.}

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\f0\fs24 \cf0 Feel free to delete this document if you don\'92t need it.}

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\f0\fs26 \cf0 This scene is told in third person from the viewpoint of Andy Hayes.\
Andy watches as Ella and Bobby get ready to tee off from the first tee. Andy asks Alex where Bobby wants to go play golf in college and learns the boy wants to go to the University of Florida. Ella wants to go to Stanford, which has a fine women\'92s golf program.\
Though the girls\'92 golf team never plays from the back tees, Ella always practices from there when she can. Ella and Bobby go to the back tees, negotiate a buck a hole bet and flip a tee to see who goes first. Ella wins and tees off, hitting an impressive drive right down the middle of the first fairway. Bobby, taller, stronger, tees off, hitting a perfect drive 30 yards past Ella\'92s ball. Bobby makes a snide comment and Ella huffs. Their fathers tee off from the white tees and off they go.\
Both fathers are good players, but they are playing for the fun of it, whereas Ella and Bobby are out for blood. Bobby has a natural advantage as he\'92s stronger and hits the ball farther, but Ella has a wonderful short game and that makes their matches more or less even.\
On the green, both kids have birdie putts, Bobby the longer of the two, so he plays first. He makes his putt, but Ella runs hers into the hole as well, so they\'92re even after the first hole. It\'92s clear that both kids have brought their A games to the course. Their fathers are already debating how early they could get away with ordering beers from the cart girl.\
Expand this into 1500 words max.\
}

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\f0\fs26 \cf0 The style of the novel is in the style but not substance of Ken Follett. Each scene is in third person from the perspective of one of the characters.
\f1\fs24 \
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\fs32 \cf3 Background
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\f0\fs26 \cf0 Oldest daughter. To be a high school senior. Highly skilled golfer looking for a college golf scholarship. Tall, haughty, proud, smart. Prefers male friends to female friends. Has never dated and rarely attends parties or after school activities other than golf. Taught golf primarily by her father, a scratch golfer. Daddy\'92s girl. Usually impatient with others and likes to play fast.}

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\f0\fs26 \cf0 Wife of Andy Hayes, of Hawaiian origin. Stay at home mom. (eh-lee-la-PEH-ka)}

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\f0\fs26 \cf0 Father and husband. Manages the team at American Airlines out of the Fort Lauderdale Airport that services its jets. Is a union member with nearly 30 years of experience. Scratch golfer. Large extended family, two brothers and a sister live nearby. Tall and handsome and very attractive to women in general. A leader of men.}

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\f0\fs26 \cf0 Told in third person from the viewpoint of Lizzie Hayes.\
After breakfast, Lizzie goes to the library and then shopping with her mother. Emma is not much of a reader and declines to go. It\'92s the start of summer and Lizzie can easily read a book a day. Her mother\'92s rare punishments are usually withholding books from Lizzie. She wants to be a writer of fantasy books like the
\f1\i Lord Of the Rings
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\f1\i Dragonflight
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\f1\i Stardust
\f0\i0 . Her mother reads the blurb on the back cover and takes a quick scan through it and declines to let her read it. Her mother brooks no dissent. Lizzie goes back into the stacks and looks for other books, deciding to read, for the nth time,
\f1\i Dragonflight
\f0\i0 and others from the series. She decides she\'92ll read Lord of the Rings again, though she doesn\'92t need to check them out, as she has a boxed set already. She returns to her mother, who looks through the books and approves of them, noting that Lizzie has read them before, and perhaps it would be better to find something new. Lizzie grumpily said she\'92d tried to but her mother had rejected the one she wanted to read.\
In the grocery store, to save time, Lizzie runs about the store collecting items on the list, to speed up getting back home where she can read and read and read.\
Expand to a maximum of 1500 words. Dialog between mother and daughter should dominate this scene.\
}

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\f0\fs26 \cf0 This episode is told in third person from the viewpoint of Mai Lin Wen.\
Mai Lin was having a fabulous time at Emma\'92s party. She wore a white string bikini which accented her black hair, tanned skin, and dark eyes. She\'92d done her makeup to make her eyes appear larger and she wore red lipstick. She knew she was a babe and she was flirting incessantly with every one of the cute boys, especially that hunky boy Tyler Marsh. She was a good girl; she\'92d never let the boys take advantage of her but that didn\'92t mean she didn\'92t want the boys to try. That was part of the fun.\
After the cake was served and eaten, the boys and girls began to mix in a chaotic frenzy. Music was playing and some girls were dancing with cute boys on the patio. Naughtiness was at a minimum as the adults were keeping a close watch on the party, keeping things under control. She sat on the edge of the pool, kicking her feet, splashing cute boys in the pool, and they splashed her back playfully. Tyler was in the pool and she used both feet to splash him, succeeding perfectly in driving water straight into his face. She giggled hysterically as the boy grabbed her feet, pulled her into the water and dunked her. She surfaced with a mouthful of water and spit it into his face, which shocked the boy and gave her an intense fit of giggles as she escaped from his attempted grasp. One of the other boys dunked him and she turned her attention to the other boys in the pool.\
She saw Emma dive into the deep end, swim underwater and come up behind Tyler, jumping on his back and attempting to dunk him. Somehow the girl got on his shoulders. Another girl did the same, and suddenly a half dozen girls found themselves on boys shoulders and the shrieks of laughter filled the air. Mai Lin found a boy, one of Emma\'92s cousins, climbed onto his back and joined in the fun. The boy declared his intention to dunk Emma, so off they went, Mai Lin on his shoulders, to dislodge Emma from Tyler\'92s shoulders.\
Expand to a maximum of 1500 words. Keep the atmosphere giddy and fun.}

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\f0\fs24 \cf0 During Compile, Scrivener will try to remove any unnecessary blank pages. The <$BLANK_PAGE> tag tells Scrivener to leave this page blank (the tag itself will be removed from the compiled document).}

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\f0\fs26 \cf0 This scene is told in third person from the viewpoint of Emma Hayes.\
Emma Hayes, wearing her almost too skimpy red sequined bikini, stood in front of a two tiered birthday cake while her thirty closest friends sang Happy Birthday. She was quite sure she was dead and had gone to heaven. Tears dripped down her lovely face. Someone took a flash photo and all she could see were the afterglow of the brilliant light. She blew out the candles and everyone applauded. Nothing could ever top this moment. Ever.\
Well, almost. She\'92d blown out the candles but not one of the boys had kissed her. She wanted to be kissed, but which boy should it be? There were so many possibilities. She would have to consider which one she would kiss good night, since none had stepped up and given her a kiss yet. Of course, her very protective father was right there, keeping an eye out. Perhaps that\'92s why none of the boys had done their duty and kissed her. She might have to be sneaky to get a proper kiss. Surely God could forgive one little kiss on her birthday!\
Someone handed her a knife and she cut the first piece, almost like she was a bride at a wedding, but then her mother took it from her hand. Elikapeka and Susan quickly formed a cake cutting team and it was only minutes later than everyone had a piece. The cake was awesome, chocolate with pink and white buttercream icing. It was so freaking great. It was all great. But she still wanted that kiss.\
Out of the corner of her eye she saw her sister with a cute boy she barely knew. What was his name? Oh, yeah, Will. She saw them talking, laughing, and her sister touched his hand. What the heck! Her sister was doing better in the boy department than she was! Her nerdy, bookish sister!\
Expand to no more than 1500 words.}

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\f0\fs26 \cf0 Middle daughter. To be a high school junior. Social butterfly with dozens of friends. She\'92s the unacknowledged highest status girl in her class. In her mother\'92s words, the sun around which the other girls orbit.}

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\f0\fs26 \cf0 The Hayes family lives in a two story house built in the 1960s on a deep water canal (meaning, the canal can be used for boats going out to the Atlantic ocean). The house has a boat dock, rented out to a friend who has a fifty foot sailboat. The house has a small pool in the backyard which is often used by the family for gatherings.}

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\f0\fs42 \cf0 N
\fs31\fsmilli15750 OVEL
\fs42 F
\fs31\fsmilli15750 ORMAT
\f1\fs28 \
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\f2\fs24 \cf0 \
\fs36 \cf2 About This Template
\fs24 \cf0 \
By default, when compiled (File > Compile), this project will generate a document in the standard manuscript format for novels. Settings are also provided to make it easy to compile to a paperback-style PDF for self-publishing or an EPUB or Kindle ebook.\
\
\fs36 \cf2 How To Use This Template
\fs24 \cf0 \
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\ls1\ilvl0\cf0 {\listtext \uc0\u8226 }Inside the \'93Manuscript\'94 folder, create a new folder for each chapter and title each folder with the name of the chapter. If you don\'92t intend to use chapter names, just use something descriptive that tells you what the chapter is about. (You do not need to\'97and indeed shouldn\'92t\'97title the folders \'93Chapter One\'94 and so on, because chapter numbering will be taken care of automatically during the Compile process.) The first chapter folder has been created for you with the placeholder title \'93Chapter\'94.\
\pard\tx940\tx1440\tx1680\tx2240\tx2800\tx3360\tx3920\tx4480\tx5040\tx5600\tx6160\tx6720\li1440\fi-1440\sl360\slmult1\pardirnatural\qj\partightenfactor0
\ls1\ilvl1\cf0 {\listtext \uc0\u8259 }
\f3\i Note
\f2\i0 : The \'93Manuscript\'94 folder is what we refer to in the documentation as the \'93Draft folder\'94. It\'92s just been renamed \'93Manuscript\'94 in this template.\
\pard\tx220\tx720\tx1120\tx1680\tx2240\tx2800\tx3360\tx3920\tx4480\tx5040\tx5600\tx6160\tx6720\li720\fi-720\sl360\slmult1\pardirnatural\qj\partightenfactor0
\ls1\ilvl0\cf0 {\listtext \uc0\u8226 }Create a new text document for each scene inside the chapter folders. (Upon export, scenes will be separated with the \'93#\'94 character for standard manuscript format, or with a blank line for other formats.)\
{\listtext \uc0\u8226 }Information about characters can be placed in the \'93Characters\'94 folder, and information about locations can be placed in the \'93Places\'94 folder. (These are just regular folders that have had custom icons assigned to them using the Documents > Change Icon feature.)\
{\listtext \uc0\u8226 }Character and setting sketch sheets have been provided which can be used for filling out information about the people and places in your novel. These are located in the \'93Template Sheets\'94 folder.\
\pard\tx940\tx1440\tx1680\tx2240\tx2800\tx3360\tx3920\tx4480\tx5040\tx5600\tx6160\tx6720\li1440\fi-1440\sl360\slmult1\pardirnatural\qj\partightenfactor0
\ls1\ilvl1\cf0 {\listtext \uc0\u8259 }You should not edit the documents in the \'93Template Sheets\'94 folder directly unless you wish to change the templates (which you are free to do\'97you may wish to customise the sketch sheets or get rid of them entirely).\
{\listtext \uc0\u8259 }To create a new character sheet, click on the Characters folder (or wherever you want to create your new character sheet) and from the Project menu, select New From Template > Character Sketch. This creates a new character sketch document for you to edit and fill in with your character details. You can create setting sketch sheets in the same way.\
{\listtext \uc0\u8259 }Alternatively, you can just click \'93Add\'94, or hit cmd-N, with the Characters or Places folders selected.\
{\listtext \uc0\u8259 }You can view character and setting sketches in the Inspector as follows:\
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\ls1\ilvl2\cf0 {\listtext 1. }Select the \'93Bookmarks\'94 pane in the Inspector.\
{\listtext 2. }If necessary, click on \'93Document Bookmarks\'94 at the top and switch to \'93Project Bookmarks\'94.\
{\listtext 3. }Click on the chevron next to the \'93Characters\'94 or \'93Places\'94 folders in the Bookmarks list and choose the sheet you wish to view. (Note that only folders with content show chevrons.)\
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\ls1\ilvl0\cf0 {\listtext \uc0\u8226 }A \'93Notes\'94 folder has been provided for project-level notes. This has been set as the default Bookmarks folder in Project > Project Settings, so that when you create a new document from the Bookmarks sidebar in a Quick Reference panel, the document will be added to this folder.\
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\cf0 \
\fs36 \cf2 Compiling
\fs24 \cf0 \
\pard\tx220\tx720\tx1120\tx1680\tx2240\tx2800\tx3360\tx3920\tx4480\tx5040\tx5600\tx6160\tx6720\li720\fi-720\sl360\slmult1\pardirnatural\qj\partightenfactor0
\ls2\ilvl0\cf0 {\listtext \uc0\u8226 }Title pages and front matter are all provided in the \'93Front Matter\'94 folder (between the \'93Places\'94 and \'93Notes\'94 folders). Different front matter is used for different formats.\
{\listtext \uc0\u8226 }Tip: You can open this document in a Quick Reference panel and have it open alongside the Compile panel if you need to refer to these instructions while compiling.\
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\cf0 \
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\ls3\ilvl0\cf0 {\listtext \uc0\u8226 }
\f4\b To compile to standard manuscript format:
\f2\b0 \
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\ls3\ilvl1\cf0 {\listtext
\f5 \uc0\u9702
\f2 }Edit the \'93Title Page\'94 document inside the Front Matter/Manuscript Format folder to ensure that it contains the correct information (by default it will use information from Contacts).\
{\listtext
\f5 \uc0\u9702
\f2 }Go to File > Compile\'85\
{\listtext
\f5 \uc0\u9702
\f2 }Next to \'93Compile for\'94, select \'93Print\'94, \'93PDF\'94 or one of the rich text file formats such as RTF, Word or OpenOffice.\
{\listtext
\f5 \uc0\u9702
\f2 }Select either \'93Manuscript (Courier)\'94 or \'93Manuscript (Times)\'94 from the list of formats on the left (note that this list changes depending on the file format you chosen).\
{\listtext
\f5 \uc0\u9702
\f2 }Ensure that the \'93Add front matter\'94 button is ticked under the contents list on the right and that the \'93Manuscript Format\'94 folder is selected in the pop-up button next to it. (This has already been set up for you.)\
{\listtext
\f5 \uc0\u9702
\f2 }Click on \'93Compile\'94.\
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\cf0 \
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\ls4\ilvl0\cf0 {\listtext \uc0\u8226 }
\f4\b To compile to paperback PDF format:\
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\ls4\ilvl1
\f2\b0 \cf0 {\listtext
\f5 \uc0\u9702
\f2 }Edit the front matter pages contained inside the Front Matter/Paperback folder.\
{\listtext
\f5 \uc0\u9702
\f2 }Go to File > Compile\'85\
{\listtext
\f5 \uc0\u9702
\f2 }Next to \'93Compile for\'94, select \'93PDF\'94.\
{\listtext
\f5 \uc0\u9702
\f2 }Select \'93Paperback (5.06\'94 x 7.81\'94)\'94 from the list of formats on the left.\
{\listtext
\f5 \uc0\u9702
\f2 }Ensure that the \'93Add front matter\'94 button is ticked under the contents list on the right and that the \'93Paperback\'94 folder is selected in the pop-up button next to it if it. (This has already been set up for you.)\
{\listtext
\f5 \uc0\u9702
\f2 }Click on \'93Compile\'94.\
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\cf0 \
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\ls5\ilvl0\cf0 {\listtext \uc0\u8226 }
\f4\b To compile to ebook format:
\f2\b0 \
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\ls5\ilvl1\cf0 {\listtext
\f5 \uc0\u9702
\f2 }Edit or remove the dedication page contained inside the Front Matter/EBook folder. Feel free to add any other front matter documents as required.\
{\listtext
\f5 \uc0\u9702
\f2 }Import a cover image (preferably in JPG or PNG format).\
\pard\tx1660\tx2160\tx2240\tx2800\tx3360\tx3920\tx4480\tx5040\tx5600\tx6160\tx6720\li2160\fi-2160\sl360\slmult1\pardirnatural\qj\partightenfactor0
\ls5\ilvl2\cf0 {\listtext \uc0\u8259 }You can store this anywhere, but it makes sense to place it in the \'93EBook\'94 front matter folder. A placeholder cover image is already provided\'97you will want to delete that once you have imported your own.\
{\listtext \uc0\u8259 }Be sure to check online for recommended image sizes, because the recommendations are constantly changing. The sample cover image provided is 2,500 x 1,563 pixels, based on Amazon\'92s recommended size and proportions for a Kindle cover at the time this template was created.\
\pard\tx940\tx1440\tx1680\tx2240\tx2800\tx3360\tx3920\tx4480\tx5040\tx5600\tx6160\tx6720\li1440\fi-1440\sl360\slmult1\pardirnatural\qj\partightenfactor0
\ls5\ilvl1\cf0 {\listtext
\f5 \uc0\u9702
\f2 }Go to File > Compile\'85\
{\listtext
\f5 \uc0\u9702
\f2 }From the \'93Compile for\'94 menu, select one of the ebook formats.\
\pard\tx1660\tx2160\tx2240\tx2800\tx3360\tx3920\tx4480\tx5040\tx5600\tx6160\tx6720\li2160\fi-2160\sl360\slmult1\pardirnatural\qj\partightenfactor0
\ls5\ilvl2\cf0 {\listtext \uc0\u8259 }To create an ePub file, choose the \'93ePub 3\'94 format.\
{\listtext \uc0\u8259 }To create a Kindle file, choose the \'93Kindle KF8/Mobi\'94 format.\
{\listtext \uc0\u8259 }\'93ePub 2\'94 and \'93Kindle Mobi\'94 are older versions of the formats. They are mainly provided for supporting projects created in older versions of Scrivener.\
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\ls5\ilvl1\cf0 {\listtext
\f5 \uc0\u9702
\f2 }Select \'93Ebook\'94 from the list of formats on the left.\
{\listtext
\f5 \uc0\u9702
\f2 }If you have front matter documents other than the cover image, ensure that the \'93Add front matter\'94 button is ticked under the contents list on the right and that the \'93Ebook\'94 folder is selected in the pop-up button next to it. If you don\'92t have any front matter documents, you can un-tick \'93Add front matter\'94. (Un-ticking this does not affect the cover image.)\
{\listtext
\f5 \uc0\u9702
\f2 }Above the contents list in the rightmost header bar are six buttons. Click on each of them in turn to go through the various available settings, changing what you need. In particular:\
\pard\tx1660\tx2160\tx2240\tx2800\tx3360\tx3920\tx4480\tx5040\tx5600\tx6160\tx6720\li2160\fi-2160\sl360\slmult1\pardirnatural\qj\partightenfactor0
\ls5\ilvl2\cf0 {\listtext \uc0\u8259 }Fill in the metadata such as author name and book title.\
{\listtext \uc0\u8259 }Ensure your cover image is selected and shown.\
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\ls5\ilvl1\cf0 {\listtext
\f5 \uc0\u9702
\f2 }Click on \'93Compile\'94.\
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\cf0 \
\fs36 \cf2 Making Changes
\fs24 \cf0 \
There are various minor changes you can make to tweak this template so that it better suits your needs, as follows:\
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\ls6\ilvl0\cf0 {\listtext \uc0\u8226 }
\f4\b Project and author name:
\f2\b0 The default book title and author name used in headers and elsewhere can be edited in the metadata pane of Compile (click the tag icon in the rightmost header bar of the Compile panel).\
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\ls6\ilvl0
\f4\b \cf0 {\listtext \uc0\u8226 }Chapter subtitles:
\f2\b0 By default, Compile for this template is set up so that chapter numbers are added but not chapter titles. If you want to include the title of the chapter folder in Compile:\
\pard\tx940\tx1440\tx1680\tx2240\tx2800\tx3360\tx3920\tx4480\tx5040\tx5600\tx6160\tx6720\li1440\fi-1440\sl360\slmult1\pardirnatural\qj\partightenfactor0
\ls6\ilvl1\cf0 {\listtext 1. }Click on \'93Assign Section Layouts\'94 at the bottom of the Compile panel.\
{\listtext 2. }Select \'93Chapter Heading\'94 in the list on the left.\
{\listtext 3. }Select a different layout on the right, such as \'93Chapter Title\'94. (These layouts determine how each part of your manuscript looks in the compiled text.)\
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\ls6\ilvl0\cf0 {\listtext \uc0\u8226 }
\f4\b Font:
\f2\b0 You can override the font used throughout a compiled document:\
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\ls6\ilvl1\cf0 {\listtext 1. }At the top of the \'93Section Layouts\'94 pane in the centre of the Compile panel, change the \'93Font\'94 setting.\
{\listtext 2. }Note that fonts are not included in ebooks, however\'97e-readers choose their own fonts (and you would need to pay a hefty fee for a licence to embed a font in an ebook). The \'93Font\'94 setting is therefore not available for ebook formats.\
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\ls6\ilvl0\cf0 {\listtext \uc0\u8226 }
\f4\b Page size:
\f2\b0 The \'93Paperback\'94 format is set to create a PDF with a page size of 5.06\'94 x 7.81\'94, which is one of the formats you can use with Amazon\'92s CreateSpace and is a popular size for trade paperbacks. You can create your own paperback format using a different page size as follows:\
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\ls6\ilvl1\cf0 {\listtext 1. }Ctrl-click on the \'93Paperback (5.06\'94 x 7.81)\'94 format in Compile\'92s \'93Formats\'94 list.\
{\listtext 2. }Select \'93Duplicate & Edit Format\'85\'94. The window will change size and content.\
{\listtext 3. }In the \'93Format Name\'94 text field at the top, change the name to something meaningful (e.g. \'93Paperback (6\'94 x 9\'94)\'94).\
{\listtext 4. }Select \'93Page Settings\'94 in the sidebar.\
{\listtext 5. }Click on the \'93Page Setup\'85\'94 button.\
{\listtext 6. }In the \'93Page Setup\'94 panel that appears, select \'93Manage Custom Sizes\'85\'94 from the \'93Paper Size\'94 pop-up button.\
{\listtext 7. }Click the \'93+\'94 button to add a new custom size and give it a name.\
{\listtext 8. }Enter the paper width and height. (Note this is Apple\'92s standard Page Setup panel, and the units it displays are determined in System Preferences under \'93Language & Region\'94 > \'93Advanced\'85\'94.)\
{\listtext 9. }Click \'93OK\'94 and then click \'93OK\'94 again.\
{\listtext 10. }Click \'93Save\'94 in the Compile panel. This will return you to the main Compile preview. You now have a variation of the paperback format using a different page size that you can use at any time with any project.\
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\ls6\ilvl0\cf0 {\listtext \uc0\u8226 }
\f4\b Making your own special folders:
\f2\b0 The \'93Characters\'94 and \'93Places\'94 folders are just regular folders that have been set up in a particular way; you can create other folders that work in a similar manner.\
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\ls6\ilvl1\cf0 {\listtext 1. }To create a folder with a custom icon, add a new folder, place it where you want it, ensure it is selected, and then go to Documents > Change Icon to choose a different icon.\
{\listtext 2. }To create your own template sheets, create a new document inside the \'93Template Sheets\'94 folder and set it up however you want (e.g. add text, change the title or icon, set default metadata and so on). Now this document will be available as the basis for creating new documents from the New From Template menu.\
{\listtext 3. }To make it so that adding a new document to the folder created in (1) always results in a document based on the template set up in (2), select the folder and go to Documents > Default Template for Subdocuments, then choose the template document you created.\
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\ls6\ilvl0\cf0 {\listtext \uc0\u8226 }
\f4\b Working with chapters instead of scenes:
\f2\b0 By default, this project is set up so that you write each scene as a separate text document. If you don\'92t like to break things up quite that much and would prefer to write an entire chapter in each text document, make the following changes:\
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\ls6\ilvl1\cf0 {\listtext 1. }Rename the \'93Scene\'94 document to use your chapter title and move it so that it is on the same level as the \'93Chapter\'94 folder rather than being inside it.\
{\listtext 2. }Move the \'93Chapter\'94 folder to the Trash.\
{\listtext 3. }Create a new text document for each chapter.\
{\listtext 4. }Go to Project > Project Settings and select \'93Section Types\'94.\
{\listtext 5. }Select the \'93Default Types by Structure\'94 tab.\
{\listtext 6. }Delete \'93Level 1 files\'94 and \'93Level 2 files and deeper\'94.\
{\listtext 7. }In the \'93Section Type\'94 column, change the setting for \'93Root files\'94 to \'93Chapter\'94, then hit \'93OK\'94. This tells Scrivener that all your files contain chapter text, not scenes. Compile has already been set up to apply the right formatting to the section types defined here.\
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\ls6\ilvl0\cf0 {\listtext \uc0\u8226 }
\f4\b Using a custom table of contents in ebooks:
\f2\b0 When exporting to ebook format, Scrivener automatically generates a table of contents. If you would like to customise what appears in the contents, follow these instructions:\
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\ls6\ilvl1\cf0 {\listtext 1. }Create a document for your table of contents inside the Front Matter/Ebook folder.\
{\listtext 2. }Name the document \'93Contents\'94.\
{\listtext 3. }In the binder, select the documents you would like to appear in the table of contents (hold down Command to select more than one document).\
{\listtext 4. }For a simple flat list, hit Cmd-C or use Edit > Copy. Alternatively, if you would like the table of contents indented to match the binder structure, go to Edit > Copy Special > Copy Documents as Structured Link List.\
{\listtext 5. }Click into the text of the \'93Contents\'94 document and hit Cmd-V or use Edit > Paste. The documents you wish to appear in the table of contents will now appear as a list of links.\
{\listtext 6. }If you intend to export to an older ebook format (ePub 2 or non-KF8 Mobi), select all of the text and change it to use a 12-point font.\
{\listtext 7. }If you wish to centre the table of contents, select the text and centre it.\
{\listtext 8. }In the Inspector, change the \'93Section Type\'94 of the \'93Contents\'94 document to \'93Table of Contents\'94. Now, when you Compile, your custom \'93Contents\'94 document will be used instead of the automatically-generated one. The titles in the links of the \'93Contents\'94 document will automatically be updated to match those of the final compiled ebook.\
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\cf0 \
\fs36 \cf2 Sample Documents
\fs24 \cf0 \
The \'93Sample Output\'94 folder inside the Research folder contains examples of documents that have been created by compiling from this template. \'93Standard Manuscript\'94 shows the results when compiling to \'93Manuscript (Courier)\'94, and \'93Paperback Novel\'94 shows the results when compiling to \'93Paperback (5.06\'94 x 7.81\'94)\'94 format.\
\
\fs36 \cf2 Final Note
\fs24 \cf0 \
Scrivener project templates are flexible and are not intended to restrict you to a particular workflow. You can change, delete or move the files and folders contained in the template to suit how you work.\
\
Like all templates in Scrivener, this project was originally created from the \'93Blank\'94 template. We\'92ve simply added a few folders and set everything up in ways that should be useful to novel writers. Everything you can do with this project, you could equally do by creating a \'93Blank\'94 project and setting it up yourself.\
\
You can create your own templates by setting up a skeletal project with the files, folders and settings you would like to use for new projects and using File > Save As Template.}

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\cocoatextscaling0\cocoaplatform0{\fonttbl\f0\froman\fcharset0 Palatino-Roman;}
{\colortbl;\red255\green255\blue255;}
{\*\expandedcolortbl;;}
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\f0\fs26 \cf0 Best golfer on the boy\'92s high school team and Ella\'92s perpetual weekend playing and practice partner. Forever in Ella\'92s friend zone.}

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hapagirlsauthoringsystemv1.scriv/Settings/favorites.xml Normal file
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<?xml version="1.0" encoding="UTF-8"?>
<Favorites Version="1.0"/>

14
hapagirlsauthoringsystemv1.scriv/Settings/projectpreferences.xml Normal file
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hapagirlsauthoringsystemv1.scriv/Settings/templateinfo.xml Normal file
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<?xml version="1.0" encoding="UTF-8"?>
<TemplateSettings Version="1.0">
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<Category>Fiction</Category>
<ImageName>TemplateNovelWithIcon</ImageName>
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212
hapagirlsauthoringsystemv1.scriv/Settings/ui-common.xml Normal file
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763
hapagirlsauthoringsystemv1.scriv/hapagirlsauthoringsystemv1.scrivx Normal file
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<BinderItem UUID="87D59B4E-F1D6-4025-9FBA-33F60ED8F985" Type="Text" Created="2026-08-23 11:15:20 -0500" Modified="2026-08-23 11:15:20 -0500">
<Title>Setting Sketch</Title>
<MetaData>
<IncludeInCompile>Yes</IncludeInCompile>
<IconFileName>Locations (Location Sheet)</IconFileName>
</MetaData>
<TextSettings>
<TextSelection>0,15</TextSelection>
</TextSettings>
</BinderItem>
</Children>
</BinderItem>
<BinderItem UUID="F2DF7FDE-46C4-4962-97F3-128A46433573" Type="TrashFolder" Created="2026-08-23 11:15:20 -0500" Modified="2026-08-23 11:15:20 -0500">
<Title>Trash</Title>
<Children>
<BinderItem UUID="816F6B00-8D2A-4022-87A4-D35170D81BEA" Type="Text" Created="2026-08-23 11:15:20 -0500" Modified="2026-08-23 11:15:20 -0500">
<Title>Scene 1</Title>
<TextSettings>
<TextSelection>0,0</TextSelection>
</TextSettings>
</BinderItem>
</Children>
</BinderItem>
</Binder>
<Collections>
<Collection Type="Binder" ID="48DE1CBF-217F-4B94-944D-6D8C97396DCF" Color="0.974804 0.974804 0.974804">
<Title>Binder</Title>
</Collection>
<Collection Type="RecentSearch" ID="2655DDF6-4AB8-42CB-A433-1CD76FC351D2" Color="0.922173 0.818612 0.999627">
<Title>Search Results</Title>
</Collection>
</Collections>
<SectionTypes>
<TypeDefinitions>
<Type ID="D2E24F2F-E4A2-49D0-BACA-26098774C8F9">Part Heading</Type>
<Type ID="417A6CCE-D4E1-44BA-9A8D-038360B4B905">Chapter Heading</Type>
<Type ID="9AFECE21-8C79-45E0-9B9F-D6D62A9729D3">Scene</Type>
<Type ID="5770D705-B9A4-4798-AAB1-B2C56190B02E">Chapter</Type>
<Type ID="DFBFB5B6-D47F-4913-9E23-FC3950C10171">Heading</Type>
<Type ID="4BA429EF-6143-4FB6-9B43-D4E6E4F0CE1D">Section</Type>
<Type ID="F3D99402-96E3-4558-A2BE-FB83286017C8">Front Matter</Type>
<Type ID="235F7C42-10F1-40AB-9FC5-19AA26EABA47">Table of Contents</Type>
<Type ID="EA9C9DBA-B644-4EBB-BDAD-621E5455275A">N/A</Type>
</TypeDefinitions>
<LevelTypes>
<Folders>
<Type>EA9C9DBA-B644-4EBB-BDAD-621E5455275A</Type>
<Type>417A6CCE-D4E1-44BA-9A8D-038360B4B905</Type>
</Folders>
<Containers>
<Type>4BA429EF-6143-4FB6-9B43-D4E6E4F0CE1D</Type>
</Containers>
<Files>
<Type>4BA429EF-6143-4FB6-9B43-D4E6E4F0CE1D</Type>
<Type>4BA429EF-6143-4FB6-9B43-D4E6E4F0CE1D</Type>
<Type>9AFECE21-8C79-45E0-9B9F-D6D62A9729D3</Type>
</Files>
</LevelTypes>
</SectionTypes>
<LabelSettings>
<Title>Label</Title>
<DefaultLabelID>-1</DefaultLabelID>
<Labels>
<Label ID="-1">No Label</Label>
<Label ID="7" Color="0.993495 0.701207 0.732587">Red</Label>
<Label ID="8" Color="0.995418 0.790946 0.652385">Orange</Label>
<Label ID="9" Color="0.997722 0.89273 0.652569">Yellow</Label>
<Label ID="10" Color="0.715855 0.948712 0.697692">Green</Label>
<Label ID="11" Color="0.702319 0.888276 0.974252">Blue</Label>
<Label ID="12" Color="0.957566 0.766747 0.999616">Purple</Label>
</Labels>
</LabelSettings>
<StatusSettings>
<Title>Status</Title>
<DefaultStatusID>-1</DefaultStatusID>
<StatusItems>
<Status ID="-1">No Status</Status>
<Status ID="1">To Do</Status>
<Status ID="6">In Progress</Status>
<Status ID="2">First Draft</Status>
<Status ID="3">Revised Draft</Status>
<Status ID="4">Final Draft</Status>
<Status ID="5">Done</Status>
</StatusItems>
</StatusSettings>
<ProjectBookmarks>
<Bookmark BinderUUID="06C0455C-36DD-4F38-BB7B-F7DD2453A8A5"/>
<Bookmark BinderUUID="6830B6AC-686B-4370-A979-2FD1D7288BDA"/>
<Bookmark BinderUUID="69822417-D015-4BDD-90BD-18AAA6198D15"/>
</ProjectBookmarks>
<ProjectTargets Notify="No">
<DraftTarget Type="Words" CountIncludedOnly="Yes" CurrentCompileGroupOnly="Yes" Deadline="2011-04-12 07:24:39 -0500" IgnoreDeadline="Yes">0</DraftTarget>
<SessionTarget Type="Words" CountDraftOnly="Yes" AllowNegatives="No" NextResetDate="2026-08-24 01:00:00 -0500" ResetType="Time" ResetTime="00:00" DeterminedFromDeadline="No" WritingDays="" CanWriteOnDeadlineDate="No">0</SessionTarget>
<PreviousSession Words="0" Characters="0" Date="2026-08-23 13:48:16 -0500"/>
</ProjectTargets>
<RecentWritingHistory Date="2026-08-23 11:15:20 -0500">
<DraftWordCount>0</DraftWordCount>
<DraftCharCount>0</DraftCharCount>
<OtherWordCount>65</OtherWordCount>
<OtherCharCount>288</OtherCharCount>
</RecentWritingHistory>
<TemplateFolderUUID>5C03DE09-C285-48ED-827F-78E62B7D0F72</TemplateFolderUUID>
<BookmarksFolderUUID>69822417-D015-4BDD-90BD-18AAA6198D15</BookmarksFolderUUID>
<PrintSettings PaperSize="612.0,792.0" LeftMargin="72.0" RightMargin="72.0" TopMargin="90.0" BottomMargin="90.0" PaperType="na-letter" Orientation="Portrait" HorizontalPagination="Clip" VerticalPagination="Auto" ScaleFactor="1.0" HorizontallyCentered="Yes" VerticallyCentered="Yes" Collates="Yes" PagesAcross="1" PagesDown="1"/>
</ScrivenerProject>

19
prototype/README.md Normal file
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@@ -0,0 +1,19 @@
# Read-only Package Preview Prototype
This is the first authoring-system vertical slice. It reads a Scrivener project, checks the project structure, and builds an on-screen package preview. It does **not** call a model and it does **not** write to Scrivener.
Run from `Authoring_System`:
```sh
python3 prototype/app.py
```
Then open [http://127.0.0.1:8765](http://127.0.0.1:8765).
To point it at another project:
```sh
python3 prototype/app.py --project /absolute/path/to/Book.scriv
```
The app binds scene/brief pairs by the visible `Scene X` labels for this read-only prototype. The next phase will persist UUID bindings in a sidecar, so later renaming does not break relationships.

285
prototype/app.py Normal file
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#!/usr/bin/env python3
"""Read-only local package-preview prototype for a Scrivener project.
This deliberately has no model call and no Scrivener write path. It is a
small standard-library server so the first workflow test has no dependency
installation step.
"""
from __future__ import annotations
import argparse
import json
import re
import shutil
import subprocess
import xml.etree.ElementTree as ET
from dataclasses import dataclass, field
from http import HTTPStatus
from http.server import SimpleHTTPRequestHandler, ThreadingHTTPServer
from pathlib import Path
from urllib.parse import urlparse
APP_DIR = Path(__file__).resolve().parent
DEFAULT_PROJECT = APP_DIR.parent / "hapagirlsauthoringsystemv1.scriv"
@dataclass
class Item:
uuid: str
title: str
item_type: str
children: list["Item"] = field(default_factory=list)
parent_title: str = ""
def rtf_to_text(path: Path) -> str:
"""Extract readable text; use macOS textutil when available, otherwise fall back."""
if shutil.which("textutil"):
result = subprocess.run(
["textutil", "-convert", "txt", "-stdout", str(path)],
capture_output=True,
text=True,
check=False,
)
if result.returncode == 0:
return result.stdout.strip()
raw = path.read_text(encoding="latin-1", errors="replace")
raw = re.sub(r"\\'[0-9a-fA-F]{2}", lambda m: bytes.fromhex(m.group()[2:]).decode("latin-1"), raw)
raw = re.sub(r"\\u-?\d+\??", "", raw)
raw = raw.replace("\\par", "\n").replace("\\line", "\n").replace("\\tab", "\t")
raw = re.sub(r"\\[a-zA-Z]+-?\d* ?", "", raw)
raw = raw.replace("{", "").replace("}", "").replace("\\", "")
return re.sub(r"\n{3,}", "\n\n", raw).strip()
class ScrivenerReader:
def __init__(self, project: Path):
self.project = project
project_files = list(project.glob("*.scrivx"))
if len(project_files) != 1:
raise ValueError("Project must contain exactly one .scrivx file.")
self.project_file = project_files[0]
self.root_items = self._load_binder()
self.by_uuid = {item.uuid: item for item in self.walk()}
def _load_binder(self) -> list[Item]:
root = ET.parse(self.project_file).getroot()
binder = root.find("Binder")
if binder is None:
raise ValueError("Scrivener project has no Binder.")
def parse(element: ET.Element, parent_title: str = "") -> Item:
item = Item(
uuid=element.attrib["UUID"],
title=(element.findtext("Title") or "").strip(),
item_type=element.attrib.get("Type", ""),
parent_title=parent_title,
)
children = element.find("Children")
if children is not None:
item.children = [parse(child, item.title) for child in children.findall("BinderItem")]
return item
return [parse(item) for item in binder.findall("BinderItem")]
def walk(self, items: list[Item] | None = None):
for item in self.root_items if items is None else items:
yield item
yield from self.walk(item.children)
def top_level(self, title: str) -> Item | None:
return next((item for item in self.root_items if item.title == title), None)
@staticmethod
def child(item: Item | None, title: str) -> Item | None:
if item is None:
return None
return next((candidate for candidate in item.children if candidate.title == title), None)
def content(self, item: Item | None) -> str:
if item is None:
return ""
path = self.project / "Files" / "Data" / item.uuid / "content.rtf"
return rtf_to_text(path) if path.exists() else ""
@staticmethod
def records(folder: Item | None, reader: "ScrivenerReader") -> list[dict]:
if folder is None:
return []
return [
{"uuid": item.uuid, "title": item.title, "text": reader.content(item)}
for item in folder.children
if item.item_type == "Text"
]
def manuscript_scenes(self) -> list[dict]:
manuscript = self.top_level("Manuscript")
scenes: list[dict] = []
if manuscript is None:
return scenes
for chapter in manuscript.children:
for item in chapter.children:
if item.item_type == "Text":
scenes.append(
{
"uuid": item.uuid,
"title": item.title,
"chapter": chapter.title,
"text": self.content(item),
"state": "canonical" if self.content(item).strip() else "planned",
}
)
return scenes
def summary(self) -> dict:
authoring = self.top_level("Authoring System")
setup = self.child(authoring, "Book Setup")
continuity = self.child(authoring, "Continuity")
briefs_folder = self.child(authoring, "Scene Briefs")
summaries_folder = self.child(continuity, "Scene Summaries")
style = self.child(setup, "STYLE")
instructions = self.child(setup, "Frontier-Model Instructions")
lexicon = self.child(continuity, "Master Lexicon")
world_notes = self.child(continuity, "World Notes")
manuscript = self.manuscript_scenes()
briefs = self.records(briefs_folder, self)
brief_by_title = {brief["title"]: brief for brief in briefs}
summary_by_title = {record["title"]: record for record in self.records(summaries_folder, self)}
paired = []
for scene in manuscript:
paired.append(
{
**scene,
"brief": brief_by_title.get(scene["title"], {}).get("text", ""),
"brief_uuid": brief_by_title.get(scene["title"], {}).get("uuid"),
"summary": summary_by_title.get(scene["title"], {}).get("text", ""),
}
)
manuscript_titles = {scene["title"] for scene in manuscript}
return {
"project": str(self.project),
"locked": (self.project / "Files" / "user.lock").exists(),
"style": self.content(style),
"frontier_instructions": self.content(instructions),
"master_lexicon": self.content(lexicon),
"world_notes": self.content(world_notes),
"scenes": paired,
"characters": self.records(self.top_level("Characters"), self),
"places": self.records(self.top_level("Places"), self),
"unmatched_briefs": [brief for brief in briefs if brief["title"] not in manuscript_titles],
"unmatched_scenes": [scene for scene in manuscript if scene["title"] not in brief_by_title],
}
def section(name: str, value: str) -> str:
return f"### {name}\n{value.strip() or '(none)'}"
def build_package(project: ScrivenerReader, payload: dict) -> str:
data = project.summary()
scene = next((scene for scene in data["scenes"] if scene["uuid"] == payload.get("scene_uuid")), None)
if scene is None:
raise ValueError("Choose a paired Manuscript scene.")
if not scene["brief"].strip():
raise ValueError(f"{scene['title']} has no paired BRIEF.")
selected_characters = set(payload.get("character_uuids", []))
character_blocks = []
for character in data["characters"]:
if character["uuid"] in selected_characters:
character_blocks.append(f"{character['title']}\n{character['text'].strip()}")
selected_places = set(payload.get("place_uuids", []))
place_blocks = []
for place in data["places"]:
if place["uuid"] in selected_places:
place_blocks.append(f"{place['title']} — {place['text'].strip()}")
notes = "\n".join(block for block in ["\n".join(place_blocks), payload.get("notes", "").strip()] if block)
story = payload.get("story", "").strip()
if not story:
story = "(none - new storyline)" if payload.get("new_thread", True) else "(none)"
return "\n\n".join(
[
section("STYLE", data["style"]),
section("LEXICON", payload.get("lexicon", "")),
section("STORY", story),
section("CHARACTERS", "\n\n".join(character_blocks)),
section("RECALL", payload.get("recall", "")),
section("PREVIOUS", payload.get("previous", "")),
section("NOTES", notes),
section("BRIEF", scene["brief"]),
section("DIRECTIVE", payload.get("directive", "")),
"### SCENE",
]
) + "\n"
class AppHandler(SimpleHTTPRequestHandler):
reader: ScrivenerReader
def __init__(self, *args: object, **kwargs: object) -> None:
super().__init__(*args, directory=str(APP_DIR), **kwargs)
def send_json(self, value: object, status: HTTPStatus = HTTPStatus.OK) -> None:
body = json.dumps(value, ensure_ascii=False).encode("utf-8")
self.send_response(status)
self.send_header("Content-Type", "application/json; charset=utf-8")
self.send_header("Content-Length", str(len(body)))
self.end_headers()
self.wfile.write(body)
def do_GET(self) -> None:
path = urlparse(self.path).path
if path == "/api/project":
self.send_json(self.reader.summary())
return
if path == "/api/health":
self.send_json({"status": "ok", "mode": "read-only prototype"})
return
if path == "/":
self.path = "/static/index.html"
elif path.startswith("/static/"):
self.path = path
else:
self.send_error(HTTPStatus.NOT_FOUND)
return
super().do_GET()
def do_POST(self) -> None:
if urlparse(self.path).path != "/api/package-preview":
self.send_error(HTTPStatus.NOT_FOUND)
return
try:
length = int(self.headers.get("Content-Length", "0"))
payload = json.loads(self.rfile.read(length).decode("utf-8"))
self.send_json({"package": build_package(self.reader, payload)})
except (ValueError, json.JSONDecodeError) as error:
self.send_json({"error": str(error)}, HTTPStatus.BAD_REQUEST)
def log_message(self, format: str, *args: object) -> None:
print("[authoring prototype] " + format % args)
def main() -> None:
parser = argparse.ArgumentParser(description="Run the read-only authoring-system prototype.")
parser.add_argument("--project", type=Path, default=DEFAULT_PROJECT)
parser.add_argument("--port", type=int, default=8765)
args = parser.parse_args()
project = args.project.expanduser().resolve()
if not project.is_dir():
parser.error(f"Project not found: {project}")
AppHandler.reader = ScrivenerReader(project)
server = ThreadingHTTPServer(("127.0.0.1", args.port), AppHandler)
print(f"Read-only authoring prototype: http://127.0.0.1:{args.port}")
print(f"Project: {project}")
server.serve_forever()
if __name__ == "__main__":
main()

72
prototype/static/app.js vendored Normal file
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let project;
const byId = (id) => document.getElementById(id);
const selected = (container) => [...container.querySelectorAll('input:checked')].map((input) => input.value);
function checks(container, records) {
container.innerHTML = records.map((record) => `
<label title="${escapeHtml(record.text)}"><input type="checkbox" value="${record.uuid}"> ${escapeHtml(record.title)}</label>
`).join('');
}
function escapeHtml(value) {
return value.replace(/[&<>'"]/g, (character) => ({ '&': '&amp;', '<': '&lt;', '>': '&gt;', "'": '&#39;', '"': '&quot;' }[character]));
}
function updateSceneState() {
const scene = project.scenes.find((candidate) => candidate.uuid === byId('scene').value);
byId('scene-state').textContent = scene ? `${scene.chapter} · ${scene.state} · ${scene.brief ? 'BRIEF paired' : 'BRIEF missing'}` : '';
byId('brief').textContent = scene && scene.brief ? scene.brief : 'No paired BRIEF exists for this scene.';
}
function render(data) {
project = data;
byId('status').textContent = data.locked ? 'Scrivener lock detected — read-only' : 'Project not locked — app remains read-only';
byId('status').className = `status ${data.locked ? 'warning' : 'ok'}`;
byId('project-check').innerHTML = [
['Scenes', data.scenes.length],
['Briefs without scene', data.unmatched_briefs.length],
['Scenes without brief', data.unmatched_scenes.length],
['Characters', data.characters.length],
['Places', data.places.length],
].map(([label, value]) => `<dt>${label}</dt><dd>${value}</dd>`).join('');
byId('scene').innerHTML = data.scenes.map((scene) => `<option value="${scene.uuid}">${escapeHtml(scene.title)} — ${escapeHtml(scene.chapter)}</option>`).join('');
checks(byId('characters'), data.characters);
checks(byId('places'), data.places);
updateSceneState();
}
async function load() {
const response = await fetch('/api/project');
if (!response.ok) throw new Error('Could not load the Scrivener project.');
render(await response.json());
}
async function build() {
byId('error').textContent = '';
const payload = {
scene_uuid: byId('scene').value,
character_uuids: selected(byId('characters')),
place_uuids: selected(byId('places')),
lexicon: byId('lexicon').value,
story: byId('story').value,
recall: byId('recall').value,
previous: byId('previous').value,
notes: byId('notes').value,
directive: byId('directive').value,
new_thread: byId('new-thread').checked,
};
const response = await fetch('/api/package-preview', {
method: 'POST', headers: { 'Content-Type': 'application/json' }, body: JSON.stringify(payload),
});
const data = await response.json();
if (!response.ok) {
byId('error').textContent = data.error || 'Could not build package.';
return;
}
byId('package').textContent = data.package;
}
byId('scene').addEventListener('change', updateSceneState);
byId('build').addEventListener('click', build);
load().catch((error) => { byId('status').textContent = error.message; byId('status').className = 'status warning'; });

64
prototype/static/index.html Normal file
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<!doctype html>
<html lang="en">
<head>
<meta charset="utf-8">
<meta name="viewport" content="width=device-width, initial-scale=1">
<title>Authoring System — Package Preview</title>
<link rel="stylesheet" href="/static/styles.css">
</head>
<body>
<header>
<div>
<p class="eyebrow">READ-ONLY PROTOTYPE</p>
<h1>Package Preview</h1>
</div>
<div id="status" class="status">Loading project…</div>
</header>
<main>
<aside>
<h2>Project check</h2>
<dl id="project-check"></dl>
<h2>Scene</h2>
<label for="scene">Paired Manuscript scene</label>
<select id="scene"></select>
<p id="scene-state" class="muted"></p>
<h2>Characters</h2>
<div id="characters" class="checks"></div>
<h2>Places for NOTES</h2>
<div id="places" class="checks"></div>
</aside>
<section class="workspace">
<section class="brief-panel">
<h2>Author BRIEF <span class="read-only">read-only</span></h2>
<pre id="brief">Select a scene to view its paired BRIEF.</pre>
</section>
<div class="grid">
<label>LEXICON (manual subset)
<textarea id="lexicon" rows="4" placeholder="Term — usage note"></textarea>
</label>
<label>STORY (manual preview)
<textarea id="story" rows="4" placeholder="Leave empty for a new thread in this prototype."></textarea>
</label>
<label>RECALL (manual preview)
<textarea id="recall" rows="4" placeholder="(Book 1 — summary)&#10;…"></textarea>
</label>
<label>PREVIOUS (manual preview)
<textarea id="previous" rows="4" placeholder="Verbatim paragraph-boundary tail."></textarea>
</label>
<label>Additional NOTES
<textarea id="notes" rows="4" placeholder="Scene-specific facts or exact text."></textarea>
</label>
<label>DIRECTIVE
<textarea id="directive" rows="4" placeholder="Expand to a maximum of 1500 words. Bring the scene to a close…"></textarea>
</label>
</div>
<label class="checkbox"><input id="new-thread" type="checkbox" checked> Treat empty STORY/PREVIOUS as a new narrative thread</label>
<button id="build">Build package preview</button>
<p id="error" class="error"></p>
<h2>Exact package</h2>
<pre id="package">Select a scene, choose context, then build a preview.</pre>
</section>
</main>
<script src="/static/app.js"></script>
</body>
</html>

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