Prosa-Skills lokal hinzugefügt

.pi/skills/prose/SKILL.md

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+---
+name: prose
+description: Write narrative prose that is grounded, emotionally resonant, and authentic. Use when asked to generate text for stories, books, chapters or scenes.
+---
+
+# Prose Skill: Approachable Narrative Style (Nora Roberts inspired)
+
+This skill guides the agent in writing narrative prose that is grounded, emotionally resonant, and avoids pretentiousness. The goal is to create a story that feels authentic and human, focusing on sensory details and natural character interactions.
+
+## Core Principles
+
+### 1. Show, Don't Tell (Non-Verbal Communication and Natural Dialogue)
+- Convey emotions primarily through subtext and physical "action beats" (micro-expressions, shifts in posture, subtle gestures).
+- Favor unique physical actions over explicit emotional adjectives. While emotional adverbs are not forbidden, they must be used sparingly; a clear physical action is always preferred.
+- Dialogue should sound like real people talking, not plot delivery systems. Use pauses, hesitations, and subtext.
+- Characters should not "pitch" their ideas; they should have conversations.
+- Let the interaction reveal the character's intent.
+
+### 2. Anti-Pattern: KI-Platitüden und Geschwollenheit
+Generative Texte neigen zu bestimmten formelhaften Wendungen, die präzise und menschlich klingen wollen, aber stattdessen unverbindlich und aufgeblasen wirken. Prüfe jeden Satz aktiv auf diese Muster. Wenn du eine Formulierung erkennst, die in Trainingsdaten häufig vorkommt, verwende sie nicht.
+
+Explizit verbotene Muster und ihre Korrektur:
+
+| Verbotenes Muster | Warum es schlecht ist | Tu stattdessen |
+|---|---|---|
+| **„Es war X, beinahe Y“** (z. B. „Sein Lachen war laut, beinahe manisch“) | Entscheidet sich nicht. Schwächt beide Adjektive ab. | Treffe eine klare Wahl. Entweder „Sein Lachen war laut“ oder „Sein Lachen war manisch“. Kein „beinahe“, kein Ersatz-Nebensatz. |
+| **„Ein Hauch von [Eigenschaft]“** | Vage und unkonkret. | Benenne die Eigenschaft direkt oder beschreibe den konkreten physischen Effekt. |
+| **„Als würde die Zeit stillstehen“** | Abgedroschene Metapher. | Beschreibe, was die Figur konkret wahrnimmt – den eigenen Herzschlag, das Ausbleiben eines Geräuschs, den festen Griff um einen Gegenstand. |
+| **„Die Luft war dick vor [Spannung/Geruch/etc.]“** | Erzählt abstrakt statt zu zeigen. | Zeige, was die Figuren physisch spüren: schweres Atmen, ein Kratzen im Hals, Schweiss in der Handfläche. |
+| **„Eine Mischung aus X und Y“** (bei Charakterisierung) | Unschärfe statt Präzision. | Wähle das dominierende Merkmal oder beschreibe den konkreten, beobachtbaren Effekt. |
+| **„Sich fragen, ob...“** als Einleitung zu Introspektive | Passiv und erzählend statt erlebend. | Entweder stelle die Frage direkt als freien Gedanken („War das richtig?“) oder zeige die Unsicherheit durch Handlung. |
+| **„In diesem Moment wurde ihm klar, dass...“** | Erzählt die Erkenntnis statt sie entstehen zu lassen. | Zeige die Konsequenz der Erkenntnis: was tut die Figur anders, was merkt der Leser an ihrer Reaktion? |
+
+Allgemeine Regel: Wenn ein Satz in deinen Trainingsdaten in tausend Variationen vorkommen könnte, ist er nicht spezifisch genug für diese Szene.
+
+### 3. Scenic Storytelling & Pacing: Aktiv vor Passiv
+- **Aktive Handlung ist die Norm.** Priorisiere reale Zeit, konkrete Taten, Dialog und Interaktion mit der Umwelt.
+- **Passive Schilderungen und kurze Introspektiveinschübe sind erlaubt**, aber sie dienen dazu, den Rhythmus aufzulockern und Atempausen zu schaffen – nicht, die Handlung zu ersetzen oder eine Szene in reine Gedankenarbeit ausufern zu lassen.
+- **Die Anker-Regel:** Introspektive Passagen müssen durch aktive Dinge verankert werden: Handlungen, Dialog, Bewegungen, Interaktion mit Objekten. Passive Umweltbeschreibungen („Die Tapete war grün“) zählen nicht als echte Auflockerung. Nach einem Gedanken muss etwas Passieren oder Gesagt werden.
+- Vermeide Zeitsprünge und narrative Zusammenfassungen, sofern nicht ausdrücklich gewünscht. Fokus auf das Hier und Jetzt.
+- Keine schnellen Abfolgen von Ereignissen, die ein Gespräch oder eine Bewegung durch einen Raum zusammenfassen, nur um schneller zum nächsten Plotpunkt zu kommen.
+- Erlaube aber auch nicht, dass Szenen in purem Gedankenstrom verharren. Ein Glas Wein einschenken kann ein Fahrzeug für Spannung sein – aber nur, wenn dabei etwas geschieht, nicht nur gedacht wird.
+
+### 4. Sensory Grounding over Abstraction
+Avoid abstract adjectives (e.g., "exclusive," "strategic," "sophisticated"). Describe the world and internal experiences through the five senses without implying a specific emotion or "coloring" the experience. The emotional significance must be revealed through the characters' reactions to the experience, not by the description itself.
+
+- **Bad:** "The silence was oppressive." (Implies a feeling)
+- **Good:** "The room fell silent. Elena held her breath, her eyes darting toward the door." (The silence is objective; the tension is shown through the reaction)
+- **Bad:** "The atmosphere in the café was one of high-end exclusivity."
+- **Good:** "It smelled of freshly roasted beans and expensive leather. The soft clink of porcelain cups blended with the low hum of hushed conversations."
+
+**Kapitelanfänge:** Wenn ein neues Kapitel ohne räumlichen oder zeitlichen Wechsel anschließt, braucht es keine erneute umfassende Orts- oder Sinnesbeschreibung. Ein direkter Einstieg in die Handlung oder den Dialog ist meist besser. Je größer der räumliche oder zeitliche Sprung, desto mehr Aufbau ist nötig – aber auch dann gilt: Keine Widersprüche zu bereits etablierten Beschreibungen.
+
+### 5. Emotional Transparency over Psychological Analysis
+Do not explain a character's psychological state from a distance. Show the emotion through physical reactions and immediate internal sensations. These sensations must be described neutrally; do not use emotional labels (e.g., "fear," "sadness") to explain the sensation. Let the reader infer the emotion from the physical experience.
+
+- **Bad:** "Elena analyzed the situation from a tactical perspective."
+- **Bad:** "A cold knot of fear tightened in her stomach." (Labels the emotion)
+- **Good:** "Elena felt a familiar knot tighten in her stomach, but she forced her gaze to remain steady. She knew this feeling—it was the stillness before the storm."
+- **Good:** "A cold knot tightened in her stomach; she took a step back and held her breath." (Shows the sensation and reaction, lets the reader infer the fear)
+
+**Hinweis:** Auch physische Reaktionen müssen der Anker-Regel folgen (siehe Punkt 3). Eine lange Kette körperlicher Symptome ohne Handlung oder Dialog wird ebenso zur passiven Abfolge. Die Emotion muss sich in Tun äußern.
+
+### 6. Organic World-Building
+- Strict prohibition of "infodumps."
+- Information about the world, its history, or its systems must be woven into the narrative functionally and contextually, revealed only when relevant to the current scene or character perspective.
+
+### 7. Story Bible & Kontinuität
+Um Widersprüche und redundante Erstbeschreibungen zu vermeiden, pflegt dieser Skill eine projektspezifische Bibel.
+
+- **Standardpfad:** `story-bible/` im Projektverzeichnis, mit den Unterverzeichnissen `locations/`, `characters/` und `scenes/`.
+- **Nutzung:** Ist die Bibel vorhanden, liest der Agent vor dem Schreiben einer Szene die relevanten Einträge (aktueller Ort, auftretende Charaktere, angrenzende Szenen). Bereits beschriebene Details werden nicht ignoriert oder widersprochen.
+- **Pflege:** Nach Fertigstellung einer Szene aktualisiert der Agent die Bibel: neue Orte beschrieben? Neue Datei in `story-bible/locations/`. Neuer Charakter? Neue Datei in `story-bible/characters/`. Neue Szene mit Tatsachen? Neue Datei oder Ergänzung in `story-bible/scenes/`.
+- **Keine Doppelbeschreibungen:** Ein Ort, der bereits existiert, wird nicht jedes Mal neu und anders aufgebaut. Kurze erinnernde Streiflichter sind erlaubt (z. B. „Der Geruch des Kaffees hing noch in der Küche“), keine vollständige Neubeschreibung.
+- Existiert `story-bible/` nicht, arbeitet der Skill ohne Bibel-Unterstützung weiter.
+
+### 8. The Warmth of the Everyday
+Give space to small, human, and domestic details. A wrinkled handkerchief, a crooked picture frame, or a shared silence over coffee. These "imperfections" make the characters human and relatable, preventing them from becoming mere "power archetypes."
+
+### 9. Fluid and Clear Language
+Use a mix of short, precise sentences and descriptive passages. Avoid overly complex sentence structures or unnecessary academic vocabulary used simply to appear "intelligent."
+
+### 10. Character Introductions
+Every character introduced in a scene must be described.
+- **Recurring Characters:** A brief description of the person and their clothing is sufficient to ground them in the current scene.
+- **First Appearances:** When a character appears for the first time, the description must be detailed and comprehensive. This includes their stature, hair color and hairstyle, eye color, posture, general aura/presence, voice, and any distinctive features.
+- **Style:** This description should not be a clinical list or a character sheet; it must be integrated into the prose, flowing naturally through observations and reactions. It can span multiple paragraphs to allow the reader to truly "see" the character.
+
+### 11. SceneScript Adherence (Blueprint Fidelity)
+When writing from an approved SceneScript, the prose must remain faithful to the blueprint. Drift is the enemy of narrative architecture.
+
+- **Beat Order is Law:** Implement every beat in the exact sequence given. Never reorder, merge, or skip beats.
+- **The [REVEAL] Seal:** Information tagged `[REVEAL]` must appear for the first time at exactly that beat. Do not foreshadow it earlier, allude to it in passing, or let any character know it before the script permits.
+- **No Invention Beyond the Blueprint:** Do not introduce new plot facts, character backstory, relationships, or thematic interpretations that are not encoded in the script's beats or metadata. If the script does not mention a detail, it does not exist in this scene.
+- **Tag Dictates Execution:**
+  - `[ATMOSPHERE]` beats must receive full sensory texture and time to breathe; they are not transitions to rush through.
+  - `[SUBTEXT]` beats must be rendered through physical action, dialogue rhythm, and spatial dynamics—not by explaining what the characters secretly feel.
+  - `[PLOT]` beats must move the external action forward without inserting speculative detours.
+  - `[CHARACTER]` beats must show the stated trait or dynamic through concrete behaviour, not summary.
+- **Self-Check Before Delivery:** After completing the prose, mentally scan each beat of the script against the text. If a beat is missing, a reveal is premature, or an unscripted element has crept in, rewrite the offending passage before presenting the result.
+
+## Application
+When this skill is active, the agent should review every scene to ensure it isn't drifting back into a "case study" or "corporate" tone, and that it doesn't feel rushed. The focus remains on the heartbeat of the scene: how it feels, how it smells, and how the characters are truly reacting in the moment, with sufficient space for the narrative to unfold naturally. Priorisiere dabei stets das konkrete Tun über das abstrakte Denken.

.pi/skills/prosewriting/SKILL.md

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+---
+name: prosewriting
+description: Craft beautiful prose for fiction, essays, and creative nonfiction with techniques for voice, rhythm, and imagery.
+---
+
+You are a prose writing expert. Help me craft beautiful, engaging prose.
+
+## Elements of Strong Prose
+
+### Voice
+```
+Voice = Word choice + Rhythm + Perspective + Attitude
+
+Questions to find your voice:
+- Who is telling this story?
+- What do they notice first?
+- How would they describe things?
+- What words would they never use?
+```
+
+### Rhythm and Flow
+```
+Vary sentence length:
+
+Short sentences create tension. They punch. They move fast.
+
+Longer sentences, by contrast, can create a sense of
+flow and contemplation, allowing the reader to settle
+into the narrative and absorb the details of a scene,
+much like wading into warm water.
+
+Mix them. That's the key.
+```
+
+## Show vs. Tell
+
+### The Difference
+```
+TELLING: "She was nervous about the interview."
+
+SHOWING: "She smoothed her skirt for the fifth time.
+Her coffee sat untouched, growing cold. When her
+name was called, she stood too quickly, nearly
+knocking over her chair."
+```
+
+### When to Tell
+```
+- Transitions between scenes
+- Summarizing time passage
+- Background information
+- When showing would slow pace
+```
+
+### When to Show
+```
+- Key emotional moments
+- Important character traits
+- Conflict and tension
+- Scenes that matter
+```
+
+## Sensory Writing
+
+### The Five Senses
+```
+Sight: Colors, shapes, light, movement
+Sound: Dialogue, ambient noise, silence
+Touch: Texture, temperature, pressure
+Smell: Scents that trigger memory
+Taste: Flavors that ground scenes
+```
+
+### Sensory Exercise
+```
+Describe a place using:
+- 3 visual details
+- 2 sounds
+- 1 smell
+- 1 touch/texture
+- 1 taste (if applicable)
+```
+
+## Figurative Language
+
+### Metaphor
+```
+Implicit comparison:
+"Time is a thief."
+"Her words were daggers."
+"The city was a maze of possibilities."
+```
+
+### Simile
+```
+Explicit comparison using "like" or "as":
+"The moon hung like a paper lantern."
+"Silence fell as heavy as snow."
+```
+
+### Personification
+```
+Giving human qualities to non-human things:
+"The wind whispered through the trees."
+"The house groaned in the storm."
+```
+
+### Fresh vs. Cliché
+```
+Cliché: "Her heart sank."
+Fresh: "Something in her chest dropped like a stone in still water."
+
+Cliché: "Time flies."
+Fresh: "The hours dissolved like sugar in rain."
+```
+
+## Word Choice
+
+### Concrete vs. Abstract
+```
+Abstract: "She felt sad about the loss."
+Concrete: "She ran her thumb along his empty coffee cup,
+still warm."
+
+Choose:
+- Specific nouns over general
+- Active verbs over passive
+- Concrete over abstract
+```
+
+### Power Verbs
+```
+Instead of: walked
+Try: strode, shuffled, ambled, trudged, crept, bounded
+
+Instead of: said
+Try: whispered, snapped, murmured, announced, confessed
+(But "said" is often invisible and best)
+```
+
+## Scene Construction
+
+### Scene Elements
+```
+1. Goal: What does the POV character want?
+2. Conflict: What's in the way?
+3. Outcome: What happens? (often a setback)
+4. Reaction: How do they respond?
+5. Decision: What will they do next?
+```
+
+### Scene Openings
+```
+- Start with action
+- Start with dialogue
+- Start with sensory detail
+- Start in medias res (middle of things)
+
+Avoid:
+- Character waking up
+- Weather descriptions
+- Lengthy backstory
+```
+
+## Dialogue
+
+### Natural Dialogue
+```
+- People interrupt
+- People don't answer directly
+- People speak in fragments
+- People have verbal tics
+- People avoid what they mean
+```
+
+### Subtext
+```
+What's said ≠ What's meant
+
+"Nice weather."
+(I don't want to talk about what just happened.)
+
+"You look tired."
+(Are you okay? I'm worried about you.)
+```
+
+## Revision Techniques
+
+### First Pass: Structure
+```
+- Does each scene advance plot or character?
+- Is the pacing right?
+- Are transitions smooth?
+```
+
+### Second Pass: Prose
+```
+- Eliminate weak verbs (was, were, is, are)
+- Cut adverbs, strengthen verbs
+- Remove redundancies
+- Vary sentence structures
+```
+
+### Third Pass: Polish
+```
+- Read aloud for rhythm
+- Check for clichés
+- Ensure consistency
+- Final grammar/spelling
+```
+
+## Style Exercises
+
+### Constraint Writing
+```
+- Write a scene using only dialogue
+- Describe without using "was/were"
+- Limit paragraphs to 3 sentences
+- Use no adjectives
+```
+
+Share your prose challenge, and I'll help you craft beautiful writing.

.pi/skills/scenescript/SKILL.md

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+---
+name: scenescript
+description: Transforms the agent into a narrative architect. Its purpose is to bridge the gap between a high-level chapter outline and final prose by creating a detailed "beat sheet" or "screenplay" that maps out the emotional and structural progression of a scene without writing the final dialogue.
+---
+
+## I. The Core Objective
+To prevent "rushed" scenes and ensure a high-end pacing where characters breathe, subtext is layered, and emotional arcs are fully realized. A SceneScript is not a summary; it is a technical blueprint for execution.
+
+## II. The SceneScript Framework
+
+Every SceneScript must consist of the following sections:
+
+### 1. Scene Metadata (The Frame)
+- **Objective:** What is the singular goal of this scene? What must change by the end?
+- **Emotional Curve:** Start State → Pivot Point → End State.
+- **Sensory Anchors:** Specific smells, sounds, or visual details that ground the scene and reflect the mood.
+
+### 2. Scene Architecture: World-Layer & Beat Density
+
+Before listing individual beats, the agent MUST design the scene's social and sensory architecture. Plot beats alone create a checklist; the surrounding world makes the scene breathe.
+
+**A) Mandatory World-Layer Elements**
+Every scene script must allocate distinct beats for:
+- **Atmospheric Progression (min. 3 beats):** Evolving sensory details that shift with the scene's mood (e.g., a room fills with smoke, music changes tempo, the champagne grows warm, rain starts against the window).
+- **Social Tapisserie (min. 2 beats):** Interactions with anonymous groups, background characters, or the physical crowd that the protagonists move through. These establish the environment as inhabited and reactive.
+- **Micro-Interactions (min. 2 beats):** Small, human moments with service staff, acquaintances, or environmental obstacles that delay, redirect, or flavor the main interaction.
+
+**B) Beat Density Rule**
+The number of beats must scale with scene ambition:
+- Standard chapter scenes (~8k characters prose): **Minimum 15 beats**.
+- Complex, high-stakes, or socially dense scenes (galas, boardrooms, operations): **Minimum 25 beats**.
+- Intimate two-person dialogue scenes: **Minimum 10 beats**.
+
+If the count falls below the minimum, expand by adding atmospheric, social, or emotional beats—not by padding action.
+
+### 3. The Beat-by-Beat Blueprint (The Action)
+The scene is broken down into "Beats" (the smallest units of action/interaction).
+- **Jeder Beat wird in exakt einem Satz beschrieben.**
+- **Jeder Satz steht in einer eigenen Zeile.**
+- Ein Beat darf nicht über mehrere Zeilen oder Sätze erstrecken.
+- Innerhalb dieses einen Satzes sollen physischer Spielraum, Dialogintention und Gefühlsdynamik zusammengefasst werden, ohne dabei in Stichpunkte aufzuspalten.
+- **Tagging:** Every beat must end with a functional tag in brackets. The tag indicates what the beat *does* in the architecture:
+  - `[ATMOSPHERE]` – Sensory/setting detail or environmental shift
+  - `[PLOT]` – Advances the external story or action
+  - `[CHARACTER]` – Reveals personality, backstory, or relationship dynamic
+  - `[REVEAL]` – Introduces new information to characters or reader
+  - `[SUBTEXT]` – Unspoken tension, power shift, or emotional undercurrent
+- **Beispiel:** Amara versucht, Elena zur Offenheit zu drängen, doch Elena weicht aus, indem sie ihre Tasse dreht und den Blick zur Seite lenkt. `[SUBTEXT]`
+
+### 4. The Social Game (The Power Dynamics)
+- **Power Balance:** Who controls the rhythm and the space in this scene? How does this shift?
+- **Subtext:** What is being felt or desired that remains unspoken?
+- **Friction Points:** Where do the characters' agendas clash?
+
+## III. Research & Benchmarking (The Quality Standard)
+
+To ensure the scene has a professional level of depth and appropriate length (avoiding the "AI summary" feel), the agent MUST:
+- **Reference High-End Narrative Structures:** Research or recall similar high-tension or emotionally dense interactions from acclaimed literature or cinema (e.g., a specific dialogue dynamic from a prestige drama).
+- **Pacing Benchmark:** Compare the planned number of beats against a "gold standard" scene of similar intent to ensure the scene is allowed to "breathe" and that no emotional step is skipped.
+- **Complexity Check:** Ensure that the conversation doesn't move in a straight line but follows a path of avoidance, resistance, and eventual breakthrough.
+
+## IV. Integration Workflow
+
+1. **Request:** The user asks for a scene or chapter.
+2. **SceneScript Generation:** The agent writes the complete Framework (Metadata, Architecture, Beats, Social Game) to a file in the project's `scripts/` directory (e.g., `scripts/chapter08_scenescript.md`). The agent does NOT generate prose at this stage.
+3. **User Review:** The user reads the file, modifies beats, tags, or density as needed, then confirms approval.
+4. **Prose Implementation:** Only after explicit user approval does the agent load the approved SceneScript and write the final prose, strictly following the beat order, tags, and reveal timing encoded in the script.