/chapter-drafter

Pass Criteria Reference

Detailed evaluation criteria extracted from editorial skills. Use this reference when evaluating scenes.

Pass 1: Scene-Sequencing (35% weight)

Source: skills/fiction/scene-sequencing/SKILL.md

Core Principle

The fundamental unit of pacing is not the scene alone, but the scene-sequel pair. Scenes create tension; sequels process it.

Scene Structure: Goal → Conflict → Disaster

Goal Evaluation

• Goal is specific and concrete
• Goal is achievable within the scene
• Goal connects to larger story goals
• Goal is clear to reader within first beats

PASS: Clear goal in opening beats WARN: Goal exists but buried FAIL: No discernible character goal

Conflict Evaluation

• Opposition to goal present
• Conflict escalates (not static)
• Each beat makes goal harder
• Source of conflict appropriate (character, environment, internal)

PASS: Opposition intensifies through scene WARN: Conflict present but static FAIL: No real opposition

Disaster Evaluation

• Scene ends with clear outcome
• Outcome creates complications

PASS: "Yes, but..." or "No, and furthermore..." WARN: Simple "No" FAIL: Clean "Yes" or no resolution

Sequel Structure: Reaction → Dilemma → Decision

Sequel Evaluation

• Emotional reaction present
• Character faces choice with no good options
• Decision leads to next scene's goal

PASS: Full sequel present (or appropriate compression) WARN: Abbreviated sequel FAIL: Missing after high-tension scene

Pacing Ratio

• Scene/sequel ratio matches intended pacing
• More scene = fast-paced, action-heavy
• More sequel = slow-paced, reflective

PASS: Matches intent WARN: Slight mismatch FAIL: Severely mismatched

Anti-Patterns to Flag

• The Relentless Scene (no processing time)
• The Wallowing Sequel (introspection without decision)
• The Arbitrary Disaster (outcome disconnected from conflict)
• The Clean Victory (drains tension)
• Missing Goal (no drive)

Pass 2: Character-Arc (25% weight)

Source: skills/fiction/character-arc/SKILL.md

Core Principle

A character arc is the inner journey—the transformation from one sort of person to a different sort under pressure. The arc is not the plot.

Arc Components

Lie Evaluation

• Character's false belief is evident
• Lie manifests in choices/behavior
• Lie connects to backstory wound

PASS: False belief evident in choices WARN: Lie present but unstated FAIL: No lie operative in this scene

Want/Need Gap

• What character thinks they need (Want) is clear
• What would actually fulfill them (Need) is different
• Gap creates tension

PASS: Clear tension between stated and actual need WARN: Gap exists but unclear FAIL: Want = Need (no tension)

Arc Progress

• Scene advances character toward or away from truth
• Or scene challenges the arc meaningfully

PASS: Scene advances or challenges arc WARN: Arc static but consistent FAIL: Character contradicts established arc

Transformation Markers

• If this is a transformation beat, it's earned
• Character's choices reflect current arc position
• Resistance to change is visible when appropriate

PASS: Choices reflect arc position WARN: Position unclear FAIL: Acts against established personality

Anti-Patterns to Flag

• The Informed Arc (told changed, not shown)
• The Magic Mentor (change from telling, not discovery)
• The Trauma = Transformation Fallacy
• The Perfect Protagonist (no lie = no arc)
• The Instant Epiphany (no buildup)

Pass 3: Cliche-Transcendence (15% weight)

Source: skills/fiction/cliche-transcendence/SKILL.md

Core Principle

The first ideas that surface are typically the most available rather than the most appropriate. A trope becomes cliché when every aspect matches the default pattern.

The Four Axes Evaluation

Orthogonality Test

For each significant element in the scene:

• Form axis: Is it the expected version?
• Knowledge axis: Does it know what story it's in?
• Goal axis: Does it exist to serve the protagonist?
• Role axis: Does it have its own story?

PASS: At least 2 axes orthogonal WARN: Only 1 axis orthogonal FAIL: All axes match default (pure cliché)

Key Question

"Does it know what story it's in?"

• Cliché: Elements act as if they know their narrative function
• Fresh: Elements have own logic that collides with story

Anti-Patterns to Flag

• Inversion as Innovation (opposite equally tired)
• Novelty Over Function (original but doesn't serve story)
• Enumeration Avoidance (didn't identify the defaults)
• Form-Only Changes (corporate security = FBI in different uniform)
• Protagonist Orbit Preservation (everything serves hero)

Pass 4: Dialogue (15% weight)

Source: skills/fiction/dialogue/SKILL.md

Core Principle

Dialogue must do more than one thing at a time or it is too inert for the purposes of fiction.

The Three Layers

Voice Distinctiveness (D1)

• Characters distinguishable without tags
• Vocabulary differs per character
• Sentence complexity varies
• Directness levels differ

PASS: Speakers identifiable without tags WARN: Some overlap but distinct FAIL: Identical voices

Naturalness (D2)

• Contractions used appropriately
• Some incomplete sentences
• Characters interrupt/talk past each other
• Reads naturally aloud

PASS: Natural rhythm, contractions, interruptions WARN: Slightly formal FAIL: Wooden/stilted

Exposition Handling (D3)

• No "As you know, Bob..." constructions
• Information through conflict/discovery
• Characters disagree about facts

PASS: Information through conflict WARN: Minor "as you know" FAIL: Exposition dump

Subtext Presence (D4)

• Emotional states shown, not declared
• Characters want things they can't ask directly
• Gap between said and meant

PASS: Clear subtext layer WARN: Occasional direct statements FAIL: Everything on-the-nose

Double-Duty Test (D5)

For each exchange, count functions served:

1. Plot advancement
2. Character revelation
3. Subtext/tension
4. Relationship development

PASS: 3+ functions WARN: 2 functions FAIL: Single function only

Anti-Patterns to Flag

• The Exposition Dump
• The Identical Twins (same voice)
• The Court Reporter (meaningless realism)
• The Emotional Narrator (tags do dialogue's job)
• The Tennis Match (perfect alternation)

Pass 5: Prose-Style (10% weight)

Source: skills/fiction/prose-style/SKILL.md

Core Principle

Style is not decoration; style is content. Vigorous writing is concise.

Sentence Variety (P4)

• Sentence lengths vary (short, medium, long)
• Sentence structures vary (simple, compound, complex)
• Sentence openings vary (not all subject-verb)

PASS: Clear variety WARN: Some variation FAIL: Monotonous

Clarity (P2)

• Concrete language outweighs abstract
• Pronoun antecedents clear
• Logic visible, not compressed

PASS: Clear, concrete WARN: Occasional abstraction FAIL: Reader must reread

Voice Consistency (P6)

• Diction level consistent
• Shifts are intentional
• Tone maintained

PASS: Consistent voice WARN: Minor shifts FAIL: Random voice changes

Economy (P3)

• No adjective stacking
• Adverbs used sparingly
• Words earn their place

PASS: Vigorous, concise WARN: Minor redundancy FAIL: Overwrought/purple

Active Voice (P5)

• Passive used intentionally
• Important agents named
• Action sequences active

PASS: Active voice default, passive intentional WARN: Some default passive FAIL: Passive overuse

The Read-Aloud Test

• No stumbles when read aloud
• Rhythm feels natural
• Awkward passages caught

Anti-Patterns to Flag

• The Thesaurus Abuser
• The Adjective Hoarder
• The Passive Defaulter
• The Monotone
• The Purple Writer

Scoring Reference

Per-Criterion Scoring

• PASS = 100
• WARN = 85
• FAIL = 60

Per-Pass Scoring

Pass Score = Average of all criteria scores

Composite Scoring

Composite = SUM(Pass Score × Weight)

Decision Thresholds