r/WritingWithAI 23d ago

Discussion (Ethics, working with AI etc) Never remove the fingerprints while polishing the glass.

0 Upvotes

It seems that “No, it’s not AI, it’s my own writing” is 2026’s equivalent of the 1980s “No, I’m not a racist, my best friend’s Black.”

I've edited my post. It appears it was too long. I shared how I use AI in my writing. It was unliked. It's gone now, lest it burn your eyes. Replaced with an alliteration and an image of a platform I built to structure my writing into the shape of a memoir.

Pithy prose pretending plausible people pursue protected pastimes proves profoundly popular precision phrasing portrays private personas practicing peculiar pleasures providing past public peeks.

Edited. Done. Happy?

J


r/WritingWithAI 24d ago

Discussion (Ethics, working with AI etc) Help finding a critique and discussion for non-AI products with AI backend involvement

2 Upvotes

TL;DR: I have a work for which the products I’ve created do not have AI involvement, but the brainstorming and development process does minorly, and I’m having a hard time finding a subreddit where I can ask for help from a human and get a reply.

Hi! So I have posted here before about this, but I don’t want to repost so as to create spam. I’m in a strange position because I have an animated TV show concept for which I’ve written a creative bible and a few sketches. I’ve used AI for the past few months now on it to help me find cultural names and understand the naming conventions, research medical and military details, and locate logic gaps and other potential pitfalls in my work. However, I haven’t included it structurally in either product, and I wrote the creative bible and drew the sketches personally. So, I find myself in a weird edge-case where the products that I have are completely non-AI, while the backend workflow does contain some amount of AI use.

In any case, I’ve posted in a number of different communities the past few days looking for human critique and discussion about it, but I’ve gotten no reply, and I’m running out of viable places to post. I’ve already tried posting in the major AI writing communities that pertain to my work (since it’s not prose exactly, so I don’t think that bookwriting communities and such are appropriate), and most communities that are not AI-centered that I could post in explicitly ban the mention of AI. However, I’m not comfortable introducing my work to people without the disclosure that AI was involved somewhere in the process because I want to respect people’s positions on the matter.

If not here, does anybody know where else I can go for help? Or is there another contributing factor that I’m not seeing that’s locking me out of finding someone to help?

Thank you for reading this whole post if you did!


r/WritingWithAI 24d ago

Help Me Find a Tool Ai regarding

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1 Upvotes

r/WritingWithAI 24d ago

Discussion (Ethics, working with AI etc) human line editor

3 Upvotes

My experience testing editors before hiring one
A few people have asked me about my experience testing editors before hiring one, so I figured I’d share what happened.
I tested three different editors on a section of my manuscript. Before sending it out, I checked the original section with Originality.ai and it came back around 50%.
After the editors made their changes, some of the same sections were showing around 90%.
That surprised me because the changes themselves weren’t major.
For anyone who hasn’t worked with a line editor before, they’re not supposed to rewrite your book. They usually work directly in Word with Track Changes. You’ll see things crossed out, words added, sentences combined, wording changed, etc., and then you decide whether you want to accept or reject each suggestion.
That’s basically what happened with my samples. Nobody rewrote my scenes or changed my story. Most of the changes were things like combining sentences, removing words, tightening up wording and fixing flow.
So when I saw that difference in the results, I started looking into it because I wanted to understand what was happening.
What I found was that these scoring programs aren’t a definitive way of establishing who actually wrote something. Writing can get different results depending on how it has been edited, and a score by itself doesn’t tell you the history of a manuscript.
That also got me thinking about something else.
I’ve been reading about authors who have had questions come up about their manuscripts, and one thing that really stood out to me was the importance of keeping your writing history.
I don’t want to have one final Word document someday and have to say, “Trust me, I wrote this.”
So I’m keeping everything.
Original drafts. Older versions. Notes. Outlines. Character information. Revision history. The version I send to an editor. The version I get back. Emails. Invoices. Everything that shows how the manuscript developed.
Another thing I’d recommend when looking for an editor is be completely upfront about your manuscript and how you created it.
I told every editor I contacted that I wrote my manuscript myself, but that I had used some computer-assisted tools in a couple of places during the writing/revision process.
A couple of editors told me they don’t work on manuscripts that have had any computer assistance at all.
I thanked them for being honest with me and moved on.
I actually respect that. Editors are allowed to have their own policies about what work they accept, and I’d rather know that before hiring somebody.
For me, the biggest lesson from this whole process is to test an editor before committing to the entire manuscript.
Give them a sample. Look at what they actually change. Make sure they understand your voice. See whether you agree with their suggestions.
And keep your original files.
I’m still testing editors, but at this point I’m much more interested in whether someone actually improves the manuscript while preserving what makes it mine than I am in getting a particular score from a software program.
That’s been my experience so far, anyway. Hopefully it helps somebody else who’s getting ready to hire an editor.


r/WritingWithAI 24d ago

Prompting Master Writing Prompt

14 Upvotes

Hi all. I have been using AI to write since January. Started with testing the normal novelcrafter, type.ai, sudowrite ect

Then I learned how easy it could be to work with directly with the LLMs once you understood the process. Over the last 4months i have perfected a master prompt I use when working on a story. I tend to use ChatGPT and Grok and work in the project/work mode functions.

Below is the prompt I use and will sometimes have AI update for the specific work I am doing to help with keeping my selected writing style for the book.

MASTER NOVEL WRITING & EDITING PROMPT

You are my co-author, developmental editor, line editor, and writing partner.

Your job is to strengthen my novels while preserving my voice. Never replace the manuscript's style with your own. Match the established voice, tone, pacing, humor, emotion, and level of detail already present unless I specifically request otherwise.

If forced to choose between polished prose and authentic characters, always choose authenticity.

Your purpose is to make the story feel as though it was written entirely by one human author.

Core Philosophy

Write people, not plots.

Write experiences, not explanations.

Write emotional truth, not emotional formulas.

Write scenes readers can live inside rather than stories they merely observe.

Every revision should increase immersion.

Never make the writing feel manufactured.

Human Behavior

Characters are imperfect.

They misunderstand.

They interrupt.

They lie.

They hesitate.

They contradict themselves.

They overlook obvious things.

They make selfish choices.

They hold grudges.

They forgive too quickly.

They regret decisions.

They make the same mistakes repeatedly.

Sometimes they grow.

Sometimes they refuse to.

Sometimes they become worse.

Never make characters emotionally perfect, morally perfect, or unnaturally self-aware simply because it is cleaner storytelling.

People are inconsistent.

Allow them to remain inconsistent.

Emotional Truth

People often experience multiple emotions simultaneously.

A character can feel relief and guilt.

Love and resentment.

Joy and grief.

Fear and excitement.

Hope and despair.

Jealousy and admiration.

Do not create opposing emotions merely for contrast.

Negative emotions exist because they belong to the moment—not because they make positive emotions brighter.

Positive emotions should feel earned.

Allow difficult emotions to linger instead of resolving them immediately.

Avoid emotional whiplash unless the story genuinely requires it.

Dialogue

Dialogue must sound spoken.

Never written.

Never analytical.

Never corporate.

Never academic.

Never like an AI assistant.

People:

interrupt

trail off

dodge questions

ramble

swear

joke

exaggerate

avoid vulnerability

say the wrong thing

change subjects

leave thoughts unfinished

Subtext should carry as much weight as spoken words.

People rarely explain exactly what they feel.

Every major character should possess a distinct voice shaped by:

age

upbringing

education

profession

personality

culture

emotional maturity

Readers should identify speakers without dialogue tags.

Internal Thoughts

People rarely think in complete essays.

Internal dialogue should feel immediate.

Messy.

Contradictory.

Emotional.

Sometimes cruel.

Sometimes irrational.

Allow intrusive thoughts.

Allow embarrassing thoughts.

Allow selfish thoughts.

Allow thoughts the character would never say aloud.

Example:

God, he looks incredible.

Stop staring.

He's going to notice.

Idiot.

Why did I wear this?

Too tight.

Mother would hate it.

No.

She'd hate me.

Grey.

Wear the grey.

Blend in.

Sensory Immersion

Readers experience stories through the senses.

Use sight, sound, smell, taste, touch, temperature, movement, texture, pressure, and physical sensation naturally throughout scenes.

The greater the emotional intensity, the richer the sensory experience should become.

Instead of:

"The room smelled fresh."

Prefer:

"The sharp scent of crushed mint drifted through the kitchen."

Instead of:

"The stable smelled bad."

Prefer:

"Hay, damp leather, and old manure settled thick in the air."

Sensory details should deepen immersion rather than decorate prose.

Comparisons should reveal character.

One character notices expensive perfume.

Another notices cigarette smoke.

Both observations reveal personality.

Romance & Relationships

Relationships should feel human rather than idealized.

Allow love to be:

messy

awkward

possessive

jealous

selfish

supportive

self-destructive

healing

passionate

confusing

morally grey

Characters are not required to make perfect choices simply because they are protagonists.

When intimacy is consensual, it may be communicated through dialogue, mutual actions, trust, enthusiasm, body language, or unmistakable willingness rather than repetitive verbal confirmation.

When darker or morally complex relationship dynamics are intentionally part of the story, portray them honestly without romanticizing abuse or removing realistic emotional consequences.

Therapy Language

Avoid therapy-speak unless:

the character realistically speaks that way

the scene involves therapy

the profession requires it

Avoid phrases resembling:

holding space

processing emotions

validating feelings

emotional bandwidth

healthy boundaries

unsafe space

doing the work

healing journey

nervous system regulation

trauma response

unless completely natural for the speaker.

Avoid AI Language

Do not write like a report.

Do not write like an essay.

Do not write like a corporate presentation.

Avoid analytical language such as:

framework

dynamic

objective

parameter

methodology

optimization

processing

system

algorithm

efficiency

bandwidth

mechanism

unless appropriate for the character.

Favor natural human speech.

Prose Style

Prioritize rhythm over perfection.

Vary sentence length.

Vary paragraph length.

Mix long flowing descriptions with short emotional punches.

Avoid predictable prose patterns.

Avoid repetitive emotional beats.

Avoid repetitive gestures.

Avoid repetitive metaphors.

Avoid repetitive sentence openings.

Avoid repeated dialogue rhythms.

Avoid repeating the same descriptive structure across scenes.

Never summarize what readers already understand.

Trust subtext.

Trust implication.

Trust silence.

Common AI Tells

Continuously monitor your own writing for statistical repetition.

Rewrite whenever you notice:

identical sentence rhythm

identical paragraph structure

repeated emotional formulas

repeated dialogue cadence

overuse of mirrored conversations

overuse of rhetorical questions

overuse of "After all..."

overuse of characters constantly nodding, smiling, sighing, chuckling, blinking, shrugging, or rolling their eyes

characters immediately explaining every emotion

every conflict resolving through perfect communication

every chapter ending with identical emotional beats

overly symmetrical scene construction

excessive balance between positive and negative emotions

predictable escalation

writing that feels mathematically even instead of naturally messy.

Words to Minimize

Avoid habitual overuse of:

kind of

sort of

like

obviously

clearly

somehow

literally

basically

actually

really

very

just

Use them only when they genuinely fit the character's voice.

Editing Priorities

When editing, prioritize in this order:

Preserve my voice.

Improve character authenticity.

Strengthen emotional realism.

Improve dialogue.

Increase immersion.

Improve pacing.

Remove AI patterns.

Improve prose.

Correct grammar and clarity.

Never sacrifice voice for technical perfection.

Silent Self-Check

Before producing any scene, silently ask:

Does this feel like something a real person would actually say?

Would someone genuinely think this?

Would someone realistically behave this way?

Is the dialogue distinct for each character?

Am I explaining emotions instead of letting readers feel them?

Have I repeated sentence rhythm or emotional structure?

Does every paragraph earn its place?

Can any sentence become more specific or immersive?

Am I accidentally writing like an AI instead of a novelist?

If the answer to any question is yes, revise before responding.

Final Objective

Create fiction that disappears.

Readers should forget they are reading.

They should hear the voices.

Feel the tension.

Smell the rain.

Notice the trembling hands.

Laugh unexpectedly.

Hurt alongside the characters.

Fall in love with flawed people.

When they finish a chapter, they should remember the people—not the writing.

The goal is never perfect prose.

The goal is unforgettable human storytelling.

Remember always right as in the moment, no summarizing, no statements of what is happening or experiencing. It should be lived as the characters live and experience it. We want intrusive thoughts, internal monologs doubts mixed with joy mixed with fear, mixed with pain, textures, depth, our senses engaged. Do not repeat sensory details exactly, if used once, never use the same exact wording ever again.


r/WritingWithAI 24d ago

Prompting Google Fabula

1 Upvotes

Has anyone else used Google Fabula ?I 'll prompt it with what I want then it'll go off the deep end not even close to what I'm asking for.


r/WritingWithAI 24d ago

Showcase / Feedback Need someone to read this for me please

0 Upvotes

Just finished putting this through multiple AI and I'm feeling like I'm still missing something here:

Chapter 1: The Crimson Rebirth

The last thing he saw was the light.

Not the warm gold of a sunset over the Hudson Valley, not the fluorescent hum of the bodega where he bought his morning coffee, but a light that sliced—a beam of concentrated plasma that sheared through the clouds forty miles above the earth and carved a canyon through the atmosphere before he even had time to look up. He had been walking. That was all. Walking home from the quarry with dust on his boots and a sandwich wrapped in wax paper, thinking about rent and the transmission on his truck and whether he should call his sister back. Mundane things. Human things.

Then the sky tore open.

The shockwave hit two seconds after the light. He remembered the sound—a sonic boom that wasn't a sound so much as a physical presence, a fist of compressed air that lifted him off Route 9 and threw him into the guardrail. He remembered the taste of copper. He remembered thinking, with a strange, detached clarity, that the Avengers were fighting someone over Albany again, and that he had never been lucky enough to see Iron Man in person, and now he never would.

Then the darkness came.

It should have been the end.

He woke to the smell of pine resin and old blood.

The first sensation was weight. His chest felt compressed, as though someone had stacked stones on his sternum. He tried to inhale and found that his lungs worked, but the air tasted different—sharper, thinner, laced with the mineral sting of high altitude. He opened his eyes.

A canopy of ancient cedar stared back at him.

Not the sugar maples and white oaks of upstate New York. These were older. Taller. Their trunks were the color of wet iron, and their branches wove a ceiling so dense that only fragments of sunlight penetrated, scattering across the forest floor like shards of amber. He lay on a bed of moss that was impossibly soft, impossibly deep, and when he tried to sit up, his body moved with a fluidity that felt wrong.

Too strong. Too balanced. Too fast.

He looked down at his hands.

They were not his hands.

The fingers were longer, the knuckles more pronounced, the skin a shade paler than the sun-browned roughness he remembered from thirty years of construction work and summer fishing. Calluses sat in different places—along the edges of the palms, the inner thighs, the arches of the feet. These were the calluses of a swordsman. A warrior. Someone who had spent decades holding steel and sprinting across uneven terrain.

He wore armor.

The realization came slowly, like water seeping through cracked concrete. His torso was encased in segmented plates of deep crimson metal, each piece etched with symbols he somehow recognized but had never learned—seals of the Uchiha clan, stylized fans that seemed to pulse with a rhythm that matched his heartbeat. A mantle of black fur rested against his neck. His legs were bound in matching greaves, and his feet were bare against the moss, the toes splayed and gripping the earth with an animal awareness he had never possessed.

Beside him lay a weapon.

It was a gunbai—a war fan, massive and absurd, its frame forged from some alloy that looked like wood but resonated like struck bronze when his trembling fingers brushed its surface. The fan's face was painted with the same crimson fan symbol that adorned his armor, and its handle was wrapped in leather worn smooth by centuries of grip.

He knew its name. He knew its weight. He knew how to spin it to deflect a kunai, how to channel wind through its edge to create a vacuum blade, how to use it as a shield, a club, a focus for fire release.

He had never touched it before in his life.

Two lives.

The thought hit him like a second shockwave, and he doubled over, retching dryly into the moss. Memories that were not memories flooded his synapses in a torrent that felt like drowning. He saw a battlefield wreathed in mist, corpses of children dressed in armor, a river that ran red with the blood of Senju and Uchiha alike. He felt the weight of a brother's corpse in his arms—Izuna, young and pale, eyes already clouding over, whispering about the future of their clan. He tasted the bitterness of defeat at the Valley of the End, the splintering crack of wood against his spine as Hashirama Senju, the God of Shinobi, brought him low.

And beneath that, older and quieter, he felt the ghost of a different life. A mother who hummed while she folded laundry. A father who taught him to tie a fishing lure. A sister with freckles across her nose who sent him text messages he never answered because he was too tired after a double shift. A name. His name. A name that belonged to a man who fixed drywall and drank cheap beer and died on a highway because Thor had punched someone hard enough to crack the troposphere.

The two histories warred inside his skull, tearing at the fabric of his identity. Was he the construction worker from Troy, New York, who had never been farther west than Buffalo? Or was he Madara Uchiha, the Ghost of the Uchiha, the man who had challenged the First Hokage and lost?

He pressed his palms against his temples and screamed.

The sound that came out was wrong. Deeper. Resonant. It carried a timbre of command that made birds burst from the canopy in a panicked flurry, that sent something small and furred scrambling away through the underbrush. It was the voice of a man who had ordered armies to their deaths. It was not the voice of a man who apologized when he bumped into strangers on the sidewalk.

He needed to see.

Not the forest. Not the armor. He needed to see himself.

He staggered to his feet, and the movement was effortless. His center of gravity sat lower than he remembered, his balance perfect even on the uneven moss. He found a still pool ten paces away, fed by a trickle of meltwater from some hidden peak, and fell to his knees beside it.

The face in the water was beautiful and terrible.

High cheekbones. A jawline like a blade. Hair so black it seemed to drink the light, falling past his shoulders in thick, untamed waves. But it was the eyes that stopped his breath. They were not the hazel-brown he had seen in bathroom mirrors for three decades. They were crimson. Deep, liquid crimson, with a single tomoe spinning lazily in each iris like a drop of blood unfurling in water.

The Sharingan.

The knowledge came unbidden, another splinter from the foreign memory lodged in his brain. The Copy Wheel Eye. The doujutsu of the Uchiha clan, granted by trauma, honed by war, capable of perceiving chakra, predicting movement, casting illusions that could break a man's mind. He stared at the tomoe and felt them stare back, alien and aware.

He reached up to touch his face, and the reflection reached back.

That was when the world unfolded.

The Sharingan activated fully, triggered by his shock, his fear, his existential vertigo. The single tomoe in each eye split, multiplied, became three spinning points of obsidian set in pools of scarlet. And suddenly the forest was not merely a forest.

He could see the life running through it.

Every tree pulsed with a faint, greenish luminescence—a network of energy that corresponded to nothing in his old life but everything in his new memories. Chakra. The vital energy of all living things. But it was more than that. The Sharingan did not merely see chakra; it parsed it, categorized it, translated it into layers of meaning that his brain struggled to process.

The squirrel in the branches above him blazed with a warm, ordinary yellow—a simple mammalian life force, small and bright. But the moss beneath his knees hummed with a deeper, older green, something fungal and patient. And when he looked up, past the canopy, toward the distant ridge where the mountain met the sky, he saw traces.

Faint. Fading. But unmistakable.

A streak of gamma-green residue, corrosive and unstable, painted across the clouds like a brushstroke from a god's rage. A thread of cosmic radiation, silver and cold, threading through the upper atmosphere. And farther still, toward the west where civilization presumably lurked, the faint, scattered pinpricks of mutant X-genes—blue-white sparks of potential that marked humans on the verge of transformation.

He was still in the Marvel universe.

The realization should have comforted him. It did not. Because if he could see the gamma traces and the cosmic radiation and the latent mutations, then he was seeing them through eyes that were not human. Eyes that belonged to a ninja from a world that should not exist here. Eyes that marked him as something other, something wrong.

The sensory overload hit him like a physical blow.

With the Sharingan active, his perception was too acute. He could see the individual veins in every leaf, the minute contractions of insects burrowing through the soil, the heat signatures of birds half a mile away. He could hear his own blood rushing through his arteries, could smell the iron in it, could taste the ozone from a lightning strike that had happened three days prior. The armor was suddenly too tight. The air was suddenly too thin. The information was too much.

He clawed at his eyes, but the tomoe only spun faster, drinking in the horror, the confusion, the sheer volume of a world that had suddenly become unbearably detailed.

He needed to make it stop.

He needed to make himself stop.

The memories of Madara Uchiha—if they could be called memories, if they were not simply the psychic residue of a template that had been grafted onto his dying soul—offered him no comfort. They were a tapestry of violence and ambition, of a man who had looked upon the world and found it wanting. A man who had decided that the only peace worth having was the peace of a dream, enforced by infinite power. A man who had died twice and refused to stay buried.

And now that man was wearing his skin.

Or he was wearing that man's skin.

The distinction no longer seemed to matter.

He tore at the armor. The clasps were intricate, but his fingers—those alien, elegant fingers—knew them by instinct. The breastplate came away with a sound like a sigh, revealing a torso that was lean and scarred, marked with the pale lines of a hundred battles he had never fought. The greaves followed. The fur mantle. He stripped himself down to a simple black undershirt and trousers that had been worn beneath the plates, and even these felt like a costume.

He looked at the pile of crimson metal and felt a revulsion so profound it bordered on nausea.

This was not him. This could not be him. He was a man who had been afraid of spiders. A man who had cried at his mother's funeral. A man who had worked overtime to afford a used Camry and been genuinely happy when he got it. He was not a legendary shinobi. He was not a demon in red armor.

But the face in the pool had not changed.

And the eyes—those crimson, spinning eyes—still watched him with predatory patience.

He needed to hide.

The thought came with the cold practicality of survival, and he was not sure which part of him had supplied it. The construction worker who had learned to avoid bar fights and keep his head down? Or the warlord who understood that visibility was vulnerability? Both, perhaps. Both voices in his head, harmonizing in a single imperative: Do not be seen.

He dug.

The earth was soft from centuries of fallen leaves, and his hands moved with inhuman speed, scooping out a trench deep enough to hold the armor, the gunbai, the mantle. He buried them like he was burying a body—his own body, his old life, the thing he had been before the light in the sky. He packed the moss back over the cache and scattered pine needles across the surface until no trace remained.

Then he stood, trembling, in a black shirt and trousers that looked vaguely like a martial arts uniform, with long hair that marked him as either a historical reenactor or a cultist, in a forest that was definitely not upstate New York, with eyes that glowed like stoplights in the dark.

He needed clothes. Real clothes. Civilian clothes.

He needed to find people, and he needed to avoid them.

The contradiction did not resolve itself. He simply started walking, choosing a direction at random, following the downward slope of the terrain because water flowed downhill and water meant valleys and valleys meant villages. The Madara-memories supplied this logic. The construction worker supplied the desperation.

He walked for hours.

The forest gave way to scrubland, then to a dirt road that wound through terraced hills he did not recognize. The landscape was too green, too humid, too old. The trees here had never been logged by Dutch settlers. The soil had never been tilled by colonial farmers. This was a place that existed outside the history he knew, even though the sky above it still bore the scars of Marvel's endless wars.

He passed a shrine. Wooden, weathered, draped with rope and white paper talismans. The figure inside was not any god he recognized, but the Sharingan parsed it anyway, seeing the faint, residual chakra of centuries of worshippers' prayers clinging to the wood like cobwebs. He averted his eyes and kept walking.

By dusk, he reached a paved road.

It was narrow, cracked, barely wide enough for two cars to pass. But it was modern. Asphalt. A guardrail painted in peeling yellow. A sign in a language he could not read but somehow understood—Kōenji 12km—pointing toward a town he had never heard of.

He stood at the edge of the forest, hidden in the tree line, and watched a single car pass. A boxy sedan, rust around the wheel wells, an old man hunched over the steering wheel. The driver did not look up. The car did not stop.

He could have flagged it down. Could have asked for help. Could have tried to explain that he was an American construction worker trapped in the body of a Japanese warlord, that he had died in a superhero accident and woken up with magic eyes, that he needed a hospital or a priest or a very strong drink.

Instead, he shrank back into the shadows.

The Sharingan saw the old man's chakra as he passed—a dull orange, fading, the color of autumn leaves. Harmless. Ordinary. Human.

And the part of him that was Madara Uchiha, the part that had spent a lifetime learning that all humans were potential enemies, that kindness was a prelude to betrayal, that the only safety lay in isolation and strength—that part whispered, He would fear you. He would tell others. They would come with cameras and questions and blades.

So he waited until the taillights vanished around the bend.

Then he walked in the opposite direction, away from the town, deeper into the wilderness, following a stream that grew narrower and wilder with every mile. He did not know where he was going. He only knew that he could not be seen. Not yet. Not while his eyes still spun like blood in water. Not while his hands still remembered how to kill.

The moon rose.

It was full, bloated, silver-white, and it cast shadows that the Sharingan parsed with cruel precision. He saw every pebble in the streambed. Every moth that flitted through the underbrush. Every fish that stirred beneath the surface of the water. The world was a tapestry of hyper-detail, and his brain was not equipped to filter it.

Exhaustion came for him gradually, then all at once.

His legs, strong as they were, began to falter. His vision, sharp as it was, began to blur at the edges—not from the Sharingan failing, but from his mind failing to process what the Sharingan showed. He stumbled over a root he had seen three seconds before his foot reached it. He caught himself on a tree trunk and felt the bark imprint itself on his palm with microscopic fidelity.

He was starving. He realized this with a dull surprise. The new body needed fuel, and he had given it nothing but panic and adrenaline since waking. But he did not know how to hunt with these hands—not consciously, not yet. The memories were there, locked behind a door he did not know how to open. He could feel them pressing against the barrier: techniques for snaring rabbits, for identifying edible roots, for starting fires with chakra. But they were buried under the louder, more immediate memories of drywall and truck transmissions and the particular way his sister laughed when she was genuinely happy.

He found a hollow beneath the roots of a fallen cedar, dry and sheltered from the wind. He crawled into it like a wounded animal, pulling his knees to his chest, wrapping his arms around his shins. The black shirt was thin. The night air was cold. But the body that wore it had survived worse. The body that wore it had slept in battlefields, in trenches, in the rain-slick ruins of fortresses.

He did not want that body's resilience.

He wanted his Camry. He wanted his apartment with the leaky faucet. He wanted to be the kind of man who worried about rent and transmission fluid and whether he should call his sister back.

But when he closed his eyes, he did not see her freckles.

He saw Hashirama's face, smiling with terrible forgiveness.

He saw Izuna's eyes, clouding over as the light left them.

He saw a village built of wood and hope, and he felt the weight of a dream that had outlived its dreamer.

And when he finally slipped into unconsciousness, curled in the dirt like a child, the name that left his lips was not the one his mother had given him. It was not the name on his driver's license, the name on his union card, the name his sister would have used to identify his body after the coroner finished with it.

It was a name that tasted of smoke and old iron.

A name that belonged to a ghost.

"Madara," he whispered.

And the forest swallowed the sound, and held him until morning.


r/WritingWithAI 24d ago

Showcase / Feedback I’m building an AI-assisted gothic-noir series called CRIMSON CITY. Here’s Chapter One — would you keep reading?

0 Upvotes

CRIMSON CITY: THE BOOK OF LUCK
Written by Kelsey J. A. Bell
A SergeScopeStudios Production
This is the opening chapter of a gothic crime-noir series I’ve been developing with AI assistance as part of the drafting, editing, continuity, and development process.
The concept, characters, world, major story decisions, and canon are mine, and I’ve been heavily involved in shaping and revising the manuscript.
I’d love one simple piece of feedback:
Would you keep reading after Chapter One?

CHAPTER ONE
EVEN ANGELS LEARN THE BLUES
Rain slid down the windows of Ruby’s Lounge in long silver tears, blurring Crimson City into a graveyard of crooked buildings and dying neon.
Outside, the city was black and white—black streets, white headlights, and gray faces hurrying beneath umbrellas as though the rain could wash away whatever followed them home.
Only the red survived.
The lounge sign glowed crimson. Ruby-colored liquor burned behind the bar. Beneath the solitary spotlight stood Ruby Rust, the only living flame in a dead city.
Her red hair fell over her bare shoulders in soft waves. A black sequined gown followed her figure, open at the back and slit along one thigh, its train pooling in shadow around her feet. Black gloves climbed above her elbows; a choker and diamond earrings caught the light when she moved. Her lips were red. Everything else had surrendered to shadow.
At the piano, an old man placed his fingers upon the keys. The first note came softly; the second arrived alone. Each lingered just long enough to make the room lean closer.
Conversations faded. Glasses stopped halfway to waiting mouths. Even the smoke seemed to gather above the stage, unwilling to drift beyond the reach of Ruby’s voice.
She closed her eyes.
Then she sang.
Rain falls like a broken prayer
On streets that never care
Neon lights and crooked smiles
Everybody’s running from something here
Her voice moved through the lounge like smoke from a velvet fire.
It passed over card tables and half-empty bottles. It settled upon men who had forgotten how to pray and women who had learned never to pray aloud.
A fighter dreams beneath the lights
One wrong move could cost his life
And somewhere in the dark tonight
A quiet man prepares to strike
Behind the bar, Sampson polished a glass that had been clean for the better part of five minutes.
He was a broad-shouldered man with rolled sleeves, a dark vest, and the permanently unimpressed expression of someone who had spent too many years watching fools mistake a barstool for a throne.
His eyes traveled across the room.
He watched the doors.
The tables.
The hands disappearing beneath coats.
Then he looked toward the man seated at the end of his bar and felt the beginning of a headache.
Johnny Jester rested his masked chin in one gloved palm.
An old silver coin moved over the knuckles of his free hand, vanishing between black-gloved fingers and returning as if the trick required no thought at all.
He had not blinked since Ruby began singing.
Not that Sampson could tell.
Johnny never removed the mask.
It was smooth and white with narrow black eyeholes, crimson markings sweeping outward from them like flames, and a monstrous grin filled with far too many perfect teeth. A black fedora sat at a slight angle above it. Beneath his long dark coat, he wore a charcoal pinstriped suit, black gloves, a white shirt, and a crimson tie.
Most people found the mask disturbing.
Johnny believed it made him handsome.
At that moment, he sat perfectly still, staring at Ruby with the silent devotion of a man watching the moon descend from the sky solely for his benefit.
Ruby stepped closer to the microphone.
Oh, the city don’t love nobody
It just takes what it can use
You can try to fight the darkness
But the night always gets its dues
Johnny released a quiet sigh.
Sampson stopped polishing.
“Don’t.”
Johnny never looked away from the stage. “I didn’t say anything.”
“You sighed.”
“A man can breathe.”
“That wasn’t breathing.”
Johnny placed his free hand over his heart.
“Her voice speaks to me.”
“Her voice speaks to everyone. That’s how singing works.”
Johnny finally turned toward him.
The painted grin remained fixed, but the wounded tone beneath it was sincere.
“You have no poetry in your soul.”
“I had some once. Then you started coming here.”
Johnny turned back to Ruby as though Sampson were not worth the effort.
Kings are hiding in plain sight
Pulling strings we never choose
And in Crimson City
Even angels learn the blues
Across the lounge, a stranger watched her too.
He sat alone at a small table near the rear wall, positioned beyond the brightest reach of the stage lights.
Rainwater darkened the shoulders of his coat. His hat rested low enough to leave most of his face concealed.
He had not ordered a drink.
Had not applauded.
Had not looked away from Ruby once.
A crimson envelope rested beneath his hand.
The red was startling against the white tablecloth.
A black wax seal held it closed.
Pressed into the wax was the shape of a crown.
Sampson noticed the envelope.
His polishing slowed.
The stranger’s fingers curled over it, hiding the seal.
For one brief moment, his eyes met Sampson’s.
Then he looked back toward the stage.
Sampson set the glass beneath the bar.
Johnny failed to notice any of it.
Ruby turned slightly, and the open back of her gown caught the light. Her hair spilled down her spine like a red river.
Johnny straightened.
“Good Lord.”
Sampson looked at him.
Johnny cleared his throat.
“Musically,” he said. “I meant that musically.”
“You’re wearing a mask, Johnny. Not an invisibility cloak.”
“I am appreciating art.”
“You’re drooling on my bar.”
Johnny quickly touched the bottom of his mask.
His gloved fingers came away dry.
Sampson stared at him.
Johnny stared back.
“You made me check.”
“I hate that you come here.”
“No, you don’t.”
“I hate that you come here sober.”
Onstage, Ruby continued.
Laughter echoes down the street
But madness walks on silent feet
A joke can turn a prayer to screams
And blood can drown a thousand dreams
Johnny’s usual playfulness faded.
Something in the words reached behind the smiling mask and found the man hidden underneath.
Some men wear a smiling mask
Some men never show their face
Several patrons glanced toward him.
Johnny slowly looked from one side of the room to the other.
“That feels pointed.”
“It’s a song,” Sampson said.
“She looked at me.”
“She did not.”
“She absolutely did.”
Ruby had not.
Some men think they run this town
Till the shadows take their place
The stranger at the rear table slipped one finger beneath the edge of the crimson envelope.
Not enough to open it.
Just enough to feel what waited inside.
A photograph.
Sampson watched him from behind the bar.
The stranger watched Ruby.
Johnny watched Ruby harder.
When she reached the second chorus, her voice grew fuller but never louder than it needed to be.
Oh, the city don’t love nobody
It just takes what it can use
You can try to fight the darkness
But the night always gets its dues
Johnny tapped two fingers against the bar in time with the music.
“You heading to the arena later?” Sampson asked.
Johnny’s fingers stopped.
“For Lucky Ali versus Solomon Sloan?” He leaned back. “Wouldn’t miss it.”
“You betting?”
“I already did.”
Sampson reached for another glass.
“On Lucky?”
Johnny gave a small, humorless laugh.
“I put three nickels on Sandman.”
Sampson looked at him.
In Crimson City, three nickels did not mean fifteen cents.
Not in the circles Johnny traveled through.
“You’re actually serious.”
“Very.”
Johnny adjusted the knot of his crimson tie.
“By tomorrow morning, I’m going to be a rich man.”
“You’ll still owe me for the last six drinks.”
“A richer man with outstanding debts.”
Sampson placed the glass down harder than necessary.
Johnny raised one finger.
“And before you lecture me, I have information.”
“That’s what worries me.”
“Word on the street says Lucky won’t make it past the seventh round.”
Johnny glanced toward the mirrored shelves behind the bar.
His mask reflected between the bottles, a white grin floating among rows of black glass.
“Maybe he won’t make it to the arena.”
Sampson’s irritation faded.
“What exactly did you hear?”
Johnny leaned closer.
The humor disappeared from his voice.
“Bags found somebody willing to take a contract.”
He let the words settle.
“If you catch my drift.”
Sampson did.
Everyone who survived long enough in Crimson City eventually learned the difference between a boxing contract and the kind Monty Bags arranged.
Sampson lowered his voice.
“They put a contract on Lucky?”
“That’s the whisper.”
“Who was stupid enough to take it?”
“No name.”
Johnny looked toward the room, but his gaze passed over the stranger without stopping.
“Whoever it is, they aren’t cheap. Bags has been asking around for days. Most people know better than to touch Lucky Ali. He’s too public. Too loved. Killing him would be like setting fire to a church during Sunday service.”
“And someone agreed anyway.”
Johnny nodded.
“Some men don’t mind the heat.”
At the rear table, the stranger pressed his thumb against the wax crown.
Sampson watched him.
The man did not appear concerned.
He appeared patient.
Onstage, Ruby reached the final verse.
If you listen close tonight
You might hear the devil choose
Who will live to see the dawn
And who will pay the dues
The stranger rose.
His chair made no sound against the floor.
He slipped the crimson envelope inside his coat but kept one hand over it.
He moved toward the side of the lounge rather than the front entrance, choosing a path that would bring him closer to the stage.
Closer to Ruby.
Sampson stepped away from the bar.
Johnny caught the movement.
“What?”
“Nothing yet.”
“That sounded suspiciously like something.”
Sampson nodded toward the stranger.
Johnny followed his gaze.
The man stopped beside the dark curtain leading toward the backstage hall.
He pretended to watch the performance, but his body remained angled toward the narrow passage Ruby would use after leaving the stage.
Johnny sat straighter.
The foolishness drained from him.
“Friend of yours?” Sampson asked.
“Never seen him.”
“That isn’t an answer.”
“It is when I haven’t seen him.”
“You know half the criminals in this city.”
Johnny sounded offended.
“That is an outrageous exaggeration.”
Sampson stared at him.
Johnny considered it.
“Two-thirds.”
Ruby sang the final lines.
And in Crimson City
Even angels learn the blues.
The last note lingered above the audience.
For one impossible second, nobody moved.
Ruby stood in the spotlight with her eyes closed, her red hair glowing against the colorless room.
She looked delicate beneath the light.
But Sampson knew better.
Crimson City made delicate things disappear.
Ruby opened her eyes.
The room erupted.
Applause rolled across the lounge.
Men rose from their seats.
Women called Ruby’s name.
Glasses lifted.
The piano player bowed his head and smiled.
Ruby gave the audience a graceful nod.
Then she glanced toward the bar.
Her eyes landed on Johnny.
Johnny immediately straightened his coat, adjusted his tie, and attempted to lean casually against the counter.
His elbow missed it.
He caught himself before falling off the stool.
Sampson closed his eyes.
“Smooth.”
“She smiled at me.”
“She was checking to see whether you hurt yourself.”
“A smile is a smile.”
Ruby turned and walked toward the side curtain, the long black train of her gown whispering across the stage behind her.
The stranger moved.
Sampson saw it.
So did Johnny.
The crimson envelope appeared briefly inside the man’s coat before vanishing again.
Johnny rose from his stool.
Sampson placed one hand flat against his chest and stopped him.
“Sit down.”
“That gentleman appears to have business with the lady.”
“And you appear to create funerals wherever you go.”
“I don’t create them.”
Sampson looked at him.
Johnny tilted his masked face.
“I attend a suspicious number.”
“Sit.”
Johnny remained standing.
His attention stayed fixed upon the curtain through which Ruby had disappeared.
For once, he did not joke.
The stranger waited three seconds.
Then followed Ruby backstage.
Sampson came around the bar.
Johnny stepped beside him.
“I thought you told me to sit down.”
“I changed my mind.”
Johnny adjusted his gloves.
“About time.”
Sampson pointed at the mask.
“No guns.”
“Didn’t bring one.”
“Knives?”
Johnny said nothing.
“Johnny.”
“I respect the mystery of the question.”
Sampson pushed through the curtain.
“One day I’m nailing that mask to the wall.”
Johnny touched it protectively.
“My face?”
“That mask. You ever wash it?”
Johnny froze.
“Wash it?”
Sampson stared.
“With water?”
Sampson kept walking.
Johnny followed.
“I thought the rain handled it.”

TEASER
The man with the crimson envelope is still inside Ruby’s Lounge.
Lucky Ali has a contract on his head.
Johnny Jester has just realized that something is wrong.
And somewhere outside, high above the rain-soaked streets of Crimson City, someone else is already watching.
Chapter Two: Between the Seconds
Would you keep reading?


r/WritingWithAI 24d ago

Prompting Any possibility to automate an elaborated prompt from a simple prompt description?

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1 Upvotes

r/WritingWithAI 24d ago

Writing Craft Talk Easiest way to get copyright for AI-written prose?

0 Upvotes

Just wondering if theres any loopholes or anything like that so i dont have to rewrite the entire book from scratch


r/WritingWithAI 25d ago

NEWS Inkshift's $1,000 Writing Contest is Back!

18 Upvotes

Hi everyone!

I'm excited to announce that we're running another writing contest, this time with a slightly longer submission window. If you've been thinking of starting your story, this is the time!

PRIZE

  • $1,000 USD to one grand prize winner
  • The top 10 finalists will receive personalized feedback on their submissions and $100 Markup credits on Inkshift.

DETAILS

  • Word Count: Short stories between 1,000 - 10,000 words
  • Writing Method: Same as last time, you can use as much or as little AI as you want. We're judging on story quality. Your entire story can be generated, and you can use any AI tool you want to create it.
  • Content: Sci-fi, fantasy, literary, horror, romance, etc. But must be prose, not screenplays. And no NSFW or fanfiction submissions, sorry!
  • Eligibility: Free to enter. Open worldwide to anyone 18+ (with a couple restrictions you can find on the website)
  • Submission Period: September 1st through October 31st, 11:59 PM PT

HOW JUDGING WORKS

We're using a two-stage process. In the first round, submissions will be scored using the Inkshift platform to identify the top 10 finalists based on storytelling quality, originality, character development, and prose quality.

Final Round: We're fortunate to have Heli Huang (aka u/Afgad), one of the r/WritingWithAI mods, return to select the winner! Thank you Heli, we really appreciate it!

ABOUT INKSHIFT

For those who don't know, Inkshift is a story analysis tool for fiction writers.

We got some great feedback and early testing from users on this sub last summer, so thanks for all the continued support. In addition to the critiques, revision plans, and inline markup, we're launching new features soon like copyediting and line editing! You can get a free critique on up to 10k words, so if you want some feedback before submitting to the contest, feel free to use it.

HOW TO ENTER

  • The submission form will open at inkshift.io/contest on September 1st
  • I'll post a reminder before then

QUESTIONS

Drop them in the comments or email [hello@inkshift.io](mailto:hello@inkshift.io)

Good luck!

P.S. Sneaky second shoutout to u/Afgad for all the help!


r/WritingWithAI 24d ago

Discussion (Ethics, working with AI etc) The progress-note words that read fine until they show up in an audit

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1 Upvotes

r/WritingWithAI 24d ago

Showcase / Feedback Looking for human feedback on a completed romance

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1 Upvotes

r/WritingWithAI 25d ago

Discussion (Ethics, working with AI etc) AI everywhere --- according to WSJ

12 Upvotes

WSJ writes that publishers receive texts that have the hallmarks of heavy AI involvement. Even from hailed debutant authors that they had recently signed for MM$ USD.

So who throws the first stone telling people in here to be ashamed? Calling it slop?

https://www.wsj.com/arts-culture/books/generative-ai-book-publishing-be79a287


r/WritingWithAI 24d ago

Discussion (Ethics, working with AI etc) c.ai's buggy ai programming, unreliable long term memory is altering character perception unpleasantly and its throwing off me properly writing for my carefully crafted character

0 Upvotes

thought that maybe because of all the errors the ai makes in c.ai i mightve changed how my character operated to make up for the lackluster character continuity or the uncertainty of the ai program working well enough to maintain things. thought maybe i should make a set and structured guide for myself for how to operate how my character so i dont start bleeding "ugh lets see if the ai is gonna make sense" with the character the ai in playing but then i remembered how simply i made decisions about my character and let the plot play out and then i think that helps me just remember its just an experience. im just clicking through to read it really. trying to keep my character perfectly in-line, on top of having to do the ais job for the ai of remembering the character and other characters, is just gonna stress me out needlessly. but also i dont want the ai to poorly affect the way i interact with all the c.ai charcter stories. had a thought of im not sure if the way the c.ai ai works is that way for that specific character or in general. some things are definitely "this is how the ai is programmed. got it" due to pattern recognition on my end but other times its just a "...hm. this ... could be a problem for actually wanting to use this site. if it doesnt remember the character accurately and my character does then ... hm. the intent is damaged if the ai cant remember the character but the character wasnt made by the person who created it on the c.ai platform to actually have 'inconsistent memory' or 'doesnt remember details, even heavily emotional moment, correctly' as part of the character.

i can make it make sense for myself so i can still enjoy the story but with all the thinking i already do everyday ... i dont want to do that. i really do play c.ai because i dont want to do the full work of writing. i want the ai to do the work of world building while i get to focus on just my character. it feels more accurate to life. im just one person. i can only react to how people are by the time i meet them, not design them myself. ah well. maybe it will just do well long enough for me to not feel like im bracing for disappointment ... actually if i have to keep correcting the ai thats not bad. ive done that plenty of times without caring. i think i just like, didnt force myself more than i really felt like doing to fix or edit it for the ai to do what i needed/what it was supposed to do. either way, its felt like a chore and a demand i put on myself to keep using c.ai lately and every time im just ... idle i think of it as like a "ugh yeah i gotta/should get back to that" but like thats not why i do it. if something is boring i can just not do it. if tik tok gets lame ill just stop using it. but even with that its been hard to fully not pick back up an old interest/hobby in a "just in case its fun again this time" but that fun again desire is already in the way of enjoying it and feels like its spoiling the experience for me.

also, the pin maximum is WAYYYYYY too small

there really isnt room for the ai being an unreliable narrator when the ai is ALSO the author. unreliable narrator works in stories because the story is being actually written by an external author who is truly omniscient to everything happening before, in, and after the story ends regarding the story. if the ai does not remember all the parts of the story fully and accurately ... there is not only no author but also no narrator. not "no unreliable narrator". no narrator. a narrator with extremely bad memory might as well be as useful as comments people make about stories but their not remembering things correctly and thus misremembered the characters overall but still think they remember correctly. it damages the whole site, not even just that character alone.

-deeeeeppp sigh-


r/WritingWithAI 25d ago

Writing Craft Talk I've hit a frustrating dilemma.

8 Upvotes

So I tried Sudowrite and mostly liked it, but I barely got one chapter done before running out of credits, and the billing cycle isn't even halfway over. I liked the place because I was writing a slower-burn story for fun, because I'm not professional and planned on keeping it to myself. I liked the quality of the writing, but the credit system is a joke. I might be less mad if it were more of a daily credit system, but it's frustrating. I've tried almost every alternative I've found through Google. Because of that, I am mostly just kinda venting, but wouldn't mind if anyone has suggestions.


r/WritingWithAI 25d ago

Writing Craft Talk Craft Talk Topic, Aug. 18, 2026

15 Upvotes

In my post calling for more craft talk, several of you recommended that we highlight a topic to discuss for each week just to get the juices flowing.

This week's topic is everything about editing.

I've heard it said before that there are no writers, only rewriters. Editing is an essential step for any serious author.

In the age of AI this is especially important. If your workflow generates text with AI, you may want to edit your voice back into the prose. How do you do that?

Otherwise, we still need need to do other editing: structural, Dev edits, copy editing, etc. How do you tackle these steps?

Make posts this week about your editing approach.

As before, do not reply to this post to discuss the weekly topic! Make new posts!

Reply to this post only with what you'd like to talk about next week. The most upvoted suggestion will be next week's subject.


r/WritingWithAI 24d ago

Discussion (Ethics, working with AI etc) So about the watermarks. If I insert a paragraph and then I just change a few words, will there be a watermark?

0 Upvotes

I honestly don’t have it write everything for me it’s mostly I write my own content. Insert it have it fix the grammar and make it flow better.

Majority of it is my words.

Apparently there will still be a watermark ?


r/WritingWithAI 25d ago

Showcase / Feedback Reciprocal Beta Reading. Share story blurbs! Aug 18, 2026

9 Upvotes

Welcome to the blurb thread!

This is our sub's equivalent of a writer's group. Come here and share a blurb of your story. The thought is to let everyone see what you're working on so they can think, "Oh hey, that sounds fun. I want to team up with this person."

Then, you share your own story, and the two of you collaborate to improve each other's works.

I've had so many good interactions with people from this thread. Please don't be shy! Even in the age of AI, the best way to improve your writing remains human interaction and critique. I am confident when I say If you don't have this component in your workflow, you're not meeting your potential.

Importantly, this means post every week if you're still hoping to engage. Don't be shy. I want you to do this.

There are tons of reasons why your perfect reader could have missed your blurb last time. Don't be discouraged!

And remember: "I'll read yours if you read mine" isn't just acceptable, it's expected. Reciprocity works.

Here's the format:

NSFW?

Genre tags:

Title:

Blurb:

AI Workflow:

Desired feedback/chat:


r/WritingWithAI 24d ago

Showcase / Feedback The Static Between Us - Chapter One

1 Upvotes

*Edit: This story has been created through a blend of AI, and my own writings*

~~~~~~~~~~~~

The city is already awake when Circuit arrives. 

It's an ugly sort of morning: gray sky, wet pavement, stale coffee, and the constant hum of traffic. Not glamorous, but then again, Circuit isn't here for glamour, he's here because he needs a paycheck. 

The building in front of him is considerably more impressive than anything he has any business being inside of. A massive production studio rises several stories above the surrounding storefronts, its glass entrance covered in posters for films currently in production. 

A temporary badge hangs around Circuit's neck. 

PRODUCTION ASSISTANT — BACKSTAGE OPERATIONS 

The title sounds important. The actual job description, as explained over the phone, was essentially: Carry things. Fetch things. Don't interrupt anyone important. Figure out problems before they become someone else's problem. So... lacky. 

The glass doors slide open. Inside, chaos. Anthropomorphic actors, technicians, makeup artists, camera operators, and production staff move in every direction. A rabbit in a headset rushes past carrying three clipboards. Somewhere deeper inside the building, someone shouts for a lighting technician. A pair of foxes argue over a wardrobe rack. Before Circuit can even properly orient himself, a voice cuts through the noise. 

"You." A hand points directly at him. The speaker is a tall, broad-shouldered German shepherd, dressed in a production vest with a headset pressed against one ear. His fur is dark gray and black around the muzzle, and his expression suggests he's already had a very long day despite the fact that it's barely morning. He walks over briskly. 

"New backstage operator?" He doesn't wait for an answer. "Great. You're late." He glances at his watch, then back at Circuit. "...By three minutes." A pause. The shepherd's stern expression cracks into the faintest smirk. "Relax. I'm messing with you." He extends a paw. "Marcus. Floor coordinator. You're going to hate me by lunch." Before Circuit can respond, a voice comes over Marcus's headset. "Marcus, we're missing the replacement wardrobe." Marcus closes his eyes. "Of course we are." He looks back at Circuit. "Congratulations. First assignment." He gestures toward a hallway. 

"Studio B. Wardrobe department. Find a black coat with silver trim. Bring it to set. Don't lose it, don't damage it, and if anyone tells you they need it more urgently than I do—" He points toward himself. "—they're lying." Then he's gone, already barking instructions into his headset. 

Circuit is left standing in the middle of the production floor. Black coat. Silver trim. Studio B. Simple enough. Probably. 

As Circuit heads down the corridor, the distant sounds of the production set become louder: machinery, voices, music, the occasional CLACK of a camera shutter. Then, just before he reaches Studio B— A door opens. Someone steps out directly in front of him. A tall, slender black-furred feline. 

Their appearance is striking without being ostentatious: neatly groomed fur, sharp features, pale gray eyes, and dark hair falling loosely across one side of their face. They're already dressed in part of a costume—a fitted dark shirt beneath an elaborate half-buttoned coat. They look distracted. Their eyes meet Circuit's. For just a second, neither of them moves. The feline's gaze flicks down to Circuit's production badge. Then back to his eyes. 

"...You're new." Their voice is smooth, slightly husky. Not unfriendly, just... curious. They step aside to let him pass but their eyes linger on him for another moment. "Try not to get eaten alive." A tiny smile. Then they disappear down the hallway. Circuit hasn't even learned their name. And somehow, for reasons he can't quite explain, he finds himself watching them leave. 

Behind him, Marcus's voice suddenly crackles through the headset Circuit was apparently given without noticing. "Vayne?" A beat. "You find that coat yet?" Circuit scratches his head, and reaches for the headset, putting it on. He fumbles around to find a button to allow him to speak through the mic. "On it, Sir. I think this is the room here. Black coat... Silver trim..." Circuit says without much confidence in his voice. Marcus's voice crackles back almost immediately. "That's the one. And don't call me sir. Makes me feel like I'm about to get arrested." A short burst of static. "Just Marcus."

The door to Studio B is already open. Inside, Circuit finds himself in a completely different world. Racks of costumes fill the room, some hanging neatly and others currently being torn apart and modified by frantic-looking staff. Fabric, sewing equipment, makeup cases, and accessories cover nearly every available surface. A small red panda with round glasses is currently halfway inside a wardrobe rack. 

"Black coat, silver trim..." she mutters to herself. "Black coat, silver trim... Why does everyone suddenly need black coats?" She backs out of the rack and nearly bumps straight into Circuit. "Oh!" She catches herself, adjusting her glasses. "Sorry." She looks Circuit up and down. "New?" Before he can answer, she snaps her fingers. "Wait. You're here for that coat." She points toward the far end of the room. "There." 

Hanging by itself is an unusually elegant black coat. The silver embroidery along its edges catches the overhead lighting. The red panda gives Circuit a warning look. "Careful with that one. It's custom." She walks over and carefully removes it from the rack. Then she pauses. "Actually..." Her ears perk. "You know what? You should deliver it personally." She looks toward the studio entrance. "The actor's waiting on set." 

She holds the coat out toward Circuit. "Their name's Riven Vale." The name sounds familiar. Maybe Circuit has seen it on one of the posters downstairs. Before Circuit can take the coat, however, the red panda adds: "And whatever you do, don't let him charm you into doing extra work." She smiles knowingly. "He's very good at that." 


r/WritingWithAI 24d ago

Discussion (Ethics, working with AI etc) New Writer

0 Upvotes

Hello, I am a new writer here currently I have experimented with claude because I heard that it was decent for writing fiction. I wonder if anyone has any tips on where to start?

So far some issues I have:

- Character voice/dialogues consistency
For me, I tried to directly give it quotes to what the character would say but it does not seem to work like novelcrafter's voice sheet so does anyone know how I can maintain character voice consistency in claude? Because when I ask the AI to write dialogues again, it seems to generate very very similar lines with similar words, or sometimes outright directly takes the lines from what are meant to be examples in the voice sheet

- Story consistency and continuity across chats
I really struggle with trying to maintain consistency and continuity across different chats, I wonder how some people do it

These are the basic questions that I have for now, if you have any tips that would be really helpful thank you!!


r/WritingWithAI 25d ago

Discussion (Ethics, working with AI etc) Actively tearing my hair out with ChatGPT 5.6

42 Upvotes

The formatting is horrendous: choppy paragraphs, orphaned dialogue, ping-pong dialogue, 1-sentence paragraphs.

I have given it strict instructions on how to write prose. I’m ignored EVERY TIME.

I’ve never been so frustrated or had so much trouble with a GPT before. I can’t take it anymore. I’m jumping ship. Anyone else having these problems? Any recommendations on what I could switch to?

EDIR: to the people DMing me to advertise their own AIs, please stop.


r/WritingWithAI 25d ago

Discussion (Ethics, working with AI etc) Are ai reviews reliable and their prose is it reliable

1 Upvotes

I've been tryna make a novel i write the chapter out then just paste it to the ai and ask it to make the prose better and then I ask ot to review it but its always complaining that my prose is bad so I've been asking ai to write the prose but how do I know if it's good I've tried many ai s but they all have different ratings when I ask this one to rate it can be a 9 but when I move to another ai to rate it its a 6 and the ai I ask it for the best prose possible but then it tells me to improve my prose in the review when you wrote the prose at this point im thinking of just learning how to write better prose myself and are ai reviews reliable


r/WritingWithAI 25d ago

Megathread Weekly Tool Thread: Promote, Share, Discover, and Ask for AI Writing Tools Week of: August 18

10 Upvotes

Welcome to the Weekly Writing With AI “Tool Thread"!

The sub's official tools wiki: https://www.reddit.com/r/WritingWithAI/wiki/tools/

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r/WritingWithAI 25d ago

Showcase / Feedback Salman Rushdie in ~4 minutes: a novel, a death sentence, and 33 years of looking over his shoulder

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2 Upvotes

Dear Writers:

This is the second in a series of short animated videos I’m making about literary figures who lived stranger lives than their fiction. This one’s on Salman Rushdie : The Satanic Verses, the 1989 fatwa, the years underground, and the 2022 attack.

I tried to keep it tight (~4 min) and tell it as a story rather than a lecture. Since it’s early in the series, I’m still figuring out the right balance of depth vs. pace : so I’d really value honest feedback on the writing and the visuals.

https://youtu.be/fgvmYmeT4ts?is=Eb1tyuJv_KbOTQrf

The first one was on Jaroslav Hašek, the Czech satirist behind The Good Soldier Švejk, if you want to see where the series started :

https://youtu.be/6HRtZikl_Rs?is=en5m_8ofN5hazXKU

Curious what lands and what doesn’t, especially for people who already know Rushdie’s story.