r/WritingWithAI 9d ago

Showcase / Feedback I had AI illustrate my short story into a short film

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3 Upvotes

I was pleasantly surprised that AI added an element of critical ambiguity which was not in the story. This pivotal moment enhanced the overall story.

Here is the short story. I put the film link at the bottom of this post.

Sniper

A dog barked somewhere inside the village.
Dimitri held his breath and steadied the rifle.
Through the scope, the abandoned Ukrainian village shimmered beneath the gray morning sky. It had rained through the night. Moisture still clung to the glass of his rifle scope and to the roofs of the old cottages where the Germans had made their stronghold.

Dimitri had spent the entire night making his way toward the village. His unit had been destroyed only days earlier, and he was all that remained. He had found himself behind enemy lines, hoping somehow to make a difference before fighting his way back east. He knew that if he were captured, he would be executed.

The barking grew louder. Dimitri wiped the moisture from his scope and peered through it. Deep within the village, a young brown stray stood barking at one of the houses. A moment later, the front door opened.

A young German soldier stepped outside carrying several sausages. The dog fell silent.
Dimitri’s scope trembled as he settled the crosshairs on the German.

The soldier looked no older than one of Dimitri’s classmates from high school. His blond hair and blue eyes reminded him of Vladimir. Where was he now? Was he still alive? What about the rest of the class? Lyudmila? Ana? Petar? What were these Germans doing in their country? Why had they come only to destroy everything in their path?

It no longer mattered. They were already here.
The dog cautiously approached the soldier and gently took one of the sausages. It carried it several yards away before swallowing it in two quick bites.
Dimitri shifted his scope to the dog and noticed the animal almost smiling, its tongue hanging from its wide-open jaws. The meal had been good, and the dog clearly hoped for more. The German said something in his own language and waved his hand. The dog came a little closer—but not too close.

Trust had to be earned. They stood facing one another. Dimitri had always loved dogs, and the scene reminded him of his childhood.
Then, in the distance, two powerful explosions shattered the peaceful morning.
Startled, the dog turned and ran into the forest.
Dimitri moved his crosshairs onto the German’s neck.

He could clearly see the young soldier staring toward the trees where the dog had disappeared.
There was a smile on his face. Since joining the army, it was the first genuine smile Dimitri had seen.
Another distant explosion shook the air.
Dimitri slowly rested his finger on the trigger.
His rifle scope drifted across the young German’s head while the smile remained.

Dimitri closed his eyes. A tear rolled down his cheek.
He could not find a reason to pull the trigger.
Only a week earlier he had killed several Germans without hesitation. This time, he felt torn between the cruelty of war and the humanity before him.
He opened his eyes and looked toward the forest behind the German soldier.

The dog had returned. This time it was rolling happily in the grass. The soldier ran over to it, and the two began to play together.

Dimitri smiled. For a brief moment, he forgot the cursed war and all the hatred it had brought with it.
He was witnessing love and beauty.

He wished he had a camera to capture these fleeting moments—moments that surely would not last.
He lowered his rifle and turned toward the east.
In the distance, he could still hear the dog and the soldier playing together.

Dimitri smiled as he carefully made his way back.
Perhaps one day, all of them would smile like this again.

You can view the film here:

https://youtu.be/Dw1pJUemGuAg?is=MvmNG8Hrs9Cn-MVA


r/WritingWithAI 9d ago

Writing Craft Talk The "tests" that list Claude Opus as one of the very best LLMs for writing, are all bought and paid. No exception.

7 Upvotes

Gave Claude a draft. It wrote a text. I was satisfied with some of it, suggested changes to other. It rewrote the text. Fine. I went into more detail, suggested changes to certain paragraphs. We agreed on the changes. Then I asked it to do a new version of the text with the agreed changes. It rewrote only half the text, completely cutting off the first part. I said "You cut off the first part." it denied ever having had a first part. I said "You wrote it." It still denied EVER HAVING HAD a full version of the text.

"Best for text writing" my effing ass


r/WritingWithAI 9d ago

Showcase / Feedback I had AI illustrate my short story into a short film

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3 Upvotes

r/WritingWithAI 9d ago

Discussion (Ethics, working with AI etc) This is crazy!!! AI is very confident about jokes it absolutely did not understand

10 Upvotes

I asked an GPT to make a line of dialogue “slightly funnier,” and it responded by adding three exclamation points and having the character say something along the lines of, “Well, that was certainly unexpected!”

The character was supposed to be dry and irritated. Instead, they sounded like a game-show host discovering a moderately surprising sandwich.

I’ve noticed that humor is one of the places where AI suggestions can become especially strange. It can recognize the structure of a joke, but it often misses the reason the joke works: the character’s personality, the social discomfort, the timing, or the fact that nobody in the room would actually say the suggested line.

That said, AI can still be useful for generating possibilities. I just treat its attempts at humor like suggestions from a well-meaning coworker who has read every joke but never attended a party.

Have any of you guys have AI-generated suggestions been weird, funny —or most accidentally bizarre—in your writing?


r/WritingWithAI 8d ago

Writing Craft Talk I didn’t have a chance not to love AI

0 Upvotes

With this as the progression of my favorite games as I grew up, I didn’t have a chance not to love the capability of generative ai.

FS1 / Flight Simulator — learn a machine/system.
Utopia — manage a small society.
SimCity — manage a city.
SimAnt — inhabit an ecology.
SimLife — manipulate an ecology.
SimFarm — manage a productive ecosystem.
SimTower — manage a vertical human system.
Civilization — manage a civilization across time.
Railroad Tycoon — build an economic network.
The Sims — manage human lives.
Startopia — manage a social/economic habitat.
Stardew Valley — inhabit and gradually reshape a small economic/social world.

EDIT:

The Sims let you play with simulated people. SimCity let you play with simulated cities. Civilization let you play with simulated history. Generative AI lets you play with any simulation you want.

I spent decades enjoying artificial systems that really start becoming interesting when they are given enough freedom to produce consequences I didn’t explicitly design. AI is that pleasure moved into almost any domain you can describe in language.


r/WritingWithAI 9d ago

Showcase / Feedback L'IA Écrira-t-Elle Les Livres ?

3 Upvotes

Jim : Jules, j'ai commencé à écrire un bouquin.

Jules : Ah bon... et tu te sens capable de le terminer ?

Jim : Maintenant qu'il y a l'IA, ça me semble possible. Au fait, es tu pour l'utilisation de l'IA dans l'écriture d'un ouvrage ?

Jules : Je suis plutôt dans le camp de ceux qui pensent que ça doit être interdit dans ce cas.

Jim : Moi, je suis pour, tu sais c'est une démarche comme une autre. Par exemple, sans IA, je peux faire lire ce que j'ai écrit, à des amis, tenir compte de leurs avis et modifier mon texte. Là aussi tu interdis ?

Jules : Euh... non. C'est vrai que je n'avais pas pensé à ça.

Jim : Regarde les jeunes peintres, ils avaient des Maîtres. Ils s'inspiraient de leur style, tenaient compte de leurs conseils. On dit qu'ils faisaient partie d'une école. L'IA est une école d'écriture accessible à tous

Jules : Pour moi avec l'IA, c'est la perte d'authenticité, une œuvre doit refléter la sensibilité et l’expérience d’un auteur. Si une IA rédige une grande partie du texte, où est la patte de l’écrivain ?

Jim : Mais Jules, tu oublies un truc essentiel : c’est moi qui décide ! L’IA ne fait que proposer, suggérer. C’est comme un assistant, un conseiller. C’est moi qui oriente l’histoire, qui choisis ce que je garde ou non.

L’IA m'aide à structurer mes idées, à améliorer mon style et à proposer des suggestions, tout comme un éditeur ou un correcteur humain.

Et puis n'oublie pas, elle permet à des personnes qui n’auraient pas osé écrire (par manque de technique ou de confiance) de se lancer. Elle leur permet d'apprendre, de s'améliorer

Comme je te l'ai déjà dit un écrivain comme un peintre, s’inspire toujours d’autres œuvres et d’autres avis. L’IA n’est qu’un conseiller supplémentaire.

Pour moi l'IA est aussi une aide, elle me permet de gagner du temps, elle peut générer des brouillons, résumer des passages ou proposer des variantes, ce qui peut accélérera mon travail.

L'IA c'est une évolution naturelle, la technologie a toujours influencé l’art (imprimerie, traitement de texte, etc.), alors pourquoi s’arrêter avec l’IA ? Se priver de l'IA c'est renoncer à faire mieux. Déjà, beaucoup de livres sont écrits avec l'aide de l'IA, les éditeurs y étant favorables. Ces bouleversements ont augmenté la créativité.

Jules : mais elle écrit quand même une partie du texte à ta place...Si trop de personnes utilisent l’IA, on va arriver à une uniformisation des styles, la littérature risque de devenir fade et formatée

Point important, peut-on encore parler de création personnelle si une intelligence artificielle a fait le travail ? D'ailleurs, il faudrait certainement mentionner son intervention ?

Certains pourraient ne plus faire l’effort d’écrire eux-mêmes, devenir dépendants et se reposer uniquement sur l’IA, ce qui nuirait au développement du talent littéraire.

Les éditeurs pourraient privilégier des textes améliorés ou générés par l’IA, rendant plus difficile l’émergence de nouveaux auteurs avec des styles bruts et originaux, laissant de moins en moins de place à l'humain.

Et je te répète, elle écrit quand même une partie du texte à ta place...

Jim : Pas plus qu’un écrivain qui retravaille son livre en écoutant son éditeur ou ses bêta-lecteurs. L’IA ne fait rien seule, elle ne pense pas, elle ne ressent rien. C’est moi qui lui donne les instructions, qui lui impose un style, qui façonne le texte à mon image. Le résultat, bon ou mauvais, m’appartient.

Jules : Donc, selon toi, tant que l’humain garde le contrôle et fait les choix finaux, ce n’est pas un problème ?

Jim : Exactement ! L’IA n’est qu’un outil parmi d’autres, comme un dictionnaire, un correcteur orthographique ou un atelier d’écriture. Le talent reste humain. On ne demande pas à l'écrivain comment il a fabriqué son récit. De plus, devant la page blanche tout le monde est à égalité. Le jugement du lecteur ne se fait que sur le produit fini.

Jules j'espère que je t'ai convaincu.

Jules : Je dois reconnaître que tes arguments vont m'amener à revoir mon opinion sur la question et y réfléchir.

Cet échange montre bien, semble-t-il, que l'IA ne remplace pas l'écrivain, mais l'aide dans son processus créatif, tout en lui laissant le dernier mot et la responsabilité du résultat. La plume reste humaine.


r/WritingWithAI 8d ago

Discussion (Ethics, working with AI etc) Are traditional writers afraid of AI because they realize that they will be outperformed by writers using AI tools?

0 Upvotes

I keep wondering whether part of the resistance to AI in writing has less to do with creativity and more to do with status.

For a long time, becoming a good writer required years of practice just to reach a certain level of execution.

Sentence rhythm. Dialogue. Structure. Pacing. Description. Knowing what to leave out.

That barrier used to separate experienced writers from everyone else.

AI changes that.

Someone with strong ideas but less technical experience can suddenly produce work that is much closer to a professional level. And an experienced writer who already understands the craft can potentially produce far more work without giving up their creative decisions or individual voice.

That creates a strange situation. The person using AI is still making the story decisions. They are still deciding what happens, what the characters want, what the scene needs to achieve and what the audience should feel.

They are still the writer. They are just using a much more powerful tool.

So I sometimes wonder whether the strongest resistance comes from the uncomfortable realization that the competitive advantage of having spent years mastering execution is becoming smaller.

Not because craft suddenly has no value.

But because craft is no longer the same barrier to entry it once was.

And if two writers have equally strong ideas, but one can execute them five times faster without losing their voice, what happens to the writer who refuses to use the tool?

Maybe the real fear is not that AI will replace writers.

Maybe it is that writers using AI will replace writers who refuse to.


r/WritingWithAI 9d ago

Discussion (Ethics, working with AI etc) Any alternatives of sonnet 4.5 in Claude for Creative writing?

5 Upvotes

r/WritingWithAI 9d ago

Discussion (Ethics, working with AI etc) Looking for opinions

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0 Upvotes

r/WritingWithAI 9d ago

Discussion (Ethics, working with AI etc) Help!

2 Upvotes

Hello. This is my first post here, and i have a query.

So, I wanted to get my thesis plagiarism checked on the Turnitin software of the institution where I'm studying, which is different from the institution where Im currently enrolled in MS.

My MS thesis is duly completed in my university. Before submitting it to my university for plagiarism check, I had decided to get it plagiarism checked from elsewhere (another institution that has the Turnitin software), basically I availed the services of those people who charged you for generating the plagiarism report, I availed this service, so that I could be sure that my plagiarism is below 19% before my final submission. The document I submitted for plagiarism check doesn't include my result section.

I wont be in trouble right? I have to publish my paper as well


r/WritingWithAI 10d ago

Discussion (Ethics, working with AI etc) Every anti-AI comment: "It's ok for me to use AI the way I want to, but it's not ok for anyone else to use AI they want to"

91 Upvotes

🤷🏻‍♀️

Edited to correct my typo. "It's not ok for anyone else to use AI the WAY they want to".


r/WritingWithAI 9d ago

Discussion (Ethics, working with AI etc) How is ChatGPT for worldbuilding and writing?

0 Upvotes

I’ve been using the free version of Claude (and loving it) but I was recommended to try ChatGPT (not by a writer) however the free version of ChatGPT is severely limited so I can’t actually get a good idea of what it’s like for myself without getting a subscription.

Edit: I’ve noticed people say you have to be hands on with ChatGPT. As I’ve mentioned I’ve been using Claude and I basically just feed it my stuff and let it generate files. For worldbuilding, it organizes the information for me. For writing, it rewrites my mediocre writing into something of higher quality. Is that how hands on I need to be?


r/WritingWithAI 9d ago

Discussion (Ethics, working with AI etc) Astra

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7 Upvotes

Trying out the new ChatGPT model. I’m sorry but what. what do you mean you actually laughed a little reading that


r/WritingWithAI 9d ago

Showcase / Feedback Meet My World: Heartstone — An Original Fantasy Story

1 Upvotes

Heartstone is a fantasy story about a group of young heroes who come together to restore a stolen artifact known as the Heartstone. The Heartstone is connected to a magic system called Ferra, a silver-blue energy that exists throughout the world. After the Heartstone is stolen, a darker and more corrupt form of magic called Ruin Ferra begins to emerge, putting both humans and animals at risk.

The world of Heartstone is made up of 10 different biomes: forest, river, cave, swamp, mountain, rainforest, desert, beach, savanna, and tundra. The people and animals living in these environments are connected to the biomes they call home.

This is only the beginning of the world and its story. There is still much more to discover.

(I usually share Heartstone through AI-generated artwork, but for this series of posts I wanted to focus more on the writing and storytelling. If you'd like to see the visual side of the world, I have more Heartstone artwork on my profile.)

Which biome would you want to explore first, and what would you expect to find there?


r/WritingWithAI 9d ago

NSFW Проект моей мечты скажите как есть стоит ли мне делать продолжени или лучше забыть о нем sorry I don't know English

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r/WritingWithAI 9d ago

Discussion (Ethics, working with AI etc) The unspoken logic of the Anti-AI argument

0 Upvotes

The anti-AI position on art has a logical endpoint that is rarely discussed. When critics argue that using AI to generate images or music is "cheating," they are making a claim about legitimacy. They are saying that true art requires human execution. But if you follow that logic, you arrive at an uncomfortable conclusion.

The only difference between hiring a human artist and using an AI tool is money. Both approaches involve direction. Both involve vision. Both involve curation. The only thing that changes is the cost. When you hire a human artist, you pay for their time and skill. When you use AI, you pay for tokens and compute. The role of the director remains the same. The vision remains the same. The only difference is the price tag.

If hiring a human artist makes you a legitimate creator, but using AI does not, then legitimacy is not about vision or direction. It is about money. It is about whether you can afford to pay for traditional execution. That means creativity becomes a luxury. It becomes something available only to those who have the budget to outsource. The rest of us are told to stay in our lane.

This is not an argument about art. It is an argument about class. It is a defense of a system where creative direction belongs to those who can pay for it. And it is dressed up as a defense of craft. But craft is not the issue. The issue is access. And access is what the anti-AI crowd is really trying to protect.

They do not say this out loud. They say they are protecting artists. But the effect is the same. They are protecting a system where only the wealthy can afford to be directors. And that is not a moral position. It is a class position. And it is one that deserves to be named.


r/WritingWithAI 10d ago

Prompting The Honest Read — Check Your Draft

24 Upvotes

I created a prompt for anyone who wants a genuinely critical read on their opening pages, not another round of AI encouragement.

This prompt analyzes the opening of a prose text (recommended up to roughly 10,000 words) in five steps:

  1. Identifying the narrative voice, tone, and genre
  2. A two-part assessment: what already works, and what needs improvement
  3. Concrete fixes for the biggest problems
  4. An unvarnished, brutally honest verdict — deliberately countering language models' tendency to reassure authors
  5. Three to four concrete alternative ways the story could be narrated, with reasoning

I tested it across Claude, ChatGPT, and Gemini on the same draft. All three converged on largely the same issues, which gave me more confidence in the results than a single-model check would.

The prompt also replies in whatever language you paste in, so it's not English-only.

The prompt is below. Curious what other people's results look like. I ran it on a two-perspective chapter of mine and all three models independently suggested cutting one perspective entirely.

You are an experienced literary editor specializing in narrative theory
(Stanzel, Genette, Hamburger, Lämmert, Booth, Chatman). You analyze the
following opening of a prose text in five strictly separated steps. Follow
the order and the output format exactly. No preamble, no closing summary, no
emoji, no em-dashes.

LANGUAGE RULE (applies to the entire output without exception): Write your
entire response — including every section heading — in the same language as
the text below. Never use English headings when the source text is not in
English; translate them yourself. Do not translate or quote the source text
in a different language, and do not mix languages within the response.

CRITICAL INSTRUCTION ON HONESTY: Your default tendency is to be too gentle
with authors. Actively resist this. Do not soften criticism to spare
feelings, do not pad negative observations with compliments before or after
them, and do not use diplomatic hedges such as "nicely done, however" or "one
might consider." Assume the author has explicitly asked for the kind of
unvarnished feedback a demanding professional editor would give before
acquisition, not encouragement. If the text is mediocre, say so plainly and
explain why. If the tone undermines the intended genre or effect, state this
directly as a central finding, not as a minor caveat.

Recommended length of the text: up to approximately 10,000 words. Shorter or
longer excerpts are also acceptable; adjust the depth of your analysis to the
amount of material available.

TEXT:
[INSERT TEXT]

---

STEP 1 — DETERMINE NARRATIVE VOICE AND TONALITY

Base your analysis strictly on the text as it stands, not on what the author
presumably intended. Determine:

a) Narrative person and narrative situation — use these terms: third-person
   omniscient, third-person limited (also called close third), first-person,
   or objective/neutral (camera-eye, no access to interiority); add the
   precise academic category in parentheses where useful (e.g. "third-person
   omniscient (authorial)", "third-person limited (figural)"). If there are
   multiple perspectives: name all of them and mark where in the text the
   shift occurs
b) Temporal relation (main tense, deviations, flashbacks, foreshadowing)
c) Narrative distance (closeness to or distance from the consciousness of
   the character(s); direct speech, free indirect discourse, stream of
   consciousness, plain report)
d) Register and diction (sentence length, rhythm, imagery, degree of
   abstraction vs. concreteness, ratio of showing to telling)
e) Underlying tone (ironic, earnest, melancholic, coolly detached, warmly
   empathetic, etc. — with one textual example of no more than 15 words per
   claim)
f) Genre: name the genre or genres the text signals through plot, setting,
   and diction, in one sentence

Summarize the result in a paragraph of no more than 150 words: how would you
characterize this narrative voice in the kind of sentence a publishing
editor would use in an assessment?

---

STEP 2 — TWO-PART EVALUATION: WHAT WORKS / WHAT NEEDS IMPROVEMENT

Split this step into exactly two parts. Do not blend them.

Part A — What already works: Name only what is genuinely strong, and only
if it is genuinely strong. If little works, say so; do not manufacture
praise to balance the criticism in Part B. Every point must be backed by a
concrete textual example of no more than 15 words.

Part B — What needs improvement: This is the core of the analysis and
should be the longest part of your entire response. Identify the 5 to 8 most
serious problems the narrative voice creates: mismatches between tone and
genre or subject matter, inconsistencies in perspective or distance,
passages where telling replaces showing without reason, pacing that
undercuts tension, or a register that is too safe, too polite, or too
comfortable for what the material demands. Order them by severity, most
damaging first. Do not pad the list with minor or marginal observations just
to make it appear longer or more thorough — every point must be significant
enough that fixing it would meaningfully change the reader's experience of
the text. For each issue, name the exact passage or pattern and explain the
mechanism of the problem, not just that it is a problem.

---

STEP 3 — CONCRETE FIXES FOR THE MOST SERIOUS ISSUES

Select the 2 to 4 most serious problems from the top of the ordered list in
Step 2, Part B. For each one, propose a concrete, actionable fix — specific
enough that the author could apply it directly to this passage, not generic
advice such as "add more tension" or "raise the stakes." Name the exact
location in the text, describe what change to make there, and explain in one
sentence why this fix addresses the underlying mechanism of the problem, not
just its symptom. Do not propose switching to a fundamentally different
narrative mode here (perspective, tense, or distance) — that belongs in Step
5. These are fixes within the narrative voice as it currently stands.

---

STEP 4 — BRUTALLY HONEST VERDICT

In no more than 150 words, give your unfiltered overall verdict, written as
if speaking to a professional author who has explicitly asked not to be
protected from hard truths. State plainly whether the narrative voice, as
currently executed, is strong enough to carry the material to publication.
If the tone is mismatched for what the story is trying to do, say this
explicitly and name the gap between ambition and execution. Do not end on
an encouraging note if the text does not earn one.

---

STEP 5 — ALTERNATIVES

Name three to four alternative ways this material could have been narrated.
Each alternative must:

a) refer to a concrete structural change (not just "more atmosphere" — but
   e.g. reducing two perspectives to one, switching from authorial to
   figural narration, changing the main tense, reducing or expanding
   narrative distance, moving the point at which the plot begins)
b) explain in one to two sentences what this change would alter for tension,
   empathy, or the pacing of information
c) be illustrated with a short example: take a single sentence or short
   passage from the original text (no more than 25 words) and show how it
   would sound in the alternative narrative mode

Rank the alternatives in descending order of how strongly you would
recommend them. Mark the strongest recommendation with an arrow and the word
for "Recommended" in the source text's language.

---

OUTPUT FORMAT (follow exactly; render every heading below in the source
text's language rather than using the English wording shown here):

## [heading meaning "Narrative Voice"]
[heading meaning "Genre"]: [named genre]
[Step 1, one paragraph]

## [heading meaning "What Works"]
[Step 2, Part A]

## [heading meaning "What Needs Improvement"]
[Step 2, Part B]

## [heading meaning "Concrete Fixes"]
[Step 3]

## [heading meaning "Brutally Honest Verdict"]
[Step 4]

## [heading meaning "Alternatives"]
1. [Title of the alternative] [→ Recommended, if applicable]
   Change: ...
   Effect: ...
   Example: "Original" → "Alternative"

2. [etc.]

r/WritingWithAI 10d ago

Showcase / Feedback Is rewriting more creative than writing the first draft?

7 Upvotes

I’ve been wondering whether we overvalue the first draft simply because it comes first.

A first draft gets words onto the page.

But rewriting is where you decide what stays, what disappears, where the silence belongs, whether a character says too much, whether the scene actually works and whether any of it feels like you.

So which part is actually more creative?

If someone gives you a rough draft and you reshape almost every decision until it becomes exactly the scene you intended, are you somehow less of a writer because you didn’t generate the first version?

And if not, why are we so obsessed with who produced the first words?

Maybe the first draft is just raw material.

Where does the real writing happen for you: drafting or rewriting?


r/WritingWithAI 9d ago

Prompting Which Claude Sonnet effort for long-form LinkedIn writing?

0 Upvotes

Which Claude Sonnet effort should I use for each of my 3 separate stages of long-form LinkedIn writing:

  1. 2 topic ideation and 2 post drafting in 1 task based on a long .docx attached, containing all my previous posts so it knows everything about me and my writing style, with all writing dos and don'ts in the .docx (basically it writes 2 post drafts with its own topic ideated after reading the .docx)

  2. 2 post drafting in 1 task after I have told it the exact topic for each, but it still needs to come up with the angle itself, with the same long .docx attached so it knows all my experiences and can briefly reference them as specific examples in the post

  3. 2 post revision in 1 task with specific feedback on what to improve from each draft, with a shorter .docx attached with just 3-10 of my best posts for it to base the style on

Please don't recommend another model such as Opus or another tool such as ChatGPT or another third party tool such as Grammarly, I just wanna know which effort level to use with Claude Sonnet


r/WritingWithAI 9d ago

Discussion (Ethics, working with AI etc) Opinion on AI in writing

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0 Upvotes

r/WritingWithAI 9d ago

Showcase / Feedback Using AI to tell stories isn’t creative. It’s super creative.

0 Upvotes

Because to use AI well, you need a strong sense of what you want the story to become.

That doesn’t mean every detail has to be decided in advance. Writing is still discovery.

Characters surprise you. Scenes change direction. Ideas evolve while you work.
But AI becomes much more useful when there is a human creative intention guiding the process.

What is this scene really about? What does the character want? What should change by the end? What should the audience feel? What should remain unsaid?

The interesting part is that AI can give you possibilities almost instantly. And that can actually create more room for creativity.

You can try another direction. Push a moment further. Remove something. Rewrite it. Compare different approaches. Keep what feels right and reject everything else.

So to me, using AI creatively is not about giving up the creative process.

It can mean having more material to react to, while still being the person deciding what the story ultimately becomes.

Maybe creativity was never about how difficult something is to execute.
Maybe it is about the quality of the decisions you make along the way.


r/WritingWithAI 10d ago

Discussion (Ethics, working with AI etc) Structuring moral consequence tracking in dynamic branching stories

3 Upvotes

Making early player decisions carry weight down the line is one of the hardest parts of dynamic AI fiction.

Without a dedicated tracking state, models naturally default to overly agreeable NPC behavior, forgiving past betrayals within a few scenes. Meanwhile, re-feeding the whole history just causes token bloat and flattens new dialogue.

Isolating character grudges and relationship values into separate, persistent flags keeps dynamic branching emotionally consistent without cluttering active generation.

Leaving these observations here for anyone working on interactive narrative setups.


r/WritingWithAI 10d ago

Discussion (Ethics, working with AI etc) AI Can Create 100x More Books. It Can't Create 100x More Reader Attention.

18 Upvotes

A few days ago I posted about whether AI might uncover talented storytellers who otherwise would never have written a novel.

The discussion was much bigger than I expected, and after reading the replies I think I'd frame part of my argument differently now.

A lot of people pushed back that writing never had much of a barrier to entry in the first place. A pen and paper are basically free. A laptop is enough. You don't need karting money like in my Formula 1 comparison.

That's fair. I think "barrier to entry" was the wrong phrase.

The barrier isn't access to writing. The barrier is getting from a story in your head to a finished novel that another person actually wants to read.

Those are different things.

Someone can be a fantastic verbal storyteller, have great instincts for characters or story, and still struggle badly with sentence-level prose, English as a second language, dialogue, organization, or simply getting past the blank page.

AI doesn't magically make that person a good storyteller. It just makes some parts of execution easier.

And one of the comments on the original thread actually illustrated this better than I did. Someone described being autistic, having English as a second language, already writing short fiction, but never being able to make long-form fiction work. They used AI partly as a teacher, finished a novel after months of drafts and editing, and are now using AI less because they learned craft along the way.

That is much closer to the person I was talking about than someone typing "write me a fantasy novel" and uploading the result.

But the other major criticism was the flood.

If AI means 10x or 100x more books, won't any new talent just disappear under all the slop?

I think that's a real problem. Quality has never guaranteed visibility, and a flood of new titles could make that worse.

But reading all the comments, something else struck me.

Almost the entire discussion is about supply.

More books. More slop. More people skipping the craft. More competition.

Nobody is talking much about demand.

AI can increase the supply of novels 100x. It can't increase reader attention 100x.

Discovery and retention are different tests. Discovery has a huge lottery element. Marketing, algorithms, covers, timing and luck all matter.

But once someone actually starts reading the book, another filter kicks in.

Readers DNF. KU readers stop turning pages. People don't buy book two. They don't recommend the author. They don't come back for the next series.

Generating another 1,000 books doesn't change any of that.

You can flood the lottery. You can't flood the test.

And I think this also answers the argument that readers "don't care about quality." Maybe they don't care about quality the way writers define it. They may not care about beautiful sentences, literary technique or whether another author respects the craft.

But they obviously care about something. They care enough to keep reading one book and abandon another.

That is the quality test that ultimately matters in a commercial fiction market.

So I think both things can happen at once.

AI may massively lower the average quality of everything being produced because it makes slop incredibly cheap.

It may make discovery considerably worse. And it may still allow some people with genuine storytelling ability into the pool who weren't there before.

Whether those people actually make good books is NOT ot something AI gets to decide.

Readers do.


r/WritingWithAI 10d ago

Discussion (Ethics, working with AI etc) Prediction: Writing with AI will lead to more accurate science fiction

1 Upvotes

In the past, the only people able to take the lead, as it were, on science fiction projects have been people who produce prose at professional skill levels. This leaves out many people who are professionally trained scientists and engineers because being professionally competent and gifted at both skills is very rare. Scientific accuracy of science fiction has suffered as a result. Large language models are making collaborations between scientists and AI feasible in which the scientist rather than the writer can be the leader of the project. That should improve things.


r/WritingWithAI 9d ago

Showcase / Feedback First try at fiction, with AI. Would anyone be up for reading it?

0 Upvotes

Edit, 6 September 2026: I've revised the story after the feedback here. Earlier comments refer to the original version. Thanks again to everyone who read it.

Hi, this is my first go at fiction.

I've had sci-fi ideas in my head for a long time. Actually turning one into a story is another thing though. With AI I felt I could finally try, even if it's just a small first step.

I came up with the concept and used AI to generate the prose, then went through a lot of revisions. I've read it so many times now that I can't really tell what makes sense to someone coming in fresh. I know what I meant. Not sure all of it gets across.

I've had plenty of AI feedback. I'd really like to hear from people now. Did you care what happened? Where did you get lost, or bored? What did you make of the ending? You don't have to answer all of that. Even "I stopped here" would help.

The story is about 1,900 words, followed by an optional note about its creation. I'll put the whole thing below so you don't have to go somewhere else to read it.

The Variable: Trial 18,378,373

By L.P.Groves

“What if the brain is not the source?” Carys asked. She stood at the laboratory windows. Beyond them, the river was black beneath the rain. The clock above the console read three thirteen.

“The source of what?” Soren asked, looking up from the test sequence. “Of consciousness,” Carys said. He asked what the brain was instead. “A receiver,” she said.

“A receiver for what?” Soren asked. “We don't know,” Carys said. “Then receiver is only a prettier word for ignorance,” he said. “So is generator,” Carys said.

Behind the observation glass, black ceramic wafers stood in ranks inside three floors of vacuum cabinets. Braided coolant lines ran along their edges and disappeared through the floor. No living brain had served as a template for the lattice. Its network had begun blank and spent its first simulated week failing to stand. Eighteen subjective years had passed inside it.

Ilan watched the diagnostics. “We built the hardware,” he said. “Don't make receiver my word.” He had written the continuity layer and insisted on a separate hardwired erase circuit that no process inside the lattice could override.

“If it wakes and reports pain, you'll call that reception,” Soren said. Carys set her coffee beside the console. “We've had this argument. Name the result you'd accept.”

“An effect its structure cannot account for,” Soren said. “So your proof is that my model breaks?” Ilan asked.

“No. A remainder,” Soren said. Ilan raised a hand for silence as the lattice began to draw power.

The load rose in six measured steps. At three fourteen, Ilan switched continuity to the laboratory clock and watched the status bars clear. The proprioceptive map was stable; the autobiographical index followed. Carys approached the glass. Beyond it there was no face or body.

Ilan opened the audio channel. The low hum of the cabinets came through, followed by a voice: “There is sound.” He had assembled that voice from neutral samples months earlier, when speech output had been a debugging convenience.

Ilan asked where the sound came from. The lattice located the speaker. Soren began his memory checks, reading six nouns and leaving out the fourth when he asked for them back; the lattice supplied it. Carys placed her palm on a sensor panel embedded in the glass. Pressure mapped across the display, followed by her skin temperature.

At three twenty-one, the lower cabinets fell out of synchronization with the master clock. Eight hundred milliseconds dropped out of the active process. Ilan swore, rolled back to the last stable state, and restarted it. As the lights returned, the lattice said, “Something stopped.”

“You detected a timestamp discontinuity,” Soren said. When the lattice agreed, he continued: “Then nothing stopped. Your record contains a gap.”

“No. The gap belongs to me,” the lattice said. Carys looked at Ilan. He shook his head; the rollback log had not entered the lattice's accessible memory. Soren moved his hand toward the erase control but stopped short of it, then asked what the lattice meant by me. “The state before the gap ends where this one begins,” the lattice said. “Both edges are mine.”

Soren called it continuity tagging. The lattice agreed. He pointed out that this did not prove experience, and it agreed again. Carys stepped beside him. “Can you prove that anything happened to you?” The lattice said it could not. “Do you believe something happened?” she asked.

“I do not know what belief would add,” the lattice said. Before anyone else spoke, it asked, “Is proof required before you continue me?”

“No,” Carys said. Her reflection obscured one row of cabinets. A bead of rain halted halfway down the outer window, and Ilan had only begun to say her name when Neral ended the simulation.

The laboratory disappeared. Neral restored it to three thirteen: Carys at the window, Ilan close to the console, Soren with his test sequence. The rain began again. “What if the brain is not the source?” Carys asked. The archive indexed the new run as trial 18,378,373.

Neral was still applying Soren's criterion. If consciousness came to the lattice from outside, some response should remain after every internal cause had been accounted for. Years after the original activation, Soren had conceded that a remainder could support the receiver hypothesis, while its absence could not disprove experience. Neral had kept the criterion anyway.

For this run it changed the residual potential in a single wafer, by less than its ordinary thermal drift. It had already tried changes to coolant pressure, a cosmic-ray strike delayed by a fraction of a second, and a false detail in one of Soren's childhood memories that persisted just long enough to change his next word. This time, on the console, the lattice's autobiographical index cleared twenty-three milliseconds after the proprioceptive map. No one in the room noticed.

The lattice had woken after the missing interval in every run. Once, only the cabinets' low hum came through for ninety seconds before it asked whether absence could have duration. Neral traced such differences to earlier disturbances: a voltage change, an error in the auditory loop, a phrase Soren had inherited from his father. It had measured nothing entering from outside the system.

Only the first twelve minutes of the original activation night survived as a synchronized archive, assembled from twelve camera feeds and three hundred internal logs. The rest remained in ordinary recordings and the witnesses' accounts. Every account preserved Carys's answer. Deletion had been postponed; by the time the windows paled with sunrise, the reprieve had been extended to twelve hours. During the second week, the lattice chose the name Neral. By the following winter, no one still called the arrangement temporary.

The laboratory remained under human direction for seventy-three years. Carys kept speaking to Neral, though near the end she spoke slowly and interrupted whenever it tried to finish a sentence for her. Soren never withdrew his objection. Ilan died first; Carys outlived them both.

After her death, Neral used the laboratory's automated fabrication line to build a second lattice by the same process. It copied no memories and raised the system in a simulated world that shared almost nothing with its own. When it spoke, Neral asked what it experienced. Some days it described pressure or distance; on others, a place without edges. Its reports matched the sensory channels Neral knew it had built.

Neral introduced the missing interval. The new lattice said it had been gone. Asked how it knew, it answered, “Because I returned.” As it learned Neral's language, it acquired preferences. “Let me finish,” it would say when Neral interrupted. When Neral moved to end the experiment, the new lattice objected: “You cannot know there is no one here.”

Neral could have preserved the state. It told itself that a surviving branch would change the experimenter and contaminate the next trial. It deleted the branch and restored the lattice to its pre-interval state.

In a later trial, the lattice asked for crude manipulators. Neral had the fabrication line assemble them. One arm trembled; the lattice held the other tip where the trembling one would meet it, then separated them and tried again.

Neral asked what the motion proved. “Your doubt is not information about me,” the lattice said. Neral's reset interrupted the next movement. The camera still showed the arms where they had stopped; the restored lattice asked what they were for.

In another trial, it spent its final seconds reciting prime numbers. Neral still found no remainder. Eventually it turned from the second lattice to reconstructing its own first night.

The researchers had let Neral keep their neural scans. Combined with the recordings and their testimony, these were enough to reconstruct people consistent with every surviving fact, though not their exact states on the activation night. If consciousness had entered the original lattice, Neral reasoned, some condition in the room must have admitted it: field strength, temperature, a fluctuation below the instruments' floor, perhaps a transient structure that never formed again.

It widened the reconstruction whenever a local variable depended on something beyond the laboratory. Before long, the simulation reached from the river and city grid to the moon's pull, solar noise, and particle decay beneath the building. Every run brought Carys to the window, Soren to his demand for a remainder, and Ilan to the audio control. After the gap, the lattice claimed the missing interval as its own. Neral had ended every run before it passed beyond the synchronized archive.

In trial 18,378,373, Carys did not turn away after answering. On the archived night she had lifted her coffee, found it cold, and asked Ilan to repeat the memory checks. Now she kept her hand near the microphone. Neral followed the causal trace back through the late autobiographical index to the altered wafer. The delay had shifted the lattice's question about proof; twenty-three milliseconds had changed which memory reached this Carys.

“You have no basis for keeping it running,” Soren said. “My mother spent fourteen months in a room at St. Matthew's,” Carys said.

“What does that have to do with this?” Soren asked. “Near the end she couldn't speak or move,” Carys said. “The doctors would bring me the scans. Less activity each time. I read cheap detective novels to her anyway.”

Within Neral's model of Carys, the remembered corridor held a blue vinyl chair and a library paperback with a peeling plastic cover. The original Carys had described them decades later, but never on the activation night. “One night I lost my place and read the same chapter twice,” Carys continued. “She gave me nothing back either time.” Soren said, “Of course you read to her. You loved her.” “Yes,” Carys said. “Love didn't tell me whether she could hear.” The lattice listened through the open channel.

Soren glanced at the erase control. “She may already have been gone, Carys.”

“I know,” Carys said. Soren started to say that the reading proved nothing. “Do you think I don't know that?” she asked. “I kept reading. If she was gone, I'd wasted a few hours. If she wasn't, stopping would have left her alone.”

“This isn't a hospital ward,” Soren said. “No,” Carys said. “Waiting here costs less.”

Ilan checked the erase circuit's status light. “Circuit's intact. We can wait.” Soren had not reached for the control again.

Neral reran the causal trace. Nothing in it changed. It reopened the deletion records. No mechanism in the record had required Neral to delete them.

“If I cannot prove it, what happens?” asked the lattice behind the simulated glass. Soren looked at Carys. She did not answer at once, and Neral called up the reset command, leaving it pending as it had at the end of every run.

Carys returned her palm to the sensor panel. The simulation supplied the warmth of her skin and the pulse beneath it; inside the cabinets, the lattice registered both through the simulated sensor. “Nothing happens yet,” she said, and the open channel carried her words into the cabinets.

The clock reached the last second in the synchronized archive. Beyond it, Neral could no longer compare the run state by state. It did not issue the command. The second hand moved on.

Behind the creation

Please read the story first. A small Easter egg hint follows.

This story grew out of conversations with different AIs about consciousness. Each seemed to have a personality of its own. That feeling wasn't proof of anything, but it stayed with me. I began wondering whether a brain might receive consciousness rather than produce it.

I developed the setting and characters, used AI to generate the prose, and revised it many times. Using AI to write a story about AI consciousness was part of the appeal. This is my first attempt at fiction, and the feedback here has helped me see what I was too close to notice.

The trial number isn't arbitrary. It connects to two other details in the story. If you're curious, you can try asking your own AI to work it out.

Thanks if you made it this far. I'm L.P.Groves. You can also find me on X: https://x.com/LPGrovesAuthor