/voice-style

name: voice-style
description: This skill should be used when the user asks to "create a style sheet", "style guide", "house style", "keep the voice consistent", "voice drift", "British or American spelling", "character voices", "lint the prose", "prose check", "filter words", "said-bookisms", "overused words", "repeated phrases", "similar character names", "voice fingerprints", or wants to record and enforce the voice and surface conventions of a story project. NOT for rewriting lines when everyone sounds the same (use line-editing).

Voice & Style

Overview

Record the book's voice and surface conventions in `style-sheet.md`, then enforce them. The style sheet is the copyeditor's record: dialect and spelling choices, capitalisation, hyphenation, numbers, dialogue punctuation, a one-line voice summary per major speaker, and a watch list. Its frontmatter is machine-readable, and `story prose` counts violations and prose tics in every chapter. Use this skill so voice stays the same across chapters, drafting sessions, and agents.

Prerequisites

A story project with `story.md` in the root. `story init` scaffolds `style-sheet.md`; older projects can add it with `story init "<title>" --dir . --force`, which only adds missing files, or by copying `references/style-sheet-guide.md`'s frontmatter block by hand.

When to Use

• Starting a project, once the first chapter or a writing sample exists
• Before drafting when voice has drifted between chapters or sessions
• When a copyedit pass needs a style decision recorded (the copyedit itself belongs to the `line-editing` skill, which reads this file)
• When the user wants a mechanical prose check before sharing a draft
• NOT for character personality or arc (use `character-management`)
• NOT for scene-level craft such as deep POV or subtext (use `scene-craft`)
• NOT for the line-by-line prose pass itself (line edit, copyedit, read-aloud, proof): use the `line-editing` skill, which reads this style sheet and runs these checks

Workflow

1. Build or update the style sheet

1. Read `story.md` (genre, POV, tense, Tone & Style), `style-sheet.md`, and two or three drafted chapters or a sample the user supplies. If there is no prose yet, ask the user for a paragraph that sounds right or three published books whose voice is close. 2. Fill the sections in `style-sheet.md` following `references/style-sheet-guide.md`. Record decisions the prose already makes; do not invent new ones silently. When the draft is inconsistent (both *grey* and *gray*), ask the user which form wins. 3. Set the frontmatter:

• `dialect: british | american | unspecified`
• one `preferred` entry per variant: `use` is the house form, `avoid`

the form to flag. Repeat entries for several variants of one word.

• `watch-words`: words or phrases this book overuses
• `allow-words`: built-in filter words, adverbs, or dialect spellings

this book uses on purpose (a proper noun like *Harbor Street* in a British book) 4. Character Voices entries summarise each character file's Voice & Speech Patterns section in one line and link to it. Record words a speaker reaches for in the character file's `voice-words` list and words they would never say in `voice-avoid`, so `story voices` can check them. The character file is canon; if the two disagree, fix the style sheet, or ask the user before changing the character.

2. Draft and revise against it

• `chapter-writing` and `discovery-drafting` read `style-sheet.md` before

drafting. Write in the recorded voice, use the house spellings, and give each speaker the recorded patterns.

• When a new convention appears mid-draft (a new invented term, a number

style), add it to the style sheet in the same change.

3. Run the prose check

story prose .

The report lists, per chapter: sentence count, average and longest length, and spread; filter words and -ly adverbs per 1,000 narration words (dialogue is excluded); plain and said-bookism dialogue tags; words echoed within 30 words; watch-word counts; and avoided spellings. Across the manuscript it lists repeated 4-word phrases and character first names that readers could confuse. Warnings are advisory and the command exits 0 unless a file cannot be read. See `references/prose-checks.md` for what each count means and how to respond.

4. Run the dialogue voice check

story voices .

`story voices` attributes a quoted line (straight `"..."`, curly `“...”`, or British `‘...’`) when the narration names the speaker next to a speech verb. A name before the verb wins over a name after it: in `"...," Sera told Kael` the line is Sera's, and `said Kael` gives it to Kael. With no speech-verb tag, a paragraph whose narration names exactly one character (an action beat) gives the line to that character. Names and aliases match case-sensitively as proper nouns, and titles are skipped for the given name (`Lord Maren` also matches `Maren`). Pronoun tags (`she said`) are never attributed, so in close third person the POV character is often under-counted; when that matters, name the tags in a sample chapter and rerun. Per character it reports lines, words, mean sentence length, contraction, question, and exclamation rates, and signature words used more by them than by others. It warns when a character says one of their `voice-avoid` words, when two characters with five or more lines each have close fingerprints ("X and Y may sound alike: similar sentence length, contractions, questions, and exclamations"), and when a character with five or more lines never says a `voice-words` entry. Unattributed dialogue is not counted, so a low line count may mean few named tags rather than few lines.

When two voices blur, differentiate them on more than one axis (sentence length, contractions, vocabulary, what they ask about) and see `dialogue-subtext.md` in the `scene-craft` skill for the tag-swap test.

5. Act on