git:20260924.c43906b to git:20260927.c5f59dc

10 added, 3 removed. Audit A to A.

---

name: line-editing

- description: This skill should be used when the user asks to "line edit", "edit my prose", "polish this chapter", "tighten the prose", "improve the sentences", "copyedit", "proofread", "proof pass", "check grammar and punctuation", "dialogue punctuation", "make the voices distinct", "everyone sounds the same", "read it aloud", "read-aloud pass", "text to speech", or wants a sentence-level quality pass on drafted chapters that preserves the author's voice.

+ description: This skill should be used when the user asks to "line edit", "edit my prose", "polish this chapter", "tighten the prose", "improve the sentences", "copyedit", "proofread", "proof pass", "check grammar and punctuation", "dialogue punctuation", "make the voices distinct", "everyone sounds the same", "read it aloud", "read-aloud pass", "text to speech", or wants a sentence-level quality pass on drafted chapters that preserves the author's voice. NOT for creating the style sheet or checking voice consistency (use voice-style).

---

# Line Editing

## Overview

Own the prose-quality passes that come after structure is settled: the

line edit (sentence clarity, rhythm, precision, voice), character-voice

differentiation, the copyedit against `style-sheet.md`, a read-aloud pass,

and a proof pass on a built copy. Every change is proposed with a

before/after and a one-line rationale so the author can accept or reject

it. The author's voice is the standard, not the agent's taste. The

`better-writing` skill, when installed, is an optional complement for

anti-generic checks; this skill does not depend on it.

## Prerequisites

A story project with `story.md` and drafted chapters (status `draft` or

later). Read `style-sheet.md` if present; if it is missing or thin, build

it first with the `voice-style` skill, because the copyedit checks against

it.

## When to Use

- A chapter's structure is settled and the prose needs polish

- Dialogue sounds the same from every speaker

- Preparing a manuscript for beta readers, an editor, or submission

- The `line`, `copyedit`, or `proof` revision pass is next in `story passes`

- NOT for structural, plot, or continuity revision (use `revision-continuity`; line-edit only after those passes, or the polish is wasted)

- NOT for setting house style or the voice description (use `voice-style`; this skill applies it)

- NOT for scene-level craft such as deep POV, subtext, or exposition strategy (use `scene-craft`)

- NOT for acting on external reader notes (use `feedback-triage`)

+ - NOT for writing or scanning verse (use `verse-craft`); this skill only

+ flags rhymes that slipped into prose by accident

## Workflow

### 1. Scope and permission

1. Ask which chapters and which pass: line edit, voice differentiation,

copyedit, read-aloud, or proof. Default order is the one below.

2. Ask how heavy the edit should be: **light** (errors and clear

improvements only), **medium** (tighten and clarify), or **heavy**

(restructure sentences and paragraphs). Default to light.

3. Never rewrite a passage wholesale without explicit permission. Propose

edits; apply only what the author accepts, or apply all on explicit

instruction.

4. Snapshot before a multi-chapter pass (see Draft Snapshots in the

`revision-continuity` skill), and mark the pass in progress. If

`story.md` has no `revision-passes` yet, `story passes . --init` writes

the default ladder first; `story passes .` shows where the book is.

```shell

story passes . --start line

```

### 2. Line edit

1. Read `story.md` (POV, tense, Tone & Style), the style sheet's Voice

section, and the chapter. Run `story prose .` for the chapter's counts.

2. Work paragraph by paragraph with `references/line-edit-checklist.md`:

clarity, precision, economy, rhythm, POV distance, and voice.

3. Present edits in the format in `references/edit-note-format.md`:

location, before, after, and one line of rationale. Group by

paragraph; lead with the highest-impact changes; cap a batch at about

20 so the author can review them.

4. Leave passages that are unusual but deliberate. When unsure whether a

quirk is voice or error, ask.

### 3. Differentiate character voices

```shell

story voices .

```

The report fingerprints each character's attributed dialogue (sentence

length, contractions, questions, exclamations, signature words) and warns

when two voices are near-identical, when a character says a

`voice-avoid` word, and when a `voice-words` entry never appears.

1. For near-identical pairs, read both characters' Voice & Speech

Patterns sections and propose line-level changes that follow them:

vocabulary, sentence length, what each avoids saying, how each deflects.

See the voice section of `references/line-edit-checklist.md`.

2. If a character file has no voice notes, propose `voice-words` and

`voice-avoid` lists drawn from their best existing lines, and ask

before adding them to the character file.

- 3. Only dialogue with a tag naming the speaker is attributed; untagged

- lines are invisible to the report, so read those by hand.

+ 3. A line is attributed only when the narration names the speaker next

+ to a speech verb or, failing that, names exactly one character in the

+ paragraph. Pronoun tags (`she said`) and untagged lines are invisible

+ to the report, so the POV character in close third is often

+ under-counted; read those lines by hand, or name the tags in a sample

+ chapter and rerun. The near-identical warning reads "X and Y may sound

+ alike" and needs five or more lines from each character.

### 4. Copyedit

1. Mark the pass: `story passes . --start copyedit`.

2. Run `story prose .` and fix every avoided spelling. Then work through

`references/copyedit-checklist.md` against `style-sheet.md`: grammar,

punctuation, dialogue punctuation, capitalisation, hyphenation,

numbers, and consistency of names and terms (check the glossary).

3. Record every new decision in `style-sheet.md` in the same change, so

the next chapter follows it.

4. Tell the user plainly: this is a consistency and correctness pass, not

a substitute for a professional copyeditor on a book going to print.

### 5. Read-aloud pass

Follow `references/read-aloud-guide.md`. Build the narration script:

```shell

story build . --format narration

```

Offer to play chapters with the system's text-to-speech if one is

installed (`say` on macOS; `espeak-ng` or `spd-say` on Linux). Check with

`command -v`; ask before installing anything. Listen for stumbles,

unintended rhymes, tongue-twisters, and runs of same-length sentences;

record them as edit notes.

### 6. Proof pass

1. Mark the pass: `story passes . --start proof`.

2. Build the copy the reader will see:

```shell

story build . --format html

story build . --format print --trim 6x9

```

3. Proof against `references/copyedit-checklist.md`'s proof section:

typos introduced by editing, doubled or missing words, broken scene

breaks, chapter headings, matter pages, widows and orphans in the print

copy. Cite locations by the HTML copy's paragraph anchors (`ch03-p12`).

4. Rendering the print HTML to PDF needs a paged-media engine the user

installs (Paged.js CLI, WeasyPrint, or Prince); ask before installing.

### 7. Close the pass

1. Summarise what changed, what was kept on purpose, and any style-sheet

or character-file updates.

2. Update chapter `status` only when the author agrees (`draft` to

`revised`).

3. Mark the pass done, for example `story passes . --done line`, and run

CLI Maintenance.

## Conventions

- The author's voice wins. Edit toward what the prose is already trying

to do, not toward a generic "good prose" standard.

- One rationale line per change, naming the effect (*clearer subject*,

*cuts a filter word*, *restores past tense*), never "sounds better".

- Edits are made directly in the chapter markdown, below `## Chapter

Text`; never through a script that rewrites prose in bulk.

- Style decisions go in `style-sheet.md`; voice decisions about a

character go in the character file (`voice-words`, `voice-avoid`, Voice

& Speech Patterns), which stays canon.

- A line edit does not change events, facts, or who knows what. If an

edit would, stop and hand it to `revision-continuity`.

## CLI Maintenance

Use the Story CLI when it is available. If `story` is not installed, use

`bun run story --` from the Story Skills repository checkout or the bundled

fallback `node ../story-maintenance/scripts/story.js` with the same

arguments, resolving the path relative to this skill folder. If no CLI is

available, apply the checklists by reading and keep word counts current by

hand.

After editing chapters, character voice fields, or the style sheet:

```shell

story wordcount . --write

story prose .

story voices .

story links .

story validate .

```

## Reference Files

- **`references/line-edit-checklist.md`** - Paragraph-level line edit checks (clarity, precision, economy, rhythm, POV distance, voice) and character-voice differentiation levers

- **`references/copyedit-checklist.md`** - Copyedit and proof checks against the style sheet: grammar, punctuation, dialogue punctuation, consistency, and the proof pass on built copies

- **`references/read-aloud-guide.md`** - Running a read-aloud pass with the narration build and OS text-to-speech, and what to listen for

- **`references/edit-note-format.md`** - How to present edits to the author: before/after with rationale, batching, and recording accepted and rejected changes