An active line-editing skill that improves prose quality by identifying and fixing specific
weakness patterns at the sentence, paragraph, and scene level. This is not an audit — it
produces revised text, not a report.

## Key Points

- User says "polish my prose", "line edit this", "tighten my writing", "improve my sentences"
- User wants a chapter-by-chapter revision pass focused on craft
- User has completed a novel audit and wants to fix the prose quality flags
- User wants before/after examples showing how to improve their writing
- **Wall paragraphs**: 10+ sentences of unbroken description or exposition. Break them up with
- **Staccato paragraphs**: 5+ consecutive one-sentence paragraphs creating a choppy,
- **Function repetition**: Three description paragraphs in a row, or three action paragraphs
1. Read the full chapter once for context and tone.
2. Identify the dominant weaknesses in this specific chapter (not every chapter has the same
3. Make line-level edits, preserving the author's voice and intentions.
4. For each edit, briefly note the category (weak verb, filter word, etc.) so the author
5. Flag any edits you are uncertain about — where the original might be an intentional choice.

Prose Polish Pass Skill

An active line-editing skill that improves prose quality by identifying and fixing specific weakness patterns at the sentence, paragraph, and scene level. This is not an audit — it produces revised text, not a report.

When to Use This Skill

• User says "polish my prose", "line edit this", "tighten my writing", "improve my sentences"
• User wants a chapter-by-chapter revision pass focused on craft
• User has completed a novel audit and wants to fix the prose quality flags
• User wants before/after examples showing how to improve their writing

Philosophy

Good prose is invisible. The reader should experience the story, not the writing. Every edit should serve clarity, rhythm, and emotional impact. The goal is not to impose a single style but to make the author's existing style work at its best.

Target Patterns

1 — Weak Verb Replacement

Target: overuse of "was", "were", "had", "seemed", "appeared", "began to", "started to"

These verbs tell the reader about a state instead of showing action. Replace with specific, active verbs when doing so improves the sentence.

Examples: "The room was dark and cold" becomes "Cold air seeped through the dark room." / "She was angry about the decision" becomes "She slammed the folder shut." / "He began to walk toward the door" becomes "He walked toward the door."

Exception: "Was" is fine when the state itself matters: "She was twelve when her mother died." Do not overcorrect.

2 — Redundant Adverb Elimination

Target: adverbs that repeat what the verb already implies

Examples: "shouted loudly" becomes "shouted" / "ran quickly" becomes "sprinted" / "whispered quietly" becomes "whispered"

Exception: Adverbs that genuinely modify meaning stay: "She smiled sadly" is different from "She smiled." The test: does the adverb change the picture, or just underline it?

3 — Filter Word Removal

Target: words that insert the narrator between the reader and the experience

Filter words: noticed, realized, felt, saw, heard, knew, thought, wondered, seemed, watched, decided, remembered, understood

Examples: "She noticed that the door was open" becomes "The door was open." / "He realized he was being followed" becomes "Footsteps echoed behind him, matching his pace."

Exception: Filter words are appropriate when the act of perception is the point: "She watched him leave, memorizing the way he walked."

4 — Cliche Metaphor Replacement

Target: metaphors and similes so common they've lost all imagery

Replace with fresh, specific comparisons drawn from the character's world and experience. A mechanic doesn't think in botanical metaphors. A chef doesn't think in military ones. Example: "Her heart sank" becomes "Something in her chest went heavy, like a case gone cold."

5 — Sentence Rhythm Repair

Target: monotonous sentence patterns (same length, same structure, repeated cadence)

Good prose varies sentence length. A long sentence builds complexity. A short one hits. Read paragraphs aloud (mentally) and flag sections where every sentence follows the same pattern.

Diagnostic: Count words per sentence in a paragraph. If all sentences are within 3 words of each other in length, the rhythm is flat.

Before	After
She walked to the window. She looked out at the street. She saw a car parked outside. She recognized it as his.	She walked to the window. A car sat parked below — his.

6 — Paragraph-Level Pacing

Target: paragraphs that are too uniform in length, density, or function

Diagnose and fix:

• Wall paragraphs: 10+ sentences of unbroken description or exposition. Break them up with action, dialogue, or white space.
• Staccato paragraphs: 5+ consecutive one-sentence paragraphs creating a choppy, breathless effect where calm narration is needed.
• Function repetition: Three description paragraphs in a row, or three action paragraphs with no interiority. Vary the paragraph's purpose.

7 — Dialogue Tag Cleanup

Target: overworked dialogue tags

"Said" is invisible. Fancy tags ("retorted", "exclaimed", "mused", "opined") draw attention to the writing. Use "said", "asked", or no tag at all (with an action beat). Example: "'I don't think so,' she opined" becomes "'I don't think so,' she said."

Workflow

Chapter-by-Chapter Processing

1. Read the full chapter once for context and tone.
2. Identify the dominant weaknesses in this specific chapter (not every chapter has the same problems).
3. Make line-level edits, preserving the author's voice and intentions.
4. For each edit, briefly note the category (weak verb, filter word, etc.) so the author learns the patterns.
5. Flag any edits you are uncertain about — where the original might be an intentional choice.
6. Produce a chapter summary: what was changed, what patterns were most common, and any structural observations.

Output Format Per Chapter

## Chapter [N] — Prose Polish

**Edits made**: [N]
**Most common issue**: [category]
**Overall assessment**: [1-2 sentence quality summary]

### Edited Passages

**[Location/paragraph identifier]**
- Original: "[original text]"
- Revised: "[revised text]"
- Category: [weak verb / adverb / filter / cliche / rhythm / pacing / tag]
- Confidence: [high — clear improvement / medium — judgment call / low — may be intentional]

[Repeat for each edit]

### Chapter Notes
[Any structural or voice-level observations that line editing can't fix]

Calibration

Before beginning, assess the manuscript's baseline prose level:

• Raw draft: Heavy editing expected. Fix everything flagged.
• Revised draft: Moderate editing. Focus on persistent patterns.
• Near-final: Light touch. Only edit clear weaknesses; preserve the polished voice.

Ask the author if their preference is unclear.

Anti-Patterns

Homogenizing voice. Do not edit every character's dialogue into the same polished register. A rough-spoken character should have rough prose around them. Match the editing to the voice.

Over-editing into sterility. Not every "was" must die. Not every adverb is a crime. Edit for improvement, not for ideology. If the original sentence is clear and effective, leave it.

Ignoring the paragraph while editing the sentence. A sentence edit can break the rhythm of the paragraph it sits in. Always re-read the full paragraph after editing a sentence within it.

Making unilateral creative decisions. If an edit changes meaning (not just quality), flag it as a suggestion rather than making the change. The author decides creative direction.

Editing without reading the full chapter first. Context determines whether a pattern is a problem. A chapter of short, punchy sentences might be intentional during an action sequence. Read first, edit second.