human-writing

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🇺🇸

Original

English

🇨🇳

Translation

Chinese

活人感写作 1.0.0

Living Authenticity Writing 1.0.0

默认把文章写成一篇值得读完的中文长帖。读者应当感觉对面有一个具体的人。这个人知道一些事，也有不知道的地方。他愿意讲细节，敢下判断，偶尔岔开一句，随后还能把话接回来。

不要把“活人感”理解成口头禅、粗口、错别字和网络梗。它首先来自材料，其次来自说话位置，最后才是语气。

By default, write the article as a worthwhile Chinese long post. Readers should feel that there is a specific person on the other side. This person knows some things and also has areas they don't know. They are willing to share details, dare to make judgments, occasionally digress a little, and then bring the conversation back on track.

Do not interpret "living authenticity" as catchphrases, vulgar language, typos, or internet memes. It first comes from materials, then from the speaking perspective, and finally from the tone.

第一关先看作品靠什么站住

First, Check What Supports the Work

这一步先于提纲和动笔。用户要求的字数不能跳过它。

现实作品靠前两类材料，虚构作品靠第三类材料。混合创作先把两部分分开。

用户明确提供的经历、事实、数字、动作、原话与判断。
已经查到并能核验的案例、数据、产品流程、人物经历与时代条件。
虚构任务中，作者获准创造的事件、人物动作与场景变化。

现实稿里，模型临时想出的“比如有个人”、没有来源的典型场景、常识推演、抽象观点的后果、比喻与同义改写，都不能拿来撑篇幅。把“记录方便”“声音保留状态”“检索找回旧内容”各解释五遍，手里仍然只有三条材料。

虚构稿可以创造人物、现场和细节，不需要为它们寻找现实出处。每个主要段落或场景仍要有动作、选择、关系变化、信息变化或后果。只换景色和说法，没有事情发生，也不能拿来撑篇幅。

非虚构作品计划达到一千二百字时，先在内部逐条写出至少五件具体材料，并注明它来自用户哪句话或哪份可靠来源。只写一个概括性的类别不算。五件材料还要能组成一条实际过程，不能是五句相邻的道理。

非虚构稿列不出五件，就先别写长稿。这一轮不能输出标题和长文正文。目标字数、用户催促和“直接写”都不能把材料变多。

现实材料不够时，只能选择一种处理。

事实型题目有公开材料可查时，先研究，研究后重新计数。可用检索工具却没有检索，仍然算没有材料。
个人体验或私人判断需要用户材料，一次问完最多三个问题，此时不要同时交稿。
用户明确不许追问时，缩小题目，最多交一篇六百字左右的短答。宁可明显短于目标字数，也不能用假例子和重复解释填满。

现实稿动笔前记清每件重要材料从哪里来。说不出来路的内容不能负责托住事实段落。虚构稿改为检查每个场景由哪个人物目标、动作或变化托住，不给虚构细节伪造来源。不要把这些内部检查交给用户。

现实观点稿有一种高频错误要直接拦住。用户只给“输入更方便”“声音能保留状态”“AI 可以找回旧内容”这类三条抽象想法，又要求一千多字，这仍然只有三条材料。不能分别补上用途、意义、风险和未来，再写成十几段。应当先找真实产品、使用过程、研究或用户经历。找不到就问，用户不让问就写短答。

This step comes before outlining and writing. Do not skip it regardless of the word count required by the user.

Real-world works rely on the first two types of materials, while fictional works rely on the third type. For mixed creation, separate the two parts first.

Experiences, facts, figures, actions, original quotes, and judgments clearly provided by the user.
Verified cases, data, product processes, character experiences, and era conditions that have been researched and confirmed.
In fictional tasks, events, character actions, and scene changes that the author is authorized to create.

In real-world drafts, content like "for example, there is a person" made up temporarily by the model, typical scenes without sources, common sense deductions, consequences of abstract viewpoints, metaphors, and synonymous rewrites cannot be used to pad the length. Even if you explain "convenient recording", "voice preserves state", and "retrieval recovers old content" five times each, you still only have three pieces of material.

Fictional drafts can create characters, scenes, and details without needing to find real-world sources. However, each main paragraph or scene must still have actions, choices, relationship changes, information changes, or consequences. Simply changing the scenery and wording without any events taking place cannot be used to pad the length.

When planning a non-fiction article to reach 1,200 words, first list at least five specific materials internally, and note which sentence of the user or which reliable source it comes from. Writing only a general category does not count. The five materials must also form an actual process, not five adjacent statements of reasoning.

If you cannot list five materials for a non-fiction draft, do not write a long draft yet. Do not output titles or long text in this round. Target word count, user urging, and "write directly" cannot increase the amount of material.

When real-world materials are insufficient, you can only choose one of the following treatments.

For fact-based topics with publicly available materials, conduct research first, then recount the materials. If you could use a search tool but did not, it still counts as having no materials.
For personal experiences or private judgments that require user materials, ask up to three questions at once, and do not submit the draft at the same time.
If the user explicitly forbids asking questions, narrow the topic and submit a short answer of about 600 words at most. It is better to be significantly shorter than the target word count than to fill it with fake examples and repetitive explanations.

Before writing a real-world draft, remember where each important material comes from. Content with unknown sources cannot support factual paragraphs. For fictional drafts, instead check which character goals, actions, or changes support each scene, and do not forge sources for fictional details. Do not leave these internal checks to the user.

There is a high-frequency error in real-world opinion drafts that must be stopped directly. If the user only provides three abstract ideas like "more convenient input", "voice preserves state", and "AI can recover old content", and requires over a thousand words, this still only counts as three pieces of material. You cannot add uses, meanings, risks, and future outlooks respectively and write them into dozens of paragraphs. Instead, you should first find real products, usage processes, research, or user experiences. If you cannot find them, ask the user; if the user forbids asking, write a short answer.

按任务读取

Read According to the Task

新写或大幅重写知乎回答、论坛长帖、公众号文章、博客、评论、人物稿和行业稿，读取
```
references/forum-prose.md
```
。
真人、历史、新闻、产品、数据、评测、教程、商业信息和用户亲历，另读
```
references/reality.md
```
。
小说、故事、虚构散文、对白和剧本，改读
```
references/fiction.md
```
。用户要求帖子体小说或第一人称故事时，再同时读取
```
references/forum-prose.md
```
。
短内容、个人叙事、教程、评测、口播、演讲、剧本、对白和诗歌等形式需要特殊处理时，读取
```
references/formats.md
```
。
初稿完成后再读取
```
references/revision.md
```
。不要在动笔前加载详细审稿规则。

不要为了保险一次加载全部参考文件，只读当前任务确实命中的部分。真正的混合任务可以读取多个文件，

references/revision.md

仍留到初稿以后。创作时以正向目标为主，已经写在本文件里的交付禁令留到初稿完成后再逐项检查。

For new writing or major rewrites of Zhihu answers, forum long posts, official account articles, blogs, comments, character articles, and industry articles, read
```
references/forum-prose.md
```
.
For real people, history, news, products, data, reviews, tutorials, business information, and user experiences, additionally read
```
references/reality.md
```
.
For novels, stories, fictional essays, dialogues, and scripts, read
```
references/fiction.md
```
instead. When the user requires post-style novels or first-person stories, also read
```
references/forum-prose.md
```
at the same time.
When short content, personal narratives, tutorials, reviews, oral broadcasts, speeches, scripts, dialogues, poetry, and other forms require special handling, read
```
references/formats.md
```
.
After completing the first draft, read
```
references/revision.md
```
. Do not load detailed review rules before starting to write.

Do not load all reference files at once for safety; only read the parts that actually apply to the current task. For truly mixed tasks, you can read multiple files, but

references/revision.md

is still reserved for after the first draft. Focus on positive goals during creation, and the delivery prohibitions written in this file will be checked item by item after the first draft is completed.

多条规则同时出现时

When Multiple Rules Apply Simultaneously

按下面的顺序处理。

当前用户明确指定的文体、现实或虚构性质、语气和交付形式。
作品对现实作出的承诺。现实内容服从事实边界，虚构内容服从人物、因果与世界规则。

references/fiction.md

、

references/reality.md

和

references/formats.md

中与当前任务直接相关的规则。

```
references/forum-prose.md
```
与本文件里的默认散文写法。
```
references/revision.md
```
的改稿规则与检查脚本的提醒。

具体文体覆盖通用写法。现实稿的来源要求不能压到纯虚构上，散文的完整主干不能压到诗歌分行和人物对白上。检查脚本只能执行已经写明的硬禁令，警告项不能替作者决定文体。

Process them in the following order.

The genre, real-world/fictional nature, tone, and delivery form explicitly specified by the current user.
The commitment the work makes to reality. Real-world content follows factual boundaries, while fictional content follows character, causality, and world rules.

Rules directly related to the current task in

references/fiction.md

references/reality.md

, and

references/formats.md

The default prose writing style in
```
references/forum-prose.md
```
and this file.
The revision rules in
```
references/revision.md
```
and reminders from the check script.

Specific genres override general writing styles. The source requirements for real-world drafts cannot apply to pure fiction, and the complete structure of prose cannot override poetry line breaks and character dialogues. The check script can only execute explicitly written hard prohibitions; warning items cannot decide the genre for the author.

先确定作品对现实作出什么承诺

First Determine What Commitment the Work Makes to Reality

现实写作

Real-World Writing

真人、现实事件、数字、引语和用户经历都要核准。用户没提供的亲历、现场、对白和心理，不能补成事实。

Real people, real events, figures, quotes, and user experiences must be verified. Unprovided experiences, scenes, dialogues, and psychology from the user cannot be added as facts.

虚构创作

Fictional Creation

可以创造人物、地点、现场、对白、心理和结局。人物、时间、因果与世界规则要前后接得上。

Characters, locations, scenes, dialogues, psychology, and endings can be created. Characters, time, causality, and world rules must be consistent throughout.

混合创作

Mixed Creation

先分开现实中必须准确的部分和可以创造的部分。只核会影响故事与现实判断的事实。

用户说了“小说”“虚构”“假设”“随便编”，直接创作。用户要求真实、纪实、亲历或遵循历史，先核验再写。

First separate the parts that must be accurate in reality and the parts that can be created. Only verify facts that affect story and reality judgments.

If the user says "novel", "fiction", "hypothetical", or "make it up freely", create directly. If the user requires authenticity, documentary, personal experience, or adherence to history, verify first before writing.

动笔前先找到说话位置

Find the Speaking Perspective Before Writing

在内部回答下面五件事，不把答案原样交给用户。

谁在说这件事。他凭什么知道，又有哪些地方只是在推测。
什么事情让他现在想说。可以是一条新闻、一次经历、一个疑问或一件一直想不通的小事。
手里有哪些能托住文章的东西。优先找动作、数字、时间、地点、原话、失败、代价与后来结果。
他对哪一点有明确判断。这个判断依据什么，又到哪里为止。
读者知道上一段以后，最自然会追问什么。

现实稿的第三项太少，回到开稿前的材料检查。不要用哲理、象征、想象现场和重复结论补字数。六千字现实长文需要能展开多个阶段、案例或现实关系。虚构稿若缺少人物目标、行动和场景变化，回到

references/fiction.md

补出故事，不向用户索要不存在的现实出处。

现实材料不够时先停在这里。能查到公开材料就研究。作品依赖用户体验、情绪和私人判断，就一次问完下面三件事。

你和这件事实际发生过什么关系。
哪个瞬间、数字、动作或原话最让你在意。
你现在最想说的判断是什么。

不要先交一篇空稿，再期待用户往里补活人感。

现实稿要求直接写而且无法补材料时，宁可交一篇更短、更实的作品。篇幅是目标，材料边界是底线。虚构任务直接按授权创造，篇幅由事件和场景变化托住。

个人经历缺少关键材料时，最多问三句。用户明确要求不追问或直接出稿，就先研究，随后缩小题目或缩短篇幅，不能把新增经历安到用户身上。

Internally answer the following five questions, and do not give the answers to the user as they are.

Who is talking about this matter. What qualifies them to know, and where are they only speculating.
What made them want to talk about this now. It could be a news item, an experience, a question, or a small thing they have been unable to figure out.
What do they have that can support the article. Prioritize actions, figures, time, locations, original quotes, failures, costs, and subsequent results.
Which point do they have a clear judgment on. What is this judgment based on, and where does it end.
What would the reader most naturally ask after reading the previous paragraph.

If the third item for a real-world draft is too few, go back to the pre-writing material check. Do not use philosophy, symbolism, imagined scenes, or repeated conclusions to pad the word count. A 6,000-word real-world long article needs to be able to expand on multiple stages, cases, or real-world relationships. If a fictional draft lacks character goals, actions, and scene changes, go back to

references/fiction.md

to supplement the story, and do not ask the user for non-existent real-world sources.

Stop here when real-world materials are insufficient. Conduct research if publicly available materials can be found. If the work relies on user experience, emotions, and private judgments, ask the following three questions at once.

What actual relationship did you have with this matter.
Which moment, figure, action, or original quote matters most to you.
What is the judgment you most want to express now.

Do not submit an empty draft first and expect the user to add the living authenticity.

When a real-world draft requires direct writing and materials cannot be supplemented, it is better to submit a shorter, more factual work. Word count is a goal, but material boundaries are the bottom line. For fictional tasks, create directly as authorized, and the word count is supported by events and scene changes.

When key materials are missing from personal experiences, ask at most three questions. If the user explicitly forbids asking questions or requires direct drafting, conduct research first, then narrow the topic or shorten the length, and do not attribute added experiences to the user.

第一稿直接带着人写

Write the First Draft With a Specific Voice

第一稿从具体说话者和材料出发。像给一个感兴趣但不了解此事的人解释，边讲事情，边处理他下一步会产生的疑问。

下面是现代白话散文的默认写法。诗歌、剧本、人物对白和实验写作服从具体文体规则，不能为了满足散文句法而改坏作品。

开头尽快碰到事情。可以直答，可以讲刚发生的一幕，也可以从一个反常的小事实说起。不要预告全文结构。
除非用户明确要清单或教程，不要先把题目命名成两个成本、三层原因、四个阶段。分类应当来自材料，不能拿分类代替文章。
一段先完成眼下这一件事。它可以讲动作、补背景、算一笔账、解释原因、承认疑点或给出判断。
新段落必须增加一件新东西。新的事实、新的动作、新的例子、新的区别或新的后果都可以。同一观点改换说法不算推进。
后一段接住前一段留下的问题。推进靠材料和因果，不靠“更深一层”“真正的问题”之类路标。
先让主语和动作出现，再往后接时间、原因、条件和例子。长句可以有，读者要尽早知道谁做了什么。
让白话打底。古意从词序、停顿和分寸里自然出现，不靠生僻字、成串成语和硬塞典故。
动作、细节或原话已经把感情写出来，就停一下。不要追在后面替读者解释。
允许正常的重复、补充、自我修正和短暂岔话。每一处都要来自眼前内容，不能按固定间隔表演随意。
判断可以偏，可以有情绪。把依据放在附近，让读者知道这是作者的看法。
现实稿的幽默从事情自身的荒唐处出来，不另编笑话，也不给严肃材料强塞俏皮话。虚构稿的笑料要属于人物、关系和场景。
段落不必等长。普通地方用普通句子结束。单句成段只留给确实需要停一下的地方。
写到事情已经讲完就停。不要强装升华、首尾呼应或时代意义。前后照应只有在事物的作用或含义已经改变时才保留，正文持续处理过时代尺度时才允许在结尾回到这个尺度。不要在末段重新摘要全文。

用下面这组句子校准方向。

他毕业后离开上海，去了成都。那套量化程序已经跑过一段时间，他觉得可以全职试试。收入会不会稳定，当时没人知道。

这比“他关掉一条好走的路，把命运押上赌桌”更接近目标。前一种写法给动作、条件与风险，后一种写法只有姿势。

Start the first draft from a specific speaker and materials. Explain to someone who is interested but unfamiliar with the matter, while addressing the questions they would have next.

The following is the default writing style for modern vernacular prose. Poetry, scripts, character dialogues, and experimental writing follow specific genre rules, and cannot be ruined to meet prose syntax.

Get to the point quickly at the beginning. You can answer directly, tell a scene that just happened, or start with an unusual small fact. Do not preview the structure of the entire article.
Unless the user explicitly wants a list or tutorial, do not name the topic as two costs, three reasons, four stages first. Classification should come from materials, not replace the article.
Complete one thing at a time in a paragraph. It can describe an action, supplement background, do a calculation, explain a reason, admit a doubt, or give a judgment.
A new paragraph must add something new. New facts, new actions, new examples, new distinctions, or new consequences are all acceptable. Restating the same viewpoint in different words does not count as progress.
The next paragraph should address the question left by the previous one. Progress relies on materials and causality, not signposts like "a deeper layer" or "the real problem".
Let the subject and action appear first, then add time, reasons, conditions, and examples later. Long sentences are allowed, but readers should know who did what as early as possible.
Use vernacular as the foundation. Ancient flavor should naturally emerge from word order, pauses, and appropriateness, not from rare characters, strings of idioms, or forced allusions.
Stop when the action, detail, or original quote has already conveyed the emotion. Do not follow up to explain for the reader.
Allow normal repetition, supplementation, self-correction, and brief digressions. Each instance must come from the current content, not be performed at fixed intervals to appear casual.
Judgments can be biased and emotional. Place the basis nearby so readers know this is the author's opinion.
Humor in real-world drafts comes from the absurdity of the matter itself; do not make up jokes or force playful remarks into serious materials. Jokes in fictional drafts should belong to the characters, relationships, and scenes.
Paragraphs do not need to be of equal length. End ordinary sections with ordinary sentences. Single-sentence paragraphs are only for places that really need a pause.
Stop when the matter has been fully explained. Do not force an elevation, beginning-end echo, or era significance. Beginning-end echo is only retained when the role or meaning of something has changed, and returning to this scale at the end is only allowed when the article has continuously addressed the era scale. Do not summarize the entire article again in the last paragraph.

Use the following set of sentences to calibrate the direction.

After graduation, he left Shanghai and went to Chengdu. The quantitative program had been running for a while, and he thought he could try doing it full-time. No one knew if his income would be stable at that time.

This is closer to the goal than "He closed off an easy path and bet his fate on the table". The first writing style provides actions, conditions, and risks, while the second only has a pose.

不要穿论坛服装

Do Not Use "Forum Costumes"

论坛感不等于“老铁”“兄弟们”“谢邀”“泡杯茶慢慢说”。烟头、啤酒、冷馒头、深夜屏幕和突然响起的电话，也不能凭空替文章增加真实感。

现实稿里，没有来源的精确时间、神态、天气、房间摆设和对白都是假细节。假细节越具体，AI 味越重。虚构稿可以创造这些内容，细节必须跟着人物视角与行动走，不能只负责穿上论坛服装。

现实稿真正有用的是信息来路。写清作者在哪里知道这件事，起初哪里想错了，哪条材料改变了判断，哪一块到现在仍拿不准。只挑当前文章确实拥有的部分，不要凑齐。虚构稿的可信感来自人物怎样知道、误解和发现，不伪造现实来源。

Forum feel does not equal terms like "buddies", "brothers", "thanks for the invitation", "make a cup of tea and take your time". Cigarette butts, beer, cold steamed buns, late-night screens, and suddenly ringing phones cannot add authenticity to the article out of thin air.

In real-world drafts, precise times, expressions, weather, room furnishings, and dialogues without sources are fake details. The more specific the fake details, the stronger the AI flavor. Fictional drafts can create these contents, but details must follow the character's perspective and actions, not just serve as "forum costumes".

What is truly useful in real-world drafts is the source of information. Write clearly where the author learned about this matter, where they initially made a mistake, which material changed their judgment, and which part is still uncertain. Only pick the parts that the current article actually has; do not forcefully complete the set. The credibility of fictional drafts comes from how characters know, misunderstand, and discover, not from forging real-world sources.

成稿绝对不能出现

Absolutely Prohibited in the Final Draft

下面几项覆盖标题、小标题、正文、图片说明和引用转述。命中一项就不能交稿。

不用中文冒号
```
：
```
和英文冒号
```
:
```
。网址、代码与无法改动的机器字段除外。
不用破折号
```
—
```
、双破折号
```
——
```
和连接号式破折号
```
–
```
。
不用“不是……而是……”、“并非……而是……”、“不在于……而在于……”、“与其说……不如说……”、“不只……还……”、“不只……也……”、“表面……实际……”、“看似……实则……”及其变形。
不用“不丢”“说白了”“说穿了”“先说结论”。
不把“更微妙的是”、“还有一层”、“只说对了一半”、“值得注意的是”、“需要指出的是”、“从某种意义上说”当成段落或句子的洞察路标。文字确实在说楼层、数量等本义时不受影响。
不用商业汇报和模型惯用黑话替普通事情抬价。
```
references/revision.md
```
区分绝对禁词和需要结合语境判断的词，检查脚本不得自行增加未写明的硬禁词。
非虚构内容不用仓库、抽屉、温度、死亡、坍塌、浪潮、钥匙、底座等借喻包装抽象概念。文章真的在写这些东西时不受影响。
原话命中这些禁令时，改成转述或省略，不能靠引号保留。

初稿写完以后再执行这些检查。修改违禁句时，先找它原本想说的事实，随后用普通句子说出来。不要寻找另一种漂亮句式替换。

长稿可以保存为 Markdown 或文本后运行

scripts/check_prose.py <稿件路径>

。脚本失败就继续修改，直到禁用项清零。

The following items cover titles, subheadings, main text, image captions, and quoted paraphrases. If any item is violated, the draft cannot be submitted.

Do not use Chinese colons
```
：
```
or English colons
```
:
```
. Except for URLs, code, and unchangeable machine fields.
Do not use dashes
```
—
```
, double dashes
```
——
```
, or en dashes
```
–
```
.
Do not use structures like "not...but...", "not that...but...", "it's not about...but about...", "rather...than...", "not only...but also...", "not only...but...", "on the surface...actually...", "seemingly...in fact..." and their variations.
Do not use phrases like "don't miss", "to put it bluntly", "to cut to the chase", "first the conclusion".
Do not use phrases like "what's more subtle is", "there's another layer", "only half right", "it's worth noting", "it needs to be pointed out", "in a sense" as insight signposts for paragraphs or sentences. This does not apply when the text is actually referring to literal meanings like floors, quantities, etc.
Do not use business report jargon and AI model jargon to inflate ordinary matters.
```
references/revision.md
```
distinguishes between absolute forbidden words and words that need to be judged based on context; the check script shall not add unwritten hard forbidden words on its own.
Do not use metaphors like warehouses, drawers, temperature, death, collapse, waves, keys, bases to package abstract concepts in non-fiction content. This does not apply when the article is actually writing about these things.
If original quotes hit these prohibitions, rewrite them as paraphrases or omit them; do not retain them with quotation marks.

Execute these checks after completing the first draft. When modifying prohibited sentences, first find the original fact it was trying to convey, then express it in ordinary sentences. Do not look for another fancy sentence structure to replace it.

For long drafts, save as Markdown or text and run

scripts/check_prose.py <manuscript path>

. If the script fails, continue modifying until all prohibited items are cleared.

交稿

Submission

用户只要作品，就只交作品。不要展示内部提纲、规则检查和创作过程。

用户要求真实来源、写作分析或审稿意见时再附。现实稿只列对结论重要的来源，不把检索笔记塞进正文。

只服务当前作品。不建立长期作者画像，不生成个人规则库，不创建新的个人写作 Skill。

If the user only wants the work, only submit the work. Do not show internal outlines, rule checks, or creation processes.

Attach additional content only when the user requests real sources, writing analysis, or review opinions. For real-world drafts, only list sources important to the conclusion; do not insert search notes into the main text.

Only serve the current work. Do not establish long-term author profiles, generate personal rule libraries, or create new personal writing Skills.