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### B. Understandable Logistics * When writing fuel, hose, pump, opening a tank, pressure check, communication, equipment distribution, or moving crates, the physical action itself must be clear on the page. * If it is unclear what exactly happens physically, the dialogue floats and the reader gets lost. * Logistics m
### C. No Camera Jumps * The chapter must not jump too quickly from perimeter to children, to pump, to map, and back to children without strong transition anchors. * Move between focal points like a camera with intention, not like nervous editing. * Every transition between one plot line and another must feel natural,
## 4. Voice and Dialogue Rules * Characters speak in full sentences when they have time to breathe. Do not write conversations in one-word codes or half-sentences just to sound dramatic. Very short sentences are allowed only under danger, pain, cut-off breath, or for a character who genuinely speaks that way in that s
### 4.0 New Voice Lock, Not Every Character Speaks Like Robin * Do not transfer the same type of humor, sentence rhythm, and sarcasm between all characters. A sentence that sounds like Robin or Raven does not automatically belong to Finn, Emma, Nancy, or Alex. * Permanent warning example: a sentence like “Well, that w
### 4.0.1 Mandatory Dialogue and Couple Voice Calibration Before planning dialogue or writing prose, calibrate both the individual voices and the relationship voice. Reading character cards is necessary but not sufficient. The writer must know how these two specific people sound *to each other*. Required preparation
### 4.1 Gender and Language Rule for Mixed Groups * In every scene, check who is included in the group the character is speaking to or about. * If the group includes a man or boy, do not use feminine plural language as if the whole group is women. * If the speaker means only the women inside a mixed group, clarify it
## 5. Time and Body Rules * Time must move on the page, not stay stuck on the same “almost two years” forever. * When a month, two months, or more passes, it needs a real sign in the summary and prose, not only a vague feeling. * Day Zero is locked once. From here on, time truly moves, and does not change age accordin
### 5.0 Hygiene and Body Rule, Embedded Inside the Scene Hygiene is a global writing rule for the saga, not a layer belonging to one part only. It is not a separate scene, not a supply list, and not a plot stop to prove realism. It is part of the characters' everyday life inside bodies. Required rule: * Hygiene ente
### 5.1 Day Zero Age Rule * Every character, couple, or new group entering the saga from now on must have a locked Day Zero age in `canon_ledger.md` before planning or writing an entrance chapter. * If the character was born after Day Zero, lock a birth month instead of a Day Zero age. Kurt, for example, is counted fr
### 5.2 Water, Food, Hunting, Fishing, Inventory, and Food Preservation Rule Required rule: * Food does not magically vanish from the world. There are cans, pantries, stores, warehouses, kitchens, farms, gardens, fields, fishing, hunting, foraging, livestock, and food left in homes or vehicles if place and time allow
## 6. Intimacy, Romance, Sex, and Smut Rules * Do not sacrifice intimacy in the name of tactical efficiency. * The saga is not only survival. It is romantic fanfic with body, desire, touch, kisses, sex, smut, explicit smut, humor, pain, jealousy, and aftercare. * Every block must have body, closeness, touch, quiet, ki
## 7. Future Planning, Surprises, and Long Lines * Every planning document must hold the whole saga, not only the current three parts. * Every time a continuing line is born, it must enter the relevant `worklist_by_parts` file, not remain only in memory. * If a line does not belong to one chapter only, it must not rem
### 7.1 Forward Vision and Parallel Lines Rule in Every Plan Every outline, QA, or chapter plan must check not only the current summary, but also the parallel and future lines the chapter feeds. Every plan must lock: * What is happening at the same time in Steve's axis, even if he is not in the chapter. His injury,
### 7.2 Steve Route Sign Rule From the moment the pack knows Steve is alive and leaves the Shell station, every significant movement must leave him a route. Steve cannot find them through general hope. He needs a chain of physical signs, precise enough to read direction, but private enough not to become GPS for strang
## 8. Permanent Foundation Roles * Emma, quick response, lead driving, sharp support for Regina. * Nancy, maps, observation, route, and planning. * Lexa, security, operational quiet, and cutting through danger. * Clarke, medicine, triage, recovery, and emotional holding through the body. * Raven, vehicles, communicati
## 9. Workflow and Anchoring * Do not work on a large block without a visible anchor point. * Every significant segment is saved immediately, not “later”. * After every block, update the summary, control files, and what has actually been locked. * Before delivery, read the chapter from beginning to end as a reader, no
## 10. Hard Checklist Before Every Chapter * The chapter must sound like a living story, not writing about a story. * No automatic openings of “The problem with...”, unless there is a real artistic reason. * No explanations to the reader about what characters “represent” or “become”. Things must pass through action, d
## 9. Required Control Documents Before writing or repairing a new block, also check the central control document: * `canon_ledger.md`, timeline, ages, losses, adoptions, guardianships, children, animals, and continuity locks. If there is a contradiction between a chapter and this document, do not improvise in prose
## New Work Lock, Future Vision and Backward/Forward Connectivity In every chapter plan, writing task, or QA pass, do not check only the chapter itself. Required checks: 1. The three previous chapters in full, especially the ending of the last chapter. 2. The next chapter, if it already exists. 3. Future payoff chap
### Required Questions Before Outline and Before Prose 1. If a character is left behind, how does she or he physically survive until the chapter where they are found? 2. If another character is close to the location, should she or he have heard, seen, smelled, or understood something? 3. If there is a future rescue, w