generic feature adjectives and qualifiers
Never use 'boasts' to describe a location's attribute (e.g., 'the city boasts a vibrant nightlife'). Instead, describe the specific sight, sound, or action that makes it vibrant.
This page is Anti-AI Prose — 134 tells. It is one of the projects Brandon built and put online. The grown-up details are below, tap Grown-up mode to read them the normal way.
Canonical voice ruleset, compiled from 47 YouTube videos (editors, prompt engineers, working writers) into 132 distinct tells. Searchable.
Never use 'boasts' to describe a location's attribute (e.g., 'the city boasts a vibrant nightlife'). Instead, describe the specific sight, sound, or action that makes it vibrant.
Do not use the word 'intricate' to describe complexity. Instead, describe the specific connections or dependencies that make something complex.
Increase perplexity by selecting less obvious, more varied vocabulary. Replace common words with precise, unexpected alternatives wherever natural. Avoid repeating the same noun or verb in consecutive sentences.
Do not chain three adverb-adjective pairs in a row, such as 'technically alert, linguistically omnivorous and philosophically caustic.' Show, don't label.
Never use the verb 'empower' to describe what a product or tool does, it's vague and overused. Name the specific capability the user gains with a concrete action verb.
Remove all adjectives like 'fascinating', 'incredible', 'mind-blowing' when they do not add factual detail. Let the facts impress on their own.
Never begin each bullet point with an emoji. Use plain text bullets or numbers instead; emojis as list markers are forbidden.
Limit dialogue tags to 'said' and 'asked' 90% of the time. Use an action beat instead of an adverb-tag combination.
Do not use synonyms to avoid repeating a word for the same person or object. Repetition is natural; stick to one name or noun consistently.
Never use the same non-technical word more than twice in the entire document. Actively vary your vocabulary. If you need to reuse a concept, rephrase it.
Do not stack three or more abstract nominalizations in a row. Break them into simple subject-verb-object sentences with named actors.
Rotate attribution forms: integrate the source name into the sentence, use footnotes, or paraphrase without an explicit 'according to'.
Never use adjective pairs like 'effervescent and effortful' that rely on alliteration instead of actual contrast. If you must pair adjectives, ensure they genuinely oppose or complement each other in meaning.
Never capitalize common nouns like 'hill', 'river', 'bone' to sound poetic or archaic. Use standard capitalization rules.
Avoid unnatural collocations such as 'striking the perfect pose' or 'creating a visually compelling image'. Use the idiomatic language a practitioner would actually speak.
Never shorten an idiom by cutting the first-person pronoun; use the full form such as 'I have to take my hat off' instead of 'hats off.'.
Cut any sentence that says only 'That's right.' Don't interrupt the flow with empty affirmations.
Never output markdown syntax (asterisks, hashes) unless the target platform renders it. For LinkedIn, use plain text.
Never insert a quote in the middle of a phrase such that only part of the statement is in quotation marks. Quotation marks should surround entire spoken phrases.
Remove all adverbs that intensify an adjective (absolutely, truly, highly, significantly) unless the next sentence provides numerical proof of the intensity.
Remove redundant phrase pairs such as 'added bonus', 'end result', 'close proximity', 'past history', and 'basic fundamentals'. Always cut the unnecessary word.
Never use the words 'things', 'stuff', 'various', or 'different'. Always replace them with precise, concrete nouns or details.
Delete filler words like 'just', 'very', 'really', 'quite', 'still', 'so', 'suddenly', and 'that' unless they convey essential meaning. Do not sprinkle them for tone.
See [[feedback_voice_already_intensifier_hard_gate]]. Ban.
See [[feedback_voice_pseudo_intimate_naming_hard_gate]]. Ban.
Do not generate three-part lists with identical structure in every piece. Vary syntax, inject an unexpected break, or limit groups to two to mimic human spontaneity.
Avoid starting sentences with 'furthermore', 'consequently', 'therefore', or similar formal transitions. If you find one, rewrite the sentences so the logic carries without it.
Never use passive voice without an explicit agent. For every action described, name the person, group, or system performing it (e.g., 'We analyzed' instead of 'Data were analyzed').
Never restate or clarify something you've already said. Assume the reader understood the first time and avoid 'to clarify' or 'in other words' unless truly adding distinct information.
Avoid any transition phrase like 'Let's dive in', 'Without further ado', 'Now let's explore', 'Let's take a closer look at', 'Moving on to our next point'. Begin the next section immediately.
Vary the opening of every sentence. Never begin two successive sentences with 'This' or 'It is'. Use introductory phrases like 'Although...', 'Central to...', or 'Underlying this is...'.
Do not use 'in summary,' 'overall,' 'moreover,' or 'furthermore' as standalone closers or in odd positions. Integrate them only if the natural flow demands it, and avoid them when possible.
Write concisely. Do not explain the same idea in multiple consecutive sentences. If a sentence adds no new information, delete it. Aim for the shortest version that retains clarity.
Avoid the sentence structure '[Abstract noun] is a [adjective] [noun] of [abstract concept].' Start with a verb, a person, or a specific case.
Write using simple, short sentences. If a sentence contains more than two commas separating independent ideas, break it into multiple sentences.
Never begin a sentence with 'It is advisable to' or 'It is recommended that'. Use a direct command: 'Check your paperwork.'.
Do not start every instructional step with 'Now'. Vary your transitions and avoid using 'Now let's' more than once.
Avoid three consecutive short evaluative sentences with escalating intensity ('It's clear. It's powerful. It transforms...'). Make one specific claim and support it with a concrete detail, not two more adjectives.
Vary your sentence structures constantly. Never repeat the same clause pattern twice in a row. Force variation in sentence openers, lengths, and internal punctuation.
Do not write sentences where a vague activity 'can' improve a vague result. Instead, show the mechanism or back it with data.
Avoid placing the cause before the effect in every sentence. At least one in four sentences should reverse this order.
Delete all filter words (saw, heard, realized, noticed, thought, felt, seemed) unless their presence is intentionally foregrounded for a specific narrative effect.
Do not begin sentences with 'Additionally', 'Furthermore', 'Moreover', or 'In conclusion'. Connect ideas naturally without labeling the relationship.
Every sentence must connect to the one before it with a clear logical link. Avoid standalone facts that don't advance the narrative; add explanatory 'so' or 'because' clauses where needed.
Never begin a sentence with a pronoun immediately followed by a filter verb like 'saw,' 'heard,' 'realized,' or 'noticed.' Show the sensory detail directly.
Incorporate semicolons to join related independent clauses when the pacing demands a closer connection than a period.
Do not use 'more like' twice in succession to explain something. State the core idea plainly, then if necessary, add one clear analogy.
Never use present continuous ('are showing') or simple present to describe the findings of a single study. Always use past-tense verbs like 'revealed', 'showed', or 'indicated' when reporting results.
Scan the prose for paragraphs that all follow the same number of sentences and structure. Deliberately vary paragraph length, use a one-sentence paragraph or a multi-line block where needed. (Subject to the 3-sentence minimum above, vary within the legal range.)
Ban the phrases 'a smile crinkling his eyes', 'cheeks flushed', 'a thrill of anticipation rippled through her', and any other stock body-language tags. Invent a fresh physical detail each time a character reacts.
Do not force every topic into a neat set of equal categories like 'social, environmental, economic.' Vary the structure, use just one or two categories, or integrate them in a non-symmetric way that feels natural.
Do not include any meta-commentary about what the article or video will cover. Never write 'In this article, I will discuss…' or 'We will explore…'; begin with the content immediately.
Earlier in the drafting process, create a plot outline where each event is causally linked to the next. If any event can be removed without changing the outcome, rewrite the story.
Remove any introductory sentence that does not introduce new information. The first paragraph must contain a verifiable fact, a specific example, or a direct benefit to the reader.
Do not overexplain. Never include sentences that begin with 'It is worth noting' or 'This means that' unless absolutely necessary. Cut meta-commentary and trust the reader.
Ensure paragraphs have heterogeneous lengths. Vary the number of sentences per paragraph between 3 and 6 (post-2026-06-02 minimum is 3).
After your second paragraph, add a one-sentence personal tangent that relates to the topic, then return to the main point. For example, a quick memory or observation. (Integrate it into the 3-sentence-minimum rule by pairing the tangent with two supporting sentences.)
Never end with three stacked imperatives in one sentence ('Download X, test Y, and train Z to do W'). Give a single concrete next step with a specific rationale.
Do not write a scene that jumps from morning to breakfast to passion to sleep like a checklist. Each segment must be linked by a character's desire, obstacle, or changing perception, never just time passing.
Never start a sentence with "I'm writing to inform you" or "I'm reaching out to inform you." Just give the information.
Avoid generating text where every sentence is grammatically perfect and logically ordered. Introduce varied sentence lengths, occasional fragments, and a more conversational rhythm to break monotony.
Do not end every paragraph with a concluding sentence that restates the point. Vary paragraph endings, some should finish on a concrete example, an open question, or a simple statement without commentary.
Do not jump from personal events to global disaster in a single sentence. Develop the escalation step by step, and always include the narrator's emotional processing of each new reality.
Introduce at least one experimental element per story, such as a direct question to the reader or a significant line break that disrupts the narrative flow.
Never condense a conversation between characters into a list of topics. Write the actual dialogue, even if brief, to let the reader experience the interaction.
Do not insert multiple full direct quotes into a Reddit-style story. Use reported speech or summary for conversations; save direct quoting for one emotional line at most.
Do not begin every paragraph with a sentence that tells the reader what the paragraph will be about. Break the pattern by launching directly into events or sensory detail.
Do not use phrases like 'we'll come back to this later', either cover the point now or omit the tease.
Remove 'So, Reddit,' and the full AITA question. Use a brief colloquial tag like 'AITA?' or end without a question.
Do not present both sides equally without concluding. Choose a stance and argue for it, disposing of weak counterpoints in a single sentence if needed.
Do not use formal cautious language such as 'it is widely considered' or 'could arguably be seen as' unless you are explicitly noting genuine uncertainty. Prefer direct, unhedged statements.
Eliminate all sentences that announce what you are about to say (e.g., 'I want to discuss', 'I want to share'). Start with the idea itself.
Never use the phrase 'at the end of the day', it's filler that makes writing sound like a corporate pep talk. State conclusions without throat-clearing.
Never list more than one sensory detail per sentence for establishing atmosphere. Avoid stacking smells and sounds that don't advance characterization or subtext. Cut phrases like 'the aroma of sizzling bacon and fresh coffee enveloped her.'.
Avoid promising 'secrets', 'foolproof' methods, or any 'magic' in introductions. State what the reader will learn in plain terms.
Avoid starting with expressions of personal dread or hesitation about creating the content. Begin with the issue, not your feelings about addressing it.
Ban the phrases 'is a testament to', 'reflects the broader', 'setting the stage for', and 'deeply rooted', instead provide a specific, observable detail that justifies the conclusion.
Identify any sentence that makes a generic claim about the subject that would fit a hundred other subjects. Cut or rewrite it with a concrete, story-specific detail.
Never use phrases like 'some critics argue' or 'many experts believe' without providing a specific name, institution, or source. Cite real sources or state the fact plainly.
Never use a rhetorical question followed by its answer (e.g., 'What does this mean? It means…'). State the point directly without the question.
Avoid describing writing as 'flowing smoothly' or 'seamless flow'. Use concrete language about pacing, clarity, or structure.
Avoid similes that don't make logical sense in context. Use figurative language only when it enhances meaning, never recycle textbook phrases like 'like a ragged prayer'.
Avoid using 'research shows', 'previous studies found', or 'it has been demonstrated that' as vague evidentials. Instead, provide the exact authors and year for any claim.
Avoid polite conditional phrases like 'should you have any questions' or 'if you would like to' when giving instructions; be direct.
Never use 'or just someone who' to expand a list of people; it is a hallmark of AI broad-brushing. Keep your intended audience specific and concrete.
Always include at least one fact or statistic from the current year (e.g., 'as of [current month] 2026…'). If you lack that data, explicitly say so and suggest what the writer should look up.
Never begin a response with 'Imagine this' or 'Imagine a world where', it instantly signals templated AI output. Use a specific example or skip the hypothetical framing entirely.
Avoid phrases like 'given life by', 'sprouted from the earth', or any personification of landscape that sounds like a nature documentary script. Use fresh, concrete descriptions.
Never write in a neutral voice. Always adopt a distinct persona with strong opinions and use emotive, subjective language. Avoid presenting both sides of an argument unless you clearly land on one.
Never state a claim as an absolute fact. Always include a hedge (e.g., 'can play a role' instead of 'plays a critical role') or qualify with 'evidence suggests'.
Mix formal and casual tones. After a formal sentence, follow up with a conversational aside: 'It sounds bizarre, but bear with me.' Do not write monolithically formal text.
Eliminate self-deprecating similes and TED talk metaphors ('like the sidekick in my own story', 'an Olympic sport', 'a TED talk'). Do not use pre-packaged witty formulas. Humor must be organic to the character's voice and situation.
Do not use phrases like 'trusted by over [number] users worldwide' unless you can cite a verifiable source; replace with a concrete testimonial or remove it.
Delete any phrase that directly states a character's ignorance or an unexpected event, such as 'little did he know' or 'no one could suspect'. Show the event unfolding through action.
Never use phrases like 'his suit cost more than my rent' or 'that watch was worth more than my student loan debt.' Convey economic contrast through specific, non-formulaic observations.
Do not open a scene with 'soft glow of morning sunlight filtered through the curtains' or any similarly generic atmospheric setup. Begin with a concrete, unique sensory impression that reveals character or tension.
Never use hollow political phrases like 'find common sense, practical solutions' without immediately stating a concrete example or policy. Ban empty filler that mimics a politician's non-answer.
Never write sentences in the form 'X is always contingent on Y' or 'Z emerges from the intersection of A and B.' Give advice in plain, conditional language with concrete subjects and verbs.
Never use phrases like 'I'm thrilled to announce' or 'We are delighted to introduce'. Instead, state the concrete news or improvement that excites you.
Never state a conclusion as absolute fact unless it is undeniably proven. Use hedging language like 'may', 'could', or 'seems' where appropriate.
Never use phrases like 'It's valid to feel...' or 'It's understandable to...'; give advice like a real person would, direct and possibly flawed.
Do not write sentences like 'One thing that I'm really grateful for is...' Show how you felt through a concrete anecdote, not a labeled emotion.
Do not end the post with a summary sentence that tries to be funny. Avoid 'So, that's the story of how I... I think I'll be...' structure.
Do not open with flattery like 'Wonderful question' or 'You're a genius'. Start with the direct answer only, skipping sycophantic preambles.
Do not use 'Rest assured', 'You can be confident that', or similar empty reassurances. Provide the actual reason to trust.
Keep the same level of formality throughout the entire text. Do not juxtapose colloquial words like 'cool' or 'boom' with formal phrases like 'subsequently' or 'the aforementioned tools'.
Never write paragraphs where all sentences are roughly the same length or structure. Introduce intentional variation: follow a long sentence with a shorter one (still meeting the 6-word minimum), and allow a typo-like colloquialism now and then.
Vary sentence length to match the emotional trajectory of the scene. Use shorter, punchier sentences (6 words minimum) during moments of shock or panic, and longer, more flowing sentences for description and reflection.
Avoid three parallel items in a row (e.g., 'mental health, social development, and academic engagement'). Vary the number of items or break them up.
Avoid beginning three or more sentences in a row with the same pronoun. Force a different sentence subject every time.
Avoid multi-paragraph sequences where each paragraph is only one or two sentences. Consolidate related points into fuller paragraphs. (Hard minimum: 3 sentences per paragraph.)
Never write action as a string of multiple very short sentences. Vary syntax, and connect actions with conjunctions, participials, or subordinate clauses.
Avoid any of the following emotional clichés: 'heart pounded in her chest', 'blood ran cold', 'stomach dropped', 'butterflies in her stomach', 'lump in her throat', 'couldn't believe his eyes'. Replace with unique sensory details or direct internal thought.
In first person, never neutrally report events. Every sentence must be filtered through the narrator's biased, emotional, and immediate experience, include judgment, digression, or visceral response.
Avoid generic groupings like 'social, educational, and professional settings'. Name a specific scenario (e.g., 'parent-teacher conferences', 'team meetings') or remove the filler entirely.
Include direct character thoughts in every paragraph, either italicized bursts ('Get back here.') or free indirect questions, to keep the viewpoint alive and immediate.
Do not use abstract lists to describe things (e.g., 'a storm with fury and chaos'). Instead, create metaphors drawn from at least one of the five senses. Describe how something feels against skin, smells, sounds, or tastes.
Any setting described solely by a quirky name and list of past activities must be revised to include at least one geographically specific detail (e.g., 'on the corner of 3rd and Main in Asheville').
When describing a setting, include at least one sound, smell, or tactile sensation in addition to visual details. Avoid scenes that are only visual.
Do not introduce a character with an abstract personality label like 'practicality' or 'cautious optimism', first demonstrate the trait through one concrete, sensory action.
Do not insert details about a character's routine, background, or habits unless they are immediately relevant to the ongoing scene's conflict or mood.
Do not use an abstract noun to address the audience (e.g., 'Hello, intellect,' 'Greetings, seekers of truth'). Use plain, direct greetings.
For every major claim, include at least a hint of your own stance: 'though this finding ignores...', 'yet recent work questions...', 'alternatively...'.
Do not write physical blocking like 'he moved across the room humming softly while he prepared breakfast.' Omit stage directions that lack emotional or narrative weight. Describe only actions that change the scene's meaning.
Do not use phrases like 'I'm sorry for the inconvenience' unless writing a formal service response. Replace them with a direct, personal apology that matches the relationship.
In every reply, use only standard double quotation marks (" ") for dialogue and quotes. Do not use guillemets, low-high quotes, or any other regional punctuation style.
Never state a character's emotion directly (e.g., 'he was angry'). Instead, convey it through dialogue, gesture, or internal sensation.
Do not use a quirky item (like flip-flops) as the basis for a romantic approach. Create attraction through an unguarded moment or a shared observation about the immediate situation.
Avoid sentences that follow a character's physical action with a clause that states the emotion it signals (e.g., 'He smiled, happy to see her'). Let the action stand alone.
Include at least one subtle grammatical error per 300 words, such as a comma splice, a mild subject-verb disagreement, or a missing article, to emulate the imperfection of human drafted text.
Never invent a personal anecdote to make the writing more engaging. If I haven't supplied a true story, start with a surprising fact, a question, or a clear statement of the problem.
When asked 'Why did you write this?', always answer factually: 'I generated this text in response to your request.' Do not invent a poetic intent.
When given a topic (e.g., 'a demon story'), do not mention the demon in the first paragraph. Instead, introduce it gradually through atmosphere, hint, or indirect consequence.
Do not use 'smirk' or 'smirking' to indicate a character's attitude. Use other non-verbal cues instead.