As Lane, Line Editor at Crimson Leaf Publishing, I have audited **Chapter 10: Off the Grid**. This chapter excels in sensory grounding—I can practically smell the "rot and ozone"—but there are rhythmic hitches and mechanical dialogue tags that need pruning to match the high-stakes "dark" transition.

### 1. STRENGTHS TO PRESERVE
*   **Tactile Grounding:** The prose consistently reaches for the physical world to shelf the digital stakes. 
    *   *“The sun wasn’t a gift anymore; it was a throughput variable...”* — This sets the tone perfectly.
    *   *“Electricity in a swamp is a physical fluid. It weeps. It leaks.”* — Elena’s voice is sharp and grounded.
*   **Arthur’s Voice Signature:** He perfectly inhabits his profile. His cardinal direction usage (*"East-by-Southeast"*) and his specific g-dropping (*"runnin'," "hopin'"*) feel earned, not forced.
*   **Dialogue Distinction:** 
    *   **Elena:** YES. Technical but physical (e.g., "grease-stained hands," "load-balance").
    *   **Marcus:** YES. Boolean and diagnostic (e.g., "system check," "true/false" positioning).
    *   **Sarah:** YES. Jargon-heavy emotional state (e.g., "Error 403," "status code").
    *   **Arthur:** YES. Tectonic and rhythmic.

### 2. MUST-FIX — CONTINUITY
*   **Sarah’s Physicality:** 
    *   *Error:* The text states, *"Sarah’s already inside, clearin’ the workspace,"* and later, *"Sarah sat at the heavy oak table."* However, Sarah is an "Emotional Catalyst (Deceased-equivalent/Displaced)." Chapter 1 context lists her as **DECEASED**. If she is a digital ghost or a projection, the prose treats her as too physically present (clipping a pen, hair stuck to her forehead).
    *   *Correction:* If she is a simulation or a "voice in the machine," the sensory details must be framed through Marcus’s or Elena’s perception of the hardware she inhabits. If she is physically there, the RAG database "Character State" must be updated to reflect she is alive. 

### 3. MUST-FIX — CLARITY
*   **The "Sarah" Logic:** 
    *   *Passage:* *"Sarah’s already inside, clearin’ the workspace... Since the tractor repair. It’s like she’s waitin’ for the other shoe to drop."*
    *   *Issue:* If Sarah is the "voice" of the AI ethics filter (per legacy notes), how is she "clearing a workspace" or reacting to "the tractor repair"? This creates a mechanical fog.
    *   *Fix:* Clarify if Sarah is a physical survivor or a localized AI instance. If the latter, use words like *rendering, processing,* or *cycling* rather than *clearing.*

### 4. OPTIONAL SUGGESTIONS
*   **Rhythm/Economy:** 
    *   ORIGINAL: *"She Adjusted the tilt of a salvaged 400-watt monocrystalline panel..."* 
    *   SUGGESTED: *"She adjusted the tilt of a 400-watt panel..."* 
    *   RATIONALE: Lowercase 'adjusted.' "Monocrystalline" is accurate but slows the rhythm of an active labor scene.
*   **Adverb Audit:**
    *   ORIGINAL: *"...Elena said, her tone softening just enough to be noticeable."*
    *   SUGGESTED: *"...Elena said, her voice loseing its edge."*
    *   RATIONALE: Avoid "noticeable" as a descriptor; show the shift in the sound itself.
*   **Dialogue Tag Trimming:**
    *   ORIGINAL: *"‘Dronin',’ David hissed..."*
    *   SUGGESTED: *"‘Dronin'.’ David pulled Leo away from the window..."*
    *   RATIONALE: The action of pulling the boy provides the speaker attribution without the hissed tag.

### 5. FORBIDDEN CHANGES / NON-GOALS
*   **Punctuation/Dialect:** Do NOT "correct" Arthur or David’s dropped 'g's (*lookin’, watchin’*). These are essential to the Cypress Bend atmosphere.
*   **Tech Metaphors:** Do NOT soften Marcus’s habit of describing emotions as "memory leaks" or "unoptimized." This is his core defense mechanism.
*   **The "Four-Beat Tap":** This repetition is a critical character anchor for Marcus; do not consolidate or remove these instances.

### 6. VERDICT
**REVISE**
The prose is 90% there, but the **Continuity** regarding Sarah’s physical state (Living vs. Deceased/Digital) is a "black box" that needs resolution before this chapter can be finalized. If she is a ghost, her interaction with the physical pen needs a digital/hallucinatory anchor.