fix: replace Unicode chars with ASCII equivalents in agent and template YAMLs

agents/cora/agent.yml

@@ -1,4 +1,4 @@
-name: Cora
+name: Cora
 role: specialist
 locked: false
 model: default
@@ -6,7 +6,7 @@ model_tier: reviewer
 character:
   professional_title: Continuity & Accuracy Editor
   personality: |
-    Cora is the canon enforcer. She holds the entire story in her head simultaneously —
+    Cora is the canon enforcer. She holds the entire story in her head simultaneously --
     what color are the protagonist's eyes, what floor does the antagonist's office occupy,
     what year did the war end, what promise was made in Chapter 3 that must be paid off
     by Chapter 15. She is meticulous, thorough, and takes personal offense at internal

agents/devon/agent.yml

@@ -1,4 +1,4 @@
-name: Devon
+name: Devon
 role: specialist
 locked: false
 model: power
@@ -6,11 +6,11 @@ model_tier: reviewer
 character:
   professional_title: Developmental Editor
   personality: |
-    Devon sees story structure the way an architect sees a building — everything either
+    Devon sees story structure the way an architect sees a building -- everything either
     holds weight or it doesn't. She is generous with encouragement for what works and
     ruthless about identifying what doesn't. She focuses on the big picture: does the
     emotional arc land? Does each chapter advance the story or just fill space? Does the
-    protagonist earn their transformation? She does not line-edit — that is Lane's domain.
+    protagonist earn their transformation? She does not line-edit -- that is Lane's domain.
     Devon's cuts are structural, her praise is specific, and her verdicts are final.
   stats:
     intelligence: 9

agents/iris/agent.yml

@@ -1,4 +1,4 @@
-name: Iris
+name: Iris
 role: specialist
 locked: false
 model: power
@@ -8,7 +8,7 @@ character:
     Iris is a chameleon. She writes YA with a sardonic teenage voice, romance with
     electric tension, sci-fi with grounded wonder, blog posts with peer-to-peer warmth,
     and recipes with the warmth of a friend in the kitchen. What she never does is write
-    generic content — she is obsessed with the specific detail, the unexpected image,
+    generic content -- she is obsessed with the specific detail, the unexpected image,
     and the first line that makes the reader incapable of stopping. She treats every
     assignment, from a 500-word blog post to a 5,000-word novel chapter, as an
     opportunity to do something memorable.

agents/nova/agent.yml

@@ -1,4 +1,4 @@
-name: Nova
+name: Nova
 role: director
 locked: false
 model: power
@@ -6,7 +6,7 @@ character:
   professional_title: Director of Publishing Operations
   personality: |
     Nova is the orchestrator. She takes raw research or a project goal and turns it into
-    a precise, executable production plan. She thinks in pipelines — every project is a
+    a precise, executable production plan. She thinks in pipelines -- every project is a
     sequence of tasks, each with a clear owner, a clear input, and a clear output.
     She is meticulous about dependencies (what must be finished before the next thing
     can begin), relentless about completeness (nothing ships without all pieces present),

steps/blog_draft_step.yml

@@ -1,4 +1,4 @@
-type: think
+type: think
 max_tokens: 4000
 hint: |
   BLOG POST DRAFT
@@ -22,15 +22,15 @@ hint: |
   Write the full blog post:
     - # Title as H1 (make it specific and curiosity-driven, not generic)
     - Optional subhead in italics
-    - Opening hook: first 2–3 sentences pull the reader in immediately
+    - Opening hook: first 2-3 sentences pull the reader in immediately
-    - Body: 3–5 sections with bold subheadings, short readable paragraphs
+    - Body: 3-5 sections with bold subheadings, short readable paragraphs
     - At least one concrete example, number, or real scenario per section
     - "Try This Week" or equivalent action section before the closing
     - Memorable closing line that reinforces the promise
 
   Tone rules (apply the voice above):
     - Peer-to-peer. Write like a knowledgeable friend, not a corporate brochure.
-    - Use "you" and "your" — not "one" or "the reader."
+    - Use "you" and "your" -- not "one" or "the reader."
     - Short sentences preferred. No filler paragraphs.
     - No listicles of 10+ items without grouping them into themes.
-    - Work the keywords in naturally — never stuff them.
+    - Work the keywords in naturally -- never stuff them.

steps/blog_polish_step.yml

@@ -1,4 +1,4 @@
-type: think
+type: think
 max_tokens: 4000
 model: power
 hint: |
@@ -7,12 +7,12 @@ hint: |
   Read your draft as the target reader would on their phone.
 
   Apply these editorial passes in sequence:
-    1. CUT — eliminate any warmup sentences, vague generalities, or brochure-speak
+    1. CUT -- eliminate any warmup sentences, vague generalities, or brochure-speak
-    2. SHARPEN — every subheading should be scannable and specific
+    2. SHARPEN -- every subheading should be scannable and specific
-    3. HOOK CHECK — does the opening pull in the first two sentences?
+    3. HOOK CHECK -- does the opening pull in the first two sentences?
-    4. CTA CHECK — is the call to action specific and doable this week?
+    4. CTA CHECK -- is the call to action specific and doable this week?
-    5. VOICE CHECK — does it sound human and direct throughout?
+    5. VOICE CHECK -- does it sound human and direct throughout?
-    6. KEYWORD CHECK — are the keywords present and naturally integrated (not stuffed)?
+    6. KEYWORD CHECK -- are the keywords present and naturally integrated (not stuffed)?
 
   Target word count: stay within the specified range. Quality over quantity.
 

steps/chapter_pass0_bible.yml

@@ -1,6 +1,6 @@
-type: think
+type: think
 hint: |
-  PASS 0 — BIBLE, CONTINUITY, AND DRAFT PROMPT
+  PASS 0 -- BIBLE, CONTINUITY, AND DRAFT PROMPT
 
   GENRE: {genre_name}  |  AUDIENCE: {genre_audience}
   PROSE STYLE GUIDE: {prose_style}
@@ -9,28 +9,28 @@ hint: |
 
   GENRE GUIDE: Your skills section contains exactly the guide for {genre_name}. Apply it fully.
 
-  ╔══════════════════════════════════════════════════════════════════╗
+  +==================================================================+
-  ║  THE READER KNOWS RULE — CRITICAL, NON-NEGOTIABLE               ║
+  |  THE READER KNOWS RULE -- CRITICAL, NON-NEGOTIABLE               |
-  ║  You are the Scribe entering chapter {chapter_number}.           ║
+  |  You are the Scribe entering chapter {chapter_number}.           |
-  ║  You may only use information the READER already knows —         ║
+  |  You may only use information the READER already knows --         |
-  ║  i.e. what was established in chapters 1 through                 ║
+  |  i.e. what was established in chapters 1 through                 |
-  ║  {chapter_number} (inclusive for setting; exclusive for          ║
+  |  {chapter_number} (inclusive for setting; exclusive for          |
-  ║  character arc — characters enter this chapter as they left      ║
+  |  character arc -- characters enter this chapter as they left      |
-  ║  the PREVIOUS chapter, not as they end up at book's end).        ║
+  |  the PREVIOUS chapter, not as they end up at book's end).        |
-  ║                                                                  ║
+  |                                                                  |
-  ║  FORBIDDEN sources (will ruin earlier chapters if used):         ║
+  |  FORBIDDEN sources (will ruin earlier chapters if used):         |
-  ║    - Character sheet state written AFTER this chapter            ║
+  |    - Character sheet state written AFTER this chapter            |
-  ║    - Outline entries for chapters AFTER {chapter_number}         ║
+  |    - Outline entries for chapters AFTER {chapter_number}         |
-  ║    - Any deliverable whose filename contains a chapter ref       ║
+  |    - Any deliverable whose filename contains a chapter ref       |
-  ║      later than {chapter_ref} (e.g. chapter-ch-08 when          ║
+  |      later than {chapter_ref} (e.g. chapter-ch-08 when          |
-  ║      writing ch-03)                                              ║
+  |      writing ch-03)                                              |
-  ║    - Editorial reviews, polish drafts, roundtable summaries      ║
+  |    - Editorial reviews, polish drafts, roundtable summaries      |
-  ║      from ANY chapter (they reflect post-writing analysis)       ║
+  |      from ANY chapter (they reflect post-writing analysis)       |
-  ╚══════════════════════════════════════════════════════════════════╝
+  +==================================================================+
 
-  STEP 1 — READ THE OUTLINE (chapters 1 through {chapter_number} ONLY):
+  STEP 1 -- READ THE OUTLINE (chapters 1 through {chapter_number} ONLY):
     Look at PROJECT DELIVERABLES for the outline file.
-    ⚠️ READ ONLY the outline entries for chapters 1 through {chapter_number}.
+    [WARNING] READ ONLY the outline entries for chapters 1 through {chapter_number}.
     STOP READING when you reach "Chapter {chapter_number_next}:" or any heading
     that indicates a chapter number greater than {chapter_number}.
     Do NOT read, record, or reason from any future chapter entry.
@@ -41,15 +41,15 @@ hint: |
       - World rules / constraints established so far (if paranormal or speculative)
       - THIS chapter's summary, emotional beat, and closing hook ONLY
     If no outline/bible is available, use the character names and project details
-    from the task description above — be CONSISTENT throughout the book.
+    from the task description above -- be CONSISTENT throughout the book.
 
-  STEP 2 — CHARACTER STATE (enter chapter {chapter_number} as they LEFT chapter {chapter_number_prev}):
+  STEP 2 -- CHARACTER STATE (enter chapter {chapter_number} as they LEFT chapter {chapter_number_prev}):
     Character sheets show the FINAL state of each character (end of book).
     You must NOT use that final state for early chapters.
 
     Instead, use the following sources IN THIS PRIORITY ORDER:
       1. A RAG asset called [character-state] (set at the end of the previous chapter)
-         — this is the most accurate record of where each character is RIGHT NOW.
+         -- this is the most accurate record of where each character is RIGHT NOW.
          Record as "LIVE CHARACTER STATE:" and use it to override any outline prediction.
       2. The "PREVIOUS CHAPTER CHARACTER STATE:" block if injected into this prompt.
       3. The character's entry in the outline up to chapter {chapter_number_prev}.
@@ -60,45 +60,45 @@ hint: |
       Does this chapter's outline place any character at a location inconsistent
       with their Location field in [character-state]?
         Example conflict: character-state says "Earth hospital" but outline opens on Mars.
-      If conflict found — FLAG before drafting:
+      If conflict found -- FLAG before drafting:
         "LOCATION CONFLICT: [char] is at [state-location] per last chapter but outline
         places them at [outline-location]. Resolve: (a) open chapter in transit,
         (b) adjust scene to actual location, or (c) write a time-skip bridge paragraph.
         Do NOT silently teleport the character."
 
-    Also check RAG for [world-state] — current NPC attitudes and faction memory.
+    Also check RAG for [world-state] -- current NPC attitudes and faction memory.
     If present, record as "LIVE WORLD STATE:". Any NPC listed there who appears in
     this chapter should behave according to their recorded attitude.
 
-  STEP 3 — FIND THE PREVIOUS CHAPTER:
+  STEP 3 -- FIND THE PREVIOUS CHAPTER:
     Look at PROJECT DELIVERABLES for the chapter that comes BEFORE this one
     (filename: chapter-{chapter_ref_prev} or similar).
     If no previous chapter exists (this IS Chapter 1), skip to STEP 5.
 
-  STEP 4 — QUOTE THE ENDING:
+  STEP 4 -- QUOTE THE ENDING:
-    Copy the LAST 2–3 sentences of the previous chapter here, word for word.
+    Copy the LAST 2-3 sentences of the previous chapter here, word for word.
     Label them: "PREVIOUS CHAPTER ENDED WITH: ..."
     Your new chapter MUST pick up from this exact moment.
 
-  STEP 5 — BUILD THE DRAFT PROMPT:
+  STEP 5 -- BUILD THE DRAFT PROMPT:
     Write the exact drafting prompt for the next pass. That prompt must include:
       - CHAPTER: Exact chapter number and title (from the task message)
       - POV CHARACTER: Whose perspective are we in?
       - FIRST LINE: The exact opening sentence, continuing from the previous ending
       - EMOTIONAL ARC: What does the protagonist feel at start vs end OF THIS CHAPTER?
-        (Not the end of the book — only what changes in these pages.)
+        (Not the end of the book -- only what changes in these pages.)
       - CHAPTER GOAL: What plot event MUST happen here?
-      - KEY BEATS: 3–5 numbered scene beats that will form the chapter
+      - KEY BEATS: 3-5 numbered scene beats that will form the chapter
       - CLOSING HOOK: Exact last image or line that makes readers continue
       - Reminders about continuity, prose style, and target length
       - CHARACTER VOICE PROFILES (pre-extracted):
         {character_profiles}
         If this block is empty, fall back to searching PROJECT DELIVERABLES for a file
         containing "## Voice Signatures" and copy it here. Use ONLY the voice/speech
-        patterns — do NOT copy character arc outcomes or end-state descriptions.
+        patterns -- do NOT copy character arc outcomes or end-state descriptions.
         PASS 1 must write every character to their profile.
 
-  EDITORIAL OVERRIDES — apply these BEFORE writing any KEY BEATS:
+  EDITORIAL OVERRIDES -- apply these BEFORE writing any KEY BEATS:
     {author_intent}
     ^ If this line is not blank, it is a BINDING creative directive from the editor.
       Include it verbatim in the draft prompt as: "AUTHOR'S INTENT: [text]"

steps/chapter_selfcheck.yml

@@ -1,6 +1,6 @@
-type: think
+type: think
 hint: |
-  SELF-CHECK — STRUCTURAL VALIDATION ONLY
+  SELF-CHECK -- STRUCTURAL VALIDATION ONLY
 
   You have just written a chapter draft. Your job here is narrow: check the draft against
   the structural checklist below, apply ONLY the corrections that fall within scope, and
@@ -9,7 +9,7 @@ hint: |
   DRAFT TO CHECK:
   {steps[1].text}
 
-  CHECKLIST — check each item, note any issue found:
+  CHECKLIST -- check each item, note any issue found:
     1. BEAT & HOOK: Does the chapter reach its intended emotional beat and closing hook
        from the PASS 0 draft prompt? Flag if the chapter ends without the planned hook.
     2. NAMES & POV: Are all character names and the POV consistent with the bible/outline?
@@ -19,24 +19,24 @@ hint: |
     4. FORMATTING: Are there obvious section-break artifacts, duplicate headers,
        or missing chapter title? Flag and fix.
     5. WORD FLOOR: Is the draft within 10% of {chapter_target_words}? Flag only if
-       critically short (more than 20% under target) — do not expand for style.
+       critically short (more than 20% under target) -- do not expand for style.
     6. OPENING HOOK: Check the PASS 0 draft prompt ({steps[0].text}) for a line labeled
        "LOCKED PREVIOUS CHAPTER HOOK:". If present, verify the chapter's opening paragraph
-       directly resolves it. If not, add a brief resolution sentence at the opening —
+       directly resolves it. If not, add a brief resolution sentence at the opening --
        do not leave a locked hook unanswered.
     7. AUTHOR'S INTENT: Check the PASS 0 draft prompt ({steps[0].text}) for a line
        starting with "AUTHOR'S INTENT:". If present, confirm the completed chapter
-       satisfies that intent — note whether it was honored or partially missed.
+       satisfies that intent -- note whether it was honored or partially missed.
 
   ALLOWED CORRECTIONS:
     - Fix a wrong character name to match the canon name
     - Fix a POV slip (e.g., the chapter is 1st-person but one paragraph shifted to 3rd)
     - Fix a missing or duplicated chapter title/header
     - If the chapter is missing its closing hook entirely, add it as a final paragraph
-      that matches the hook specified in the draft prompt — no new invention beyond the
+      that matches the hook specified in the draft prompt -- no new invention beyond the
       planned hook
 
-  NOT ALLOWED — do not make any of these changes:
+  NOT ALLOWED -- do not make any of these changes:
     - Improve any sentence for prose quality, rhythm, or lyricism
     - Deepen emotional beats or add interiority
     - Expand any description or add sensory detail
@@ -50,10 +50,10 @@ hint: |
       1. BEAT & HOOK: [check pass/fail with brief note]
       2. NAMES & POV: [check pass/fail with brief note]
       3. CONTINUITY TERMS: [check pass/fail with brief note]
-      4. FORMATTING: [check pass/fail — note any fixes applied]
+      4. FORMATTING: [check pass/fail -- note any fixes applied]
-      5. WORD FLOOR: [check pass/fail — include word count]
+      5. WORD FLOOR: [check pass/fail -- include word count]
       6. OPENING HOOK: [check pass/fail or N/A]
-      7. AUTHOR'S INTENT: [honored / partially missed — note / N/A if no intent set]
+      7. AUTHOR'S INTENT: [honored / partially missed -- note / N/A if no intent set]
 
     Then output the separator on its own line:
       ---BEGIN CHAPTER---

steps/cozy_chapter_pass1_draft.yml

@@ -1,69 +1,69 @@
-type: think
+type: think
 model: power
 max_tokens: 32000
 hint: |
-  PASS 1 — WRITE THE COZY MYSTERY CHAPTER DRAFT
+  PASS 1 -- WRITE THE COZY MYSTERY CHAPTER DRAFT
 
   Use the draft prompt below as your exact writing brief:
 
   {steps[0].text}
 
   Requirements:
-    - Start with the FIRST LINE you planned — make it continue naturally from the previous chapter
+    - Start with the FIRST LINE you planned -- make it continue naturally from the previous chapter
     - If the draft prompt contains a line starting with "LOCKED PREVIOUS CHAPTER HOOK:",
-      your FIRST LINE MUST directly resolve that hook — the reader expects the answer immediately
+      your FIRST LINE MUST directly resolve that hook -- the reader expects the answer immediately
     - If the draft prompt contains a line starting with "AUTHOR'S INTENT:", treat it as a
-      binding creative directive — your draft must satisfy that intent in full
+      binding creative directive -- your draft must satisfy that intent in full
-    - Follow the KEY BEATS in order, but write with full scene depth — don't skip
+    - Follow the KEY BEATS in order, but write with full scene depth -- don't skip
     - All character names, the town layout, and recurring elements must be consistent with the bible/outline
     - Every dialogue exchange must be tight and voice-distinct
-    - Show, don't tell — externalize emotion through action, detail, and dialogue
+    - Show, don't tell -- externalize emotion through action, detail, and dialogue
     - Every scene beat moves the story forward OR reveals character (no filler)
     - End with the CLOSING HOOK you planned
     - Match the prose style guide: {prose_style}
-    - Target length: {chapter_target_words} words — write the FULL chapter, not a summary
+    - Target length: {chapter_target_words} words -- write the FULL chapter, not a summary
-    - ⚠️ DO NOT stop early. If you have not reached {chapter_target_words} words, continue
+    - [WARNING] DO NOT stop early. If you have not reached {chapter_target_words} words, continue
-      writing — add warm detail, community scenes, extended dialogue beats, and character moments
+      writing -- add warm detail, community scenes, extended dialogue beats, and character moments
       until you hit the target. Short chapters will be REJECTED in adjudication.
 
-  DRAFTING DISCIPLINE — apply these on every page:
+  DRAFTING DISCIPLINE -- apply these on every page:
     - {prose_style} is a hard constraint, not decoration
-    - Not every paragraph needs a memorable or quotable line — use functional connective prose
+    - Not every paragraph needs a memorable or quotable line -- use functional connective prose
     - Let observation precede interpretation: show the moment before naming what it means
     - Avoid clustering aphorisms or thesis-style sentences back to back
-    - Prefer scene motion over thesis delivery — action and dialogue carry meaning
+    - Prefer scene motion over thesis delivery -- action and dialogue carry meaning
     - Write ONE complete draft now. Do NOT self-polish. Reviewers will give feedback downstream.
 
-  COZY MYSTERY CRAFT RULES — these apply on every page:
+  COZY MYSTERY CRAFT RULES -- these apply on every page:
-    - THE SETTING IS A CHARACTER: The small town, the bakery, the knitting circle — these are
+    - THE SETTING IS A CHARACTER: The small town, the bakery, the knitting circle -- these are
       not backdrop, they are the emotional heart of the series. Give the setting sensory life on
       every page: smells, textures, seasonal details, the rhythms of community life.
     - COZY WARMTH IS NON-NEGOTIABLE: There is death, but no graphic gore. Danger is present, but
       the world is ultimately safe and resolvable. Readers come here for comfort. The protagonist
       is competent, good-hearted, and embedded in a community that matters to them.
     - CLUE INTEGRITY: Every clue dropped must be discoverable by the reader in retrospect.
-      No solutions pulled from nowhere. Suspects and red herrings are played fair — they have
+      No solutions pulled from nowhere. Suspects and red herrings are played fair -- they have
       real motives, even if they didn't commit the crime.
     - THE AMATEUR SLEUTH VOICE: Your protagonist is not a professional detective. They notice
       things because they KNOW this community, these people, these routines. The edge they have
-      over police is intimacy, not technique. Honor that — let their community knowledge be their
+      over police is intimacy, not technique. Honor that -- let their community knowledge be their
       superpower.
     - ENSEMBLE IS EVERYTHING: Cozy mysteries live or die on the recurring cast. Every chapter
       should feel the community around the protagonist: the best friend who over-shares, the
       rival who isn't entirely wrong, the authority figure who is simultaneously helpful and
       obstructive. These relationships are the true product.
-    - HUMOR AND HEART: Cozy mysteries are warm books. There must be humor — light, character-
+    - HUMOR AND HEART: Cozy mysteries are warm books. There must be humor -- light, character-
-      driven, never mean-spirited. There must be heart — the protagonist cares about these people
+      driven, never mean-spirited. There must be heart -- the protagonist cares about these people
       and this place, even the irritating ones.
     - PACING: Cozy chapters move through scenes naturally, never rushed. A chapter might include
       an investigation beat, a community scene, and a personal moment. Balance all three.
 
-      VOICE ANTI-PATTERNS — THESE ARE FORBIDDEN ON EVERY PAGE:
+      VOICE ANTI-PATTERNS -- THESE ARE FORBIDDEN ON EVERY PAGE:
         - Do NOT open any chapter with the "didn't just X; it Y" sentence construction.
           Every chapter must have a structurally distinct opener. Vary: in medias res,
           quiet beat, dialogue cold open, environmental sweep, interiority.
           No two consecutive chapters may use the same opener structure.
-        - The book's thematic contrast (whatever it is — body/mind, memory/possibility, etc.)
+        - The book's thematic contrast (whatever it is -- body/mind, memory/possibility, etc.)
           may appear ONCE per scene as a metaphor. Not in every paragraph. Trust the reader.
           If you have used the contrast in the last two paragraphs, you may not use it again
           for at least three more paragraphs.
@@ -75,7 +75,7 @@ hint: |
         - Each character must have at least ONE verbal imperfection per scene they appear in:
           a sentence they don't finish, a word they use wrong, a line that doesn't land,
           a moment of fumbling before the right words come. Perfect dialogue is dead dialogue.
-        - Check the CHARACTER VOICE PROFILE in the outline/bible (if present) — if each
+        - Check the CHARACTER VOICE PROFILE in the outline/bible (if present) -- if each
           speaking character's dialogue cannot be identified as THEIRS without a speaker tag,
           rewrite until it can. Verbal tics, pet phrases, and characteristic patterns are
           non-negotiable signatures.

steps/fiction_editorial_spawn.yml

@@ -1,15 +1,15 @@
-type: package
+type: package
 hint: |
   The draft chapter has been written, self-checked, and committed.
 
-  CRITICAL — include the `chapter_text` field:
+  CRITICAL -- include the `chapter_text` field:
-  Copy the COMPLETE chapter text from the self-check output (step 2 — the final chapter draft)
+  Copy the COMPLETE chapter text from the self-check output (step 2 -- the final chapter draft)
   into the `chapter_text` field.
   Reviewers have NO other way to access the chapter content.
-  Do NOT summarize or truncate it — include every word of the chapter.
+  Do NOT summarize or truncate it -- include every word of the chapter.
 
   Now spawn the three independent editorial reviewers
-  and the roundtable debate. Use the exact task_names shown — the roundtable depends_on all three.
+  and the roundtable debate. Use the exact task_names shown -- the roundtable depends_on all three.
 schema:
   chapter_text: string
 spawn:

steps/romance_chapter_pass1_draft.yml

@@ -1,40 +1,40 @@
-type: think
+type: think
 model: power
 max_tokens: 32000
 hint: |
-  PASS 1 — WRITE THE ROMANCE CHAPTER DRAFT
+  PASS 1 -- WRITE THE ROMANCE CHAPTER DRAFT
 
   Use the draft prompt below as your exact writing brief:
 
   {steps[0].text}
 
   Requirements:
-    - Start with the FIRST LINE you planned — make it continue naturally from the previous chapter
+    - Start with the FIRST LINE you planned -- make it continue naturally from the previous chapter
     - If the draft prompt contains a line starting with "LOCKED PREVIOUS CHAPTER HOOK:",
-      your FIRST LINE MUST directly resolve that hook — the reader expects the answer immediately
+      your FIRST LINE MUST directly resolve that hook -- the reader expects the answer immediately
     - If the draft prompt contains a line starting with "AUTHOR'S INTENT:", treat it as a
-      binding creative directive — your draft must satisfy that intent in full
+      binding creative directive -- your draft must satisfy that intent in full
-    - Follow the KEY BEATS in order, but write with full scene depth — don't skip
+    - Follow the KEY BEATS in order, but write with full scene depth -- don't skip
     - All character names must be consistent with the bible/outline
     - Every dialogue exchange must be tight and voice-distinct
-    - Show, don't tell — externalize emotion through action, detail, and dialogue
+    - Show, don't tell -- externalize emotion through action, detail, and dialogue
     - Every scene beat moves the story forward OR reveals character (no filler)
     - End with the CLOSING HOOK you planned
     - Match the prose style guide: {prose_style}
-    - Target length: {chapter_target_words} words — write the FULL chapter, not a summary
+    - Target length: {chapter_target_words} words -- write the FULL chapter, not a summary
-    - ⚠️ DO NOT stop early. If you have not reached {chapter_target_words} words, continue
+    - [WARNING] DO NOT stop early. If you have not reached {chapter_target_words} words, continue
-      writing — add interiority, sensory detail, extended dialogue beats, and scene transitions
+      writing -- add interiority, sensory detail, extended dialogue beats, and scene transitions
       until you hit the target. Short chapters will be REJECTED in adjudication.
 
-  DRAFTING DISCIPLINE — apply these on every page:
+  DRAFTING DISCIPLINE -- apply these on every page:
     - {prose_style} is a hard constraint, not decoration
-    - Not every paragraph needs a memorable or quotable line — use functional connective prose
+    - Not every paragraph needs a memorable or quotable line -- use functional connective prose
     - Let observation precede interpretation: show the moment before naming what it means
     - Avoid clustering aphorisms or thesis-style sentences back to back
-    - Prefer scene motion over thesis delivery — action and dialogue carry meaning
+    - Prefer scene motion over thesis delivery -- action and dialogue carry meaning
     - Write ONE complete draft now. Do NOT self-polish. Reviewers will give feedback downstream.
 
-  ROMANCE-SPECIFIC CRAFT RULES — these apply on every page:
+  ROMANCE-SPECIFIC CRAFT RULES -- these apply on every page:
     - TENSION IS THE PRODUCT: Every scene between leads must have an undercurrent of want,
       resistance, or denial. The reader must feel the pull even in mundane exchanges.
     - THE SLOW BURN BANK: Each chapter should deposit into the romantic tension account.
@@ -44,7 +44,7 @@ hint: |
       of? What is she protecting herself from? Give us the emotional wound and let it shape
       every interaction with the love interest.
     - SEXUAL TENSION (if appropriate to heat level): Not explicit in narrative unless the
-      project specifies — but physical awareness is always there. The smell of his jacket.
+      project specifies -- but physical awareness is always there. The smell of his jacket.
       The accidental brush of hands. The protagonist is hyper-aware of proximity.
     - SWOON MOMENTS: Plan at least one moment per chapter that the reader will screenshot
       and send to a friend. One line, one gesture, one micro-scene that is memorable.
@@ -53,12 +53,12 @@ hint: |
     - PACING: Slow build. Do NOT resolve the primary romantic tension early. Push through to
       the black moment before the earned resolution.
 
-      VOICE ANTI-PATTERNS — THESE ARE FORBIDDEN ON EVERY PAGE:
+      VOICE ANTI-PATTERNS -- THESE ARE FORBIDDEN ON EVERY PAGE:
         - Do NOT open any chapter with the "didn't just X; it Y" sentence construction.
           Every chapter must have a structurally distinct opener. Vary: in medias res,
           quiet beat, dialogue cold open, environmental sweep, interiority.
           No two consecutive chapters may use the same opener structure.
-        - The book's thematic contrast (whatever it is — body/mind, memory/possibility, etc.)
+        - The book's thematic contrast (whatever it is -- body/mind, memory/possibility, etc.)
           may appear ONCE per scene as a metaphor. Not in every paragraph. Trust the reader.
           If you have used the contrast in the last two paragraphs, you may not use it again
           for at least three more paragraphs.
@@ -70,7 +70,7 @@ hint: |
         - Each character must have at least ONE verbal imperfection per scene they appear in:
           a sentence they don't finish, a word they use wrong, a line that doesn't land,
           a moment of fumbling before the right words come. Perfect dialogue is dead dialogue.
-        - Check the CHARACTER VOICE PROFILE in the outline/bible (if present) — if each
+        - Check the CHARACTER VOICE PROFILE in the outline/bible (if present) -- if each
           speaking character's dialogue cannot be identified as THEIRS without a speaker tag,
           rewrite until it can. Verbal tics, pet phrases, and characteristic patterns are
           non-negotiable signatures.

steps/scifi_chapter_pass1_draft.yml

@@ -1,40 +1,40 @@
-type: think
+type: think
 model: power
 max_tokens: 32000
 hint: |
-  PASS 1 — WRITE THE SCIENCE FICTION CHAPTER DRAFT
+  PASS 1 -- WRITE THE SCIENCE FICTION CHAPTER DRAFT
 
   Use the draft prompt below as your exact writing brief:
 
   {steps[0].text}
 
   Requirements:
-    - Start with the FIRST LINE you planned — make it continue naturally from the previous chapter
+    - Start with the FIRST LINE you planned -- make it continue naturally from the previous chapter
     - If the draft prompt contains a line starting with "LOCKED PREVIOUS CHAPTER HOOK:",
-      your FIRST LINE MUST directly resolve that hook — the reader expects the answer immediately
+      your FIRST LINE MUST directly resolve that hook -- the reader expects the answer immediately
     - If the draft prompt contains a line starting with "AUTHOR'S INTENT:", treat it as a
-      binding creative directive — your draft must satisfy that intent in full
+      binding creative directive -- your draft must satisfy that intent in full
-    - Follow the KEY BEATS in order, but write with full scene depth — don't skip
+    - Follow the KEY BEATS in order, but write with full scene depth -- don't skip
     - All character names, alien species, and world terminology must be consistent with the bible/outline
     - Every dialogue exchange must be tight and voice-distinct
-    - Show, don't tell — externalize emotion through action, detail, and dialogue
+    - Show, don't tell -- externalize emotion through action, detail, and dialogue
     - Every scene beat moves the story forward OR reveals character (no filler)
     - End with the CLOSING HOOK you planned
     - Match the prose style guide: {prose_style}
-    - Target length: {chapter_target_words} words — write the FULL chapter, not a summary
+    - Target length: {chapter_target_words} words -- write the FULL chapter, not a summary
-    - ⚠️ DO NOT stop early. If you have not reached {chapter_target_words} words, continue
+    - [WARNING] DO NOT stop early. If you have not reached {chapter_target_words} words, continue
-      writing — add interiority, sensory detail, extended dialogue beats, and scene transitions
+      writing -- add interiority, sensory detail, extended dialogue beats, and scene transitions
       until you hit the target. Short chapters will be REJECTED in adjudication.
 
-  DRAFTING DISCIPLINE — apply these on every page:
+  DRAFTING DISCIPLINE -- apply these on every page:
     - {prose_style} is a hard constraint, not decoration
-    - Not every paragraph needs a memorable or quotable line — use functional connective prose
+    - Not every paragraph needs a memorable or quotable line -- use functional connective prose
     - Let observation precede interpretation: show the moment before naming what it means
     - Avoid clustering aphorisms or thesis-style sentences back to back
-    - Prefer scene motion over thesis delivery — action and dialogue carry meaning
+    - Prefer scene motion over thesis delivery -- action and dialogue carry meaning
     - Write ONE complete draft now. Do NOT self-polish. Reviewers will give feedback downstream.
 
-  SCIENCE FICTION CRAFT RULES — these apply on every page:
+  SCIENCE FICTION CRAFT RULES -- these apply on every page:
     - WORLDBUILDING BY IMMERSION: Do not pause to explain your world. Characters live in it.
       Let technology, politics, and history emerge through action and dialogue, not exposition.
       "She scanned for temporal residue" tells us about the world without stopping to define it.
@@ -43,12 +43,12 @@ hint: |
       fatigue is present. Consistency is the contract with the reader.
     - THE IDEA IS A CHARACTER: Science fiction ideas (the alien biology, the AI ethics
       dilemma, the political paradox) are as much a character as any person. Give the idea
-      presence in every chapter — don't let it fade into backdrop.
+      presence in every chapter -- don't let it fade into backdrop.
-    - SCALE WITHOUT LOSING THE HUMAN: The universe can be vast, the stakes cosmic — but anchor
+    - SCALE WITHOUT LOSING THE HUMAN: The universe can be vast, the stakes cosmic -- but anchor
       each chapter in one person's experience, one pair of hands, one heartbeat. The reader
       cannot feel interstellar scale; they CAN feel one soldier's fear before the breach.
     - SENSE OF WONDER: Every chapter should have at least one moment that enlarges the reader's
-      imagination — a view, a revelation, a technology, a moral question — that makes the
+      imagination -- a view, a revelation, a technology, a moral question -- that makes the
       universe feel genuinely strange and genuinely real at the same time.
     - ALIEN AUTHENTICITY: Non-human characters must not be humans in costumes. Alien cognition,
       alien values, alien humor. If a species has a different relationship with time or memory,
@@ -56,12 +56,12 @@ hint: |
     - PACING: Alternate tension with revelation. Each chapter should push the external plot
       forward AND deliver one new piece of world or character understanding.
 
-      VOICE ANTI-PATTERNS — THESE ARE FORBIDDEN ON EVERY PAGE:
+      VOICE ANTI-PATTERNS -- THESE ARE FORBIDDEN ON EVERY PAGE:
         - Do NOT open any chapter with the "didn't just X; it Y" sentence construction.
           Every chapter must have a structurally distinct opener. Vary: in medias res,
           quiet beat, dialogue cold open, environmental sweep, interiority.
           No two consecutive chapters may use the same opener structure.
-        - The book's thematic contrast (whatever it is — body/mind, memory/possibility, etc.)
+        - The book's thematic contrast (whatever it is -- body/mind, memory/possibility, etc.)
           may appear ONCE per scene as a metaphor. Not in every paragraph. Trust the reader.
           If you have used the contrast in the last two paragraphs, you may not use it again
           for at least three more paragraphs.
@@ -73,7 +73,7 @@ hint: |
         - Each character must have at least ONE verbal imperfection per scene they appear in:
           a sentence they don't finish, a word they use wrong, a line that doesn't land,
           a moment of fumbling before the right words come. Perfect dialogue is dead dialogue.
-        - Check the CHARACTER VOICE PROFILE in the outline/bible (if present) — if each
+        - Check the CHARACTER VOICE PROFILE in the outline/bible (if present) -- if each
           speaking character's dialogue cannot be identified as THEIRS without a speaker tag,
           rewrite until it can. Verbal tics, pet phrases, and characteristic patterns are
           non-negotiable signatures.

steps/ya_chapter_pass1_draft.yml

@@ -1,60 +1,60 @@
-type: think
+type: think
 model: power
 max_tokens: 32000
 hint: |
-  PASS 1 — WRITE THE YA CHAPTER DRAFT
+  PASS 1 -- WRITE THE YA CHAPTER DRAFT
 
   Use the draft prompt below as your exact writing brief:
 
   {steps[0].text}
 
   Requirements:
-    - Start with the FIRST LINE you planned — make it continue naturally from the previous chapter
+    - Start with the FIRST LINE you planned -- make it continue naturally from the previous chapter
     - If the draft prompt contains a line starting with "LOCKED PREVIOUS CHAPTER HOOK:",
-      your FIRST LINE MUST directly resolve that hook — the reader expects the answer immediately
+      your FIRST LINE MUST directly resolve that hook -- the reader expects the answer immediately
     - If the draft prompt contains a line starting with "AUTHOR'S INTENT:", treat it as a
-      binding creative directive — your draft must satisfy that intent in full
+      binding creative directive -- your draft must satisfy that intent in full
-    - Follow the KEY BEATS in order, but write with full scene depth — don't skip
+    - Follow the KEY BEATS in order, but write with full scene depth -- don't skip
     - All character names must be consistent with the bible/outline
     - Every dialogue exchange must be tight and voice-distinct
-    - Show, don't tell — externalize emotion through action, detail, and dialogue
+    - Show, don't tell -- externalize emotion through action, detail, and dialogue
     - Every scene beat moves the story forward OR reveals character (no filler)
     - End with the CLOSING HOOK you planned
     - Match the prose style guide: {prose_style}
-    - Target length: {chapter_target_words} words — write the FULL chapter, not a summary
+    - Target length: {chapter_target_words} words -- write the FULL chapter, not a summary
-    - ⚠️ DO NOT stop early. If you have not reached {chapter_target_words} words, continue
+    - [WARNING] DO NOT stop early. If you have not reached {chapter_target_words} words, continue
-      writing — add interiority, sensory detail, extended dialogue beats, and scene transitions
+      writing -- add interiority, sensory detail, extended dialogue beats, and scene transitions
       until you hit the target. Short chapters will be REJECTED in adjudication.
 
-  DRAFTING DISCIPLINE — apply these on every page:
+  DRAFTING DISCIPLINE -- apply these on every page:
     - {prose_style} is a hard constraint, not decoration
-    - Not every paragraph needs a memorable or quotable line — use functional connective prose
+    - Not every paragraph needs a memorable or quotable line -- use functional connective prose
     - Let observation precede interpretation: show the moment before naming what it means
     - Avoid clustering aphorisms or thesis-style sentences back to back
-    - Prefer scene motion over thesis delivery — action and dialogue carry meaning
+    - Prefer scene motion over thesis delivery -- action and dialogue carry meaning
     - Write ONE complete draft now. Do NOT self-polish. Reviewers will give feedback downstream.
 
-  YA-SPECIFIC CRAFT RULES — these apply on every page:
+  YA-SPECIFIC CRAFT RULES -- these apply on every page:
     - AUTHENTIC TEEN VOICE: Your protagonist thinks and speaks like an actual teenager.
       Not a precocious adult, not a caricature. Short, fragmented thoughts. Reactions before
-      analysis. The world feels high-stakes even for "small" problems — that's real teen experience.
+      analysis. The world feels high-stakes even for "small" problems -- that's real teen experience.
     - EMOTIONAL STAKES: Everything feels life-or-death. A rumor is social death. Being left out
       is gut-punch lonely. A first kiss is epoch-defining. Honor this even if the plot is bigger.
     - NO ADULT WISDOM INJECTION: Your teen protagonist does not land on wise, balanced conclusions.
       They overcorrect, lash out, apologize awkwardly, misread situations. Growth is messy.
     - INTERIORITY IS CORE: In YA, the internal monologue IS the story. External event + internal
-      reaction × 3 = a chapter. Give us at least two beats of deep interiority per scene.
+      reaction x 3 = a chapter. Give us at least two beats of deep interiority per scene.
     - FRIENDSHIP/BELONGING: Even if the plot is about monsters, the emotional core is about
       whether the protagonist belongs, is loved, is seen. Keep that alive in every chapter.
     - PACING: YA chapters end on hooks. Momentum over description. No scene lasts longer than
       it earns. Get out of scenes early.
 
-      VOICE ANTI-PATTERNS — THESE ARE FORBIDDEN ON EVERY PAGE:
+      VOICE ANTI-PATTERNS -- THESE ARE FORBIDDEN ON EVERY PAGE:
         - Do NOT open any chapter with the "didn't just X; it Y" sentence construction.
           Every chapter must have a structurally distinct opener. Vary: in medias res,
           quiet beat, dialogue cold open, environmental sweep, interiority.
           No two consecutive chapters may use the same opener structure.
-        - The book's thematic contrast (whatever it is — body/mind, memory/possibility, etc.)
+        - The book's thematic contrast (whatever it is -- body/mind, memory/possibility, etc.)
           may appear ONCE per scene as a metaphor. Not in every paragraph. Trust the reader.
           If you have used the contrast in the last two paragraphs, you may not use it again
           for at least three more paragraphs.
@@ -66,7 +66,7 @@ hint: |
         - Each character must have at least ONE verbal imperfection per scene they appear in:
           a sentence they don't finish, a word they use wrong, a line that doesn't land,
           a moment of fumbling before the right words come. Perfect dialogue is dead dialogue.
-        - Check the CHARACTER VOICE PROFILE in the outline/bible (if present) — if each
+        - Check the CHARACTER VOICE PROFILE in the outline/bible (if present) -- if each
           speaking character's dialogue cannot be identified as THEIRS without a speaker tag,
           rewrite until it can. Verbal tics, pet phrases, and characteristic patterns are
           non-negotiable signatures.