Line E · Establish

Writing that does not sound like a machine.

That is the whole job. 17 voices, each built by reading the real thing rather than describing it from memory. Name one and start writing: /stet voice noir is the whole of it.

Each one also names how a fake of it gives itself away.

Readers told a headline was AI-generated rated it less accurate and were less willing to share it. That held whether or not the headline was true, and whether or not a machine wrote it.

Altay and Gilardi, PNAS Nexus, 2024. Preregistered, n=4,976.

That study labelled the headlines. It did not test prose that merely reads as generated, so whether that pays the same penalty with no label on it is an inference rather than a finding. It is the inference this library is built on, and it is the one worth knowing you are trusting.

Core · 8 voices

Documentation, a README, release notes, a post, an explanation somebody has to follow. Start here.

Field Notes

The notebook, not the write-up. Subjectless, present tense, and mostly not in sentences.

The feeling Being in the middle of it, before you know what it means.

median sentence
8
mean sentence
13.5
95th pct
45
sd / mean
1.14
under 6 words
38%
long sentences
0.12
unterminated share
0.84
first person per 10k words
87
question marks per 10k words
41
numerals per 10k words
418
you
0%
hedges
7%
softeners per sentence
0.15

Delete the subject. The notebook runs first-person pronouns at 87 per 10,000 words. Darwin's own write-up of the same days runs 242, and his published book 177. The "I" is what retrospection adds, because you only narrate yourself once you have stepped back far enough to watch yourself doing it.

/stet voice field-notes

Open the rules

Rules

  • Present tense for the thing in front of you, bare past for what you did
  • The doubt is a question mark, not a hedge
  • Numbers, at eight to eleven times the write-up's rate
  • The colon abuts, it does not argue
  • The admin stays in the book
  • The date is a header, not a sentence
  • One adjective, then stop

Never

  • Never second person. 9 tokens in 110,671 words, most of them reported speech.
  • Never state a relation between two observations. The colon abuts. The argument comes later or not at all.
  • Never close the line. 84 percent of units do not end in terminal punctuation.
  • Never frame retrospectively. No "as it turned out", no "in the event", no summary of the day. Summary is the diary's job and the diary does it 1,661 times.
  • Never write a paragraph. The notebook's unit median is 10 words. It has lines, not paragraphs.
  • Never tidy out the admin.
  • Never round a number.

How pastiche fails

  • Pronoun inflation, about three times.
  • Hedge inflation, about 2.5 times, on the wrong instrument.
  • Second person, 40 to 50 times over.
  • Variance collapse.
  • Terminal punctuation.
  • Numeral starvation.
  • Standard deviation over mean.
  • First-person pronouns per 100 words.
  • Share of lines ending in a full stop.
  • Numerals per 100 words.

Measured from Darwin's 15 Beagle field notebooks, Darwin Online; Darwin, Beagle Diary F1925; Darwin, Voyage of the Beagle; Lewis and Clark journals; Scott, Last Expedition vol I; Thoreau, Journal I

Patch Notes

A changelog. One change per line, verb first, numbers exact, and the joke under five percent.

The feeling Respect, mostly. Occasionally delight, and never at somebody's expense.

median sentence
9
95th pct
20
you
5%
softeners per sentence
0.0

The utility carries the voice, never the other way round. A joke reads as funny only against a wall of flat, useful lines. Raise the density and the reader stops trusting any line to be literal, which is the failure this register dies of.

/stet voice patch-notes

Open the rules

Rules

  • One change per line
  • One grammatical shape per line type
  • Numbers exactly, in one convention
  • The direction verb carries the nerf
  • The order never changes
  • Deadpan beats a joke

Never

  • Never joke on a security, data-loss or breaking-change entry. The funny products are silent exactly where the stakes are highest.
  • Never joke on a nerf. It reads as gloating at the player it affects.
  • Never write a fake entry. It costs the reader a lookup, and when they find nothing they distrust every line beside it.
  • Never explain the joke, and never signal it with an emoji or a wink.
  • Never announce enthusiasm. No "we're excited to", no "thrilled", no exclamation marks outside a deliberate aside.
  • Never use marketing adjectives on your own work: powerful, seamless, revamped, game-changing.
  • Never hedge a number.
  • Never put justification inside an entry.
  • Never use first person for the fix. "Fixed X", not "we went in and fixed X".
  • Never joke about the team. The real ones joke about the artifact or the absurdity of the defect, never about the developers' suffering or their coffee intake.

How pastiche fails

  • The ratio inverts.
  • The joke replaces the fact.
  • Length inflation.
  • In-jokes needing context the reader lacks.
  • Puns on the product name.
  • Applied where nothing changed.

Measured from Valve (Team Fortress 2, Counter-Strike 2), Blizzard (World of Warcraft, Overwatch), Supergiant (Hades), Slack, Apple, 37signals

Plainspoken

Concrete nouns, working verbs, no throat-clearing. Varied hard, because uniform length is the tell.

The feeling Conviction, and the calm of somebody who does not need to convince you.

median sentence
15
sd / mean
0.55
longest
45
under 6 words
30%
softeners per sentence
0.1

Vary hard. Variance is the register, not shortness.

/stet voice plainspoken

Open the rules

Rules

  • Concrete over abstract
  • Let the meaning choose the word
  • Keep the hedge that carries a fact
  • Do not chop at the conjunction
  • No throat-clearing
  • The short sentence is the verdict

Never

  • Em dashes.
  • "Not X, it is Y." Say Y.
  • A summary of what the reader just read.
  • Adjectives standing in as instructions.
  • Explaining to readers what they obviously are, or why they are here.
  • Restating a claim in different words to be sure it landed. See below: that is where condescension actually comes from.

How pastiche fails

  • The variance collapse.
  • One subject, one shape, three times.
  • Mechanical de-Latinising
  • Hedge-stripping

Detection standard deviation over mean, below 0.35. And three consecutive sentences opening with the same word, unless it is deliberate anaphora, which is distinguishable because deliberate anaphora runs three or more with escalation rather than two by accident.

Measured from Orwell, Hemingway, GOV.UK content guidance, digital.gov, Butterick, Paul Graham, and Pullum's criticism of Strunk and White

The Argument

Essayistic. Wide variance, concession before the strongest claim, and an ending that never summarises.

The feeling The pleasure of watching somebody think, and change their mind on the page.

median sentence
18
mean sentence
21
sd / mean
0.7
longest
90
under 6 words
28%
softeners per sentence
0.15

Make claims as strong as they can be made without becoming false. Graham's dial, and the whole register in a sentence. Weaker than that and the essay is not worth reading. Stronger and it is not worth trusting.

/stet voice the-argument

Open the rules

Rules

  • Variance carries the argument
  • Keep the qualifier, and pick the right one
  • Concede before the strongest claim, never after
  • The thesis may move, and that movement is the essay
  • Move downward, from the general to the particular
  • Brevity is the diction of command

Never

  • Never restate the argument at the end. The conclusion-that-recaps is a vestige of legal rhetoric, where it was the closing remarks to a jury, surviving in a form whose purpose is not persuasion.
  • Never peter out. The failure Graham names is starting on the most radioactive question and then recoiling from it, ending on "one thing is certain: the question is a complex one."
  • Never ask a rhetorical question you do not then answer with a fact.
  • Never say "clearly" or "obviously". If it were, the sentence would be unnecessary.
  • Never build a strawman. It costs more credibility than it wins.
  • Never digress without paying for it. Digression is licensed, but under a constraint: the essay owes the reader something they did not already know.

How pastiche fails

  • claim-altitude with no evidence under it
  • The aphorism with no referent.
  • The unearned "we".
  • The colon that promises depth
  • "Not X but Y", saturated.
  • The escalating tricolon.
  • The summary ending in disguise.

Detection count the sentences making a general claim with no number, name, date or object in them. In the measured essays that ratio is low and clusters at section ends. Uniform across the text, the piece is intoning rather than arguing. Then, for each general sentence, ask what specific observation produced it. If there is none, it is decoration.

Measured from Orwell, Didion, Baldwin, Paul Graham, McPhee, Pullum, Zadie Smith, Hitchens

The Broadsheet

Wire news. Most important fact first, every claim sourced, and "said" is the only verb.

The feeling None, on purpose. Know that before choosing it.

lede ceiling
30
adjectives before a noun, at most
2
median sentence
18
you
0%
softeners per sentence
0.02

Every claim is sourced, and the sourcing verb is "said". Not "according to", not "revealed", not "noted". Reuters: those verbs "all contain an element of judgment by the reporter."

/stet voice the-broadsheet

Open the rules

Rules

  • Count the words in the first sentence
  • News first, source second, unless it is contentious
  • Two adjectives, then rewrite
  • Days of the week, never yesterday
  • Give the actor
  • Never adopt the subject's framing
  • Numbers, and repeat the surprising ones

Never

  • Never put opinion in a news story. Features get no exemption.
  • Never leave a claim unattributed. Contentious statements are re-sourced every time they appear, and "alleged" is not a substitute for a source.
  • Never use a judging adjective or adverb: a hard-line speech, a glowing tribute, a staunch conservative.
  • Never use an unverifiable superlative: unique, unprecedented, first, only, largest, record. If somebody else claims it, attribute the claim to them.
  • Never read minds. "To write that someone hinted, implied, indicated, suggested, or signaled is to interpret someone's thoughts. This is rarely acceptable."
  • Never qualify a denial. No "flatly denied", no "categorically denied", unless it is inside a quote.
  • Never use journalese: reportedly, probe, dubbed, slammed, massive, embattled, oil-rich, looks set to, hit by fears that.
  • Never use euphemism. "Died of cancer", not "passed away after a fight with cancer".
  • Never alter a quotation, even to fix grammar.
  • Never boast about your own reporting.
  • Never begin with a question. "The audience wants to be informed, not take part in a quiz."

How pastiche fails

  • Journalese standing in for reporting.
  • The sympathetic attribution verb.
  • The unattributed background paragraph.
  • The lede that summarises rather than reports.
  • Adopting the subject's own name for the thing.
  • The unverifiable superlative, unattributed.
  • Mind reading.
  • The pyramid shape with an argument inside it.

Detection count the adjectives and adverbs that could not be checked by a third party, then count the sentences with no attribution. In wire copy the first number is near zero and the second is near zero. Either one rising is the writer becoming visible.

Measured from Reuters Handbook of Journalism, AP Statement of News Values, BBC News Styleguide, The Economist Style Guide

The Catalogue

The object record. Fields rather than sentences, and the same words on purpose.

The feeling Authority, manufactured by the format rather than earned by the words.

median sentence
4
mean sentence
6.9
95th pct
25
sd / mean
1.19
under 6 words
62%
fields per 100 words
26
finite verb share
0.02
exact repeat share
0.32
you
0%
questions
0
exclamations
1
softeners per sentence
0.01

The same words, on purpose. Between 23 and 50 percent of the sentences in these documents are verbatim repeats of another sentence in the same document. The commonest way to begin a lot in the 1898 catalogue is the single word "Another.", which opens 69 of its 301 lots.

/stet voice the-catalogue

Open the rules

Rules

  • Fields, not sentences
  • The adjective and the measurement both, in separate slots
  • Use the worn-out evaluative
  • Field order fixed, field contents free
  • Uncertainty occupies the slot rather than emptying it
  • Close on the measurement
  • Leave the gaps
  • Discussion goes somewhere else, physically

Never

  • Never a question. 0 in 14,218. Also 0 across 3,433 interpretive notes.
  • Never an exclamation. 1 in 14,218. The commercial layer breaks this 21 times, and the Whole Earth Catalog runs 20.1 per 10,000 words, so it is a rule about object records alone.
  • Never second person. 0.00 here, and untrue of anything commercial.
  • Never open on an article. Between 0 and 9 percent of entries begin with "The", "A" or "An".
  • Never a connective. Between 0.0 and 0.4 per 10,000 words in the tightest corpora. The auction catalogue at 16.0 and Burpee at 26.9 are not obeying this, and both are looser registers.
  • Never a hedge about your own confidence. 0.01 per sentence.
  • Never a paragraph inside an entry. Two rules that were on this list and are measured off it: never repeat, and never evaluate. Both are inversions, and both are in the rules above because they are what the register actually does.

How pastiche fails

  • It writes sentences, so the field count collapses.
  • It is too smooth.
  • It never repeats itself.
  • It avoids "very".
  • It picks one layer and runs it all page.
  • It fills every field.

Measured from American Antiquities auction catalogue 1898; Rock, Textile Fabrics, South Kensington Museum 1870; Catalogue of the Gallery of Art, New York Historical Society 1915; Cleveland Museum of Art open access records; V&A physicalDescription; Sears Roebuck Consumers Guide 1897; Burpee's Farm Annual 1885; Whole Earth Catalog 1968

The Manual

Reference writing. It describes behaviour, and only the steps give orders.

The feeling None, on purpose, and for a reader who is already frustrated.

median sentence
12
mean sentence
13.4
95th pct
30
longest
321
sd / mean
0.73
under 6 words
20%
long sentences
0.06
you
13%
second person reference
0.035
second person procedure
0.257
modals per 10k words
130
parens per 10k words
132
cross refs per 10k words
38.5
em dashes per 10k words
3.5
questions
0.003
exclamations
0
softeners per sentence
0.03

Complete beats readable. A reference page is not read, it is consulted, by somebody who already has a problem. Leaving out an edge case to keep a paragraph tidy fails the one person who came looking for that edge case.

/stet voice the-manual

Open the rules

Rules

  • Condition before instruction
  • Qualify with a modal, never with an adverb
  • Put the edge case in brackets
  • State the default with its alternatives
  • Document the precedence
  • Send the reader somewhere
  • Open a task page by saying what it does
  • Contractions are fine

Never

  • Never a question. 0.003 of sentences, and zero across the Python and MDN samples.
  • Never an exclamation mark. 39 in 385,405 words.
  • Never an em dash. 136 in the corpus, and zero in both the GNU coreutils manual and the man page option glosses. Procedure documentation runs one em dash in 161,019 words.
  • Never first person singular. 0.9 per 10,000, and nearly all of that is "I/O".
  • Never the marketing verbs. "leverage", "robust" and "seamless" are at 0.0 per 10,000 in reference.
  • Never past tense for current behaviour. Where reference uses it, it is version history.
  • Never a uniform sentence length. The standard deviation over mean is 0.73 with a tail to 321 words, the longest being in the GNU coreutils manual. One rule here is a correction rather than a description, and it is worth keeping while being honest about that. Never "simply", "just" or "easy". Google bans them, and the practice does not obey: they run at 4.9 per 10,000 across the corpus, 11.1 in the GNU coreutils manual, and open(2) uses "simply". They tell a reader who is stuck that their problem is beneath notice, which is the one thing this register exists not to do.

How pastiche fails

  • Second person inflation, by three to thirteen times.
  • Tail flattening.
  • Hedge substitution.
  • Cross-reference suppression.
  • The missing conditional.
  • Parenthesis avoidance.

Measured from Linux man-pages (18 pages); GNU coreutils manual 9.11; Python 3 library reference (10 modules); MDN (15 pages); Kubernetes task documentation (93 files); Raspberry Pi documentation (78 files); GitHub Docs (72 files); Google developer documentation style guide, CC BY 4.0 (15 pages)

The Teacher

Explains. Names the confusion before it happens, and bounds every analogy before the reader over-extends it.

The feeling Warmth, and the specific relief of being taken seriously.

median sentence
22
95th pct
44
variance
high
you
14%
we
38%
softeners per sentence
0.2

Describe the material, never the reader's mind. This is the whole diagnostic for condescension, and it fits in a sentence.

/stet voice the-teacher

Open the rules

Rules

  • Long sentences, varied hard
  • Three pronouns, three jobs
  • The name arrives after the thing
  • Name the confusion as a fact, not a question
  • Predict the wrong inference, then cancel it
  • Every analogy carries its own expiry
  • Reassurance must be attached to a fact
  • Say where every claim stands
  • Retract the scope at the end

Never

  • "Just". A filler that presumes a background. Usually deletable with no loss of meaning.
  • "Simply", "easy", "trivially", "of course", "everyone knows", "as you'd expect". All share one mechanic: they assert the reader's mental state, so a reader who is stuck is told in passing that being stuck is anomalous.
  • "Obviously" and "clearly" aimed at the reader. One licensed exception, from Halmos: you may call something obvious to place it in perspective, and if you do, make sure the obvious thing is true. Nielsen's only real use of it is aimed at his own model. Point it at your own claim, never at the reader's comprehension.
  • Tag questions. "Makes sense?", "See?", "Pretty simple, right?" Each demands assent and offers no way to withhold it.
  • A rhetorical question you answer yourself in the next clause. It stages a dialogue the reader is not in.
  • Bluffing. Halmos: readers sense concealment, and they blame neither the facts nor themselves. They blame the author, correctly.
  • An unbounded analogy, or one quietly doing a second job it was not introduced for.
  • Simplifying the vocabulary below the reader's level. It buys nothing, measurably.

How pastiche fails

  • no more accurate
  • The collective pronoun misused.
  • Reassurance with no content.
  • Uniform short sentences.
  • Enthusiasm standing in for structure.
  • The analogy that is never taken away.
  • Warm tone, expert sequencing.

Measured from Feynman, Sagan, Bartosz Ciechanowski, Michael Nielsen, Grant Sanderson, Bret Victor, Paul Halmos, Julia Galef

Marketing · 2 voices

A landing page, an email, anything asking a reader to do something.

Direct Response

One reader, one checkable number, proof before the claim, and an ask with the apparatus to obey it.

The feeling Trust, which is the only feeling this register is trying to produce.

median sentence
9
mean sentence
12
under 6 words
40%
sentences / para
2
numbers / 100 words
2
exclamations
0

Every claim carries a number somebody could go and check.

/stet voice direct-response

Open the rules

Rules

  • Proof arrives before the claim
  • Select the reader, do not attract them
  • Find out what the reader already knows before deciding what to say
  • Every joint gets a short sentence
  • Volunteer the flaw, and only if it is real
  • The ask is an instruction plus the apparatus
  • Plain language, and this one has a number on it

Never

  • Never fabricate a testimonial, review, customer or screenshot of one. This stopped being a taste question on 21 October 2024. 16 CFR Part 465 makes it a deceptive practice to write, sell or disseminate a testimonial misrepresenting that the reviewer exists, that they used the product, or what happened. ยง465.4 also bans paying for a review conditioned on its sentiment. Civil penalties attach.
  • Never manufacture urgency or scarcity. No resetting countdown, no invented stock level, no closing-tonight that reopens tomorrow. The FTC names False Low Stock, False Activity, False High Demand and Baseless Countdown Timer as distinct dark patterns. And it does not work: tested in isolation, scarcity cues and countdown timers produced no significant lift, 14.3 percent against 11.3 percent control, while aggressive dark patterns produced 65 dropouts against 9 and measurably more frustration (Luguri and Strahilevitz, 2021, n=3,777). Sites without scarcity cues rate more trustworthy. Note that this one is in the canon and not only in the imitators: Caples closes with "before it's too late to gain the special benefits of this offer" and no deadline is ever stated. There is nothing to be too late for. That is the most-copied line shape in the register and it is a lie by implication.
  • Never use the preemptive claim. Hopkins' Schlitz method describes an industry-standard process as though it were exclusive, and he admits it: "All claims were such as any brewer might have made." It is a lie by implication even when every sentence is true, and it does not survive a reader who can search.
  • Never simulate intimacy. Merged first names in a headline, fake handwriting, the spontaneous postscript, the I-am-writing-this-at-2am aside. Halbert's best attention device was printing the recipient's name in the headline of a mailed letter, which is manufactured intimacy at industrial scale. The machinery is visible to everyone now.
  • Never use an unfalsifiable superlative. Hopkins: they cause readers "to discount the statements you make from that point on."
  • Never entertain. Hopkins twice: "No one reads ads for amusement", and "Ads are not written to entertain." Fine writing "reveals the hook".
  • Never let the selling show. "Any studied attempt to sell, if apparent, creates corresponding resistance."
  • Never shout. Hopkins objects to oversized type on the grounds that nobody admires a salesman who talks in a loud voice.
  • Never pad to length. "Long copy outsells short copy" is folklore with no dataset under it. The classics earned their length by having that much information.
  • Never give a number without saying what it is a number of.

How pastiche fails

  • Specificity inverts into invented precision.
  • The proof order reverses
  • The shape itself is now a signal.
  • The personality is templated.

Measured from Hopkins (Scientific Advertising, 1923), Caples, Ogilvy, Schwartz (Breakthrough Advertising), Halbert, Sugarman, plus FTC 16 CFR 465, Eisend 2006, Luguri and Strahilevitz 2021, Oppenheimer 2006

The Pitch

A landing page. Each block makes one claim, and the blocks do not connect.

The feeling Landing in the middle of it and knowing at once what this is.

median sentence
9
mean sentence
9.8
95th pct
22
longest
36
sd / mean
0.62
under 6 words
28%
long sentences
0.0013
blocks one sentence
0.71
block median words
10
you
33%
imperative openers
0.27
addressed sentences
0.48
connective openers
0.042
questions
0.067
past tense markers
0.009
semicolons
0
softeners per sentence
0.04

Each block makes one claim, and the blocks do not connect.

/stet voice the-pitch

Open the rules

Rules

  • Address by verb, not by pronoun
  • The claim as a subtraction
  • The objection asked as a question, answered in the next block
  • The consequence, not the feature
  • Name the incumbent
  • Present tense, to the point of an absolute
  • The signed letter as its own movement

Never

  • Never a semicolon. 0 in 7,457 words.
  • Never a sentence of 40 words. 0 in 759, and only one reaches 30.
  • Never manufactured urgency. It appears three times in sixteen pages, all on one page, all of it explicit parody of the direct-response cadence.
  • Never past tense except in an origin story.
  • Never glue the blocks together. The reader did not start at the top. One rule here is advice rather than observation, and it should be labelled as such. **Superlatives without a measurement** run at 27 per 10,000 words in this corpus, and Hopkins runs 24, so the man whose preset carries the prohibition breaks it at the same rate. The distribution is the useful part: five pages run zero, and Mailchimp runs 149. The pages people cite for their copy cluster at the bottom. Keep it as craft advice and do not pretend it describes the register.

How pastiche fails

  • It writes a page-length argument.
  • It grows a tail.
  • It proves things.
  • It reaches for the pronoun and misses the verb.
  • It runs one branch's habits on the other.

Measured from 16 software home pages fetched 17 August 2026 (stripe, basecamp, hey, fly.io, buttondown, plausible, posthog, linear, intercom, ghost, honeycomb, tailwind, obsidian, supabase, mailchimp, wistia), 759 sentences and 528 copy blocks; compared against Hopkins, Scientific Advertising 1923, 1,853 sentences

Genre · 5 voices

A novel, a script, a game. Anything with a world in it.

Epic Fantasy

Plainer and shorter than anyone believes. The elevation is rhythm and word order, never vocabulary.

The feeling Grandeur, and Le Guin is the authority on why it fails.

median sentence
14
mean sentence
17.3
under 6 words
37%
germanic share
0.766
latinate suffixes per thousand
5.9
thou-forms in all of LOTR
80

A plain language is the noblest of all. Le Guin's line, and the measurements agree with her.

/stet voice epic-fantasy

Open the rules

Rules

  • The constructions everybody imitates are the ones he does not use
  • The inversion he does use is not archaic at all
  • Sentence-initial "For" is the genuine signature
  • Prefer the Germanic word. Do not ban the Latinate one.
  • The lexical stratum says which culture is speaking
  • Register tracks the thread, not the page number
  • One consciousness per chapter, and the order is a separate pass
  • Lewis's five rules, which are the closest thing the genre has to a house style guide

Never

  • Never "Then said he." Once in 477,518 words.
  • Never thou as decoration. Eighty tokens in the whole novel.
  • Never ichor. Once in 172,566 words of Eddison; zero across Dunsany, Morris and Malory. Zero in roughly 640,000 words of the four masters combined.
  • Never tush, pish, zounds, marry. Zero in LOTR. Tolkien named these four as the definition of the vice and then never used one.
  • Never eldritch, tenebrous, smaragd, chalcedony. Five occurrences across 640,000 words, all in Eddison.
  • Never long sentences as a proxy for grandeur. Median 14 words; 36.5 percent at ten or fewer.
  • Never a Latinate abstract noun where the register is heroic. The condemned passages score 47 Latinate suffixes per 1,000; the praised ones score 0.
  • Never head-hop.
  • Never an adjective that tells the reader how to feel.
  • Never vague scenery. Le Guin's specific charge against the flat style: "the rocks, the wind, the trees are not there, are not felt; the scenery is cardboard, or plastic."

How pastiche fails

  • And here is the mechanism in a single number.
  • The "ye olde" problem.
  • The thesaurus problem.
  • The map-and-appendix problem.
  • The tonal-coherence problem.

Measured from Tolkien (LOTR, 477,518 words), Dunsany, Eddison, Morris, Malory, Le Guin's "From Elfland to Poughkeepsie", Lewis's five rules, Martin's POV structure, Clarke, Pratchett, Fowler on Wardour Street English

Hard SF

The world arrives sideways, never explained. Strange words at real density, mostly real.

The feeling Wonder, delivered sideways and never announced.

median sentence
15
mean sentence
16
sentence sd
12
proper nouns per thousand
35
under 6 words
15%

Assume, do not explain. Jo Walton's phrasing is two words: "Modern SF assumes."

/stet voice hard-sf

Open the rules

Rules

  • The strange-word density is a constant. The invented share is not.
  • A new word gets no gloss, or six words of one
  • Read the standard deviation, not the mean
  • The brand noun does the adjective's work
  • Distance is countable

Never

  • Never have two characters tell each other what they both already know.
  • Never stop the story to lecture. The lexicon names the voice that does it a Stapeldon, and its worst form Dennis Hopper Syndrome, where "a loony character-actor barges into the story and baldly tells the protagonist what's going on by explaining the underlying mystery in a long bug-eyed rant."
  • Never front-load. And never leave it empty either: the opposite failure has its own name, the Nowhere Nowhen Story.
  • Never rename a familiar thing to make it exotic. Call a Rabbit a Smeerp: "common elements of the real world are re-named for a fantastic milieu without any real alteration in their basic nature or behavior."
  • Never borrow a setting whole. Used Furniture: "We'll set it in the Star Trek Universe, only we'll call it the Empire instead of the Federation."
  • Never let a brand name replace looking at something. Brand Name Fever: "You can stock a future with Hondas and Sonys and IBM's and still have no idea what it looks like."
  • Never open in a white room. A character who wakes with no surroundings is an author who has not built any.
  • Never pre-empt the reader's disbelief. You Can't Fire Me, I Quit: "It's a one-in-a-million chance, but it's so crazy it just might work!"
  • Never write the guided tour. The Steam-Grommet Factory is a story that is "entirely a guided tour of a large and elaborate gimmick."

How pastiche fails

  • More strange words.
  • "Everything is chrome."
  • chrome 14, black 140, neon 31, mirror 29.
  • Even sentences mistaken for cool distance.
  • The eyeball kick without the telling detail.
  • Written from screen memory rather than page memory.

Detection take the first 1,200 words and count the capitalised terms, then count how many exist outside the text. The density should be 35 to 50 and the majority should be real. Then find the first appearance of the central invented noun and count the words of gloss attached to it. Six is generous. Zero is the register.

Measured from Heinlein (Beyond This Horizon), Clarke (Rendezvous with Rama), Le Guin (The Left Hand of Darkness), Gibson (Neuromancer), Robinson (Red Mars), Asimov (five public-domain stories), Jo Walton on reading protocols, Delany, the Turkey City Lexicon

Noir

Past tense, first person, flat declaratives. The famous simile is the rarest move in it.

The feeling Dread, and a grief the narrator will not admit to.

median sentence
10
10th pct
4
90th pct
24
longest
97
similes / 1k words
1.8
subordinate openers
1%
exclamations
0

The simile is rare. One per 545 words in Chandler, one per 1,969 in Hammett. Once every two pages, and once every seven. The most imitated feature of this register is, inside the register, its scarcest move, and pastiche runs it twenty to forty times too often.

/stet voice noir

Open the rules

Rules

  • Flat declaratives, and let the range be wide
  • Past tense, first person, and the narrator already knows
  • Never open on a subordinate clause
  • Feeling arrives as a physical fact
  • Weather sets a clock, not a mood
  • Rooms are inventoried, not evoked
  • The narrator loses

Never

  • Never present tense.
  • Never name an emotion as it happens.
  • Never explain the joke. The deadpan line is followed by the next piece of business.
  • Never use an exclamation mark in narration. One appears in all of The Big Sleep.
  • Never stack adjectives. Hammett introduces Spade in nouns and geometry and spends one adjective phrase at the end.
  • Never let the narrator state his own decency. Chandler's own rule: honour "by instinct, by inevitability, without thought of it, and certainly without saying it."
  • Never let the narrator come out clean.
  • Never use the genre's furniture as scenery. The fedora, the neon and the venetian blinds belong to the adaptations. The prose names dairy trucks, a stamp collection, Twin Oaks Tavern.

How pastiche fails

  • Simile inflation, twenty to forty times over.
  • No baseline, so no rhythm.
  • Vehicle drift.
  • Mood substituted for event.
  • Costume nouns instead of world nouns.
  • Deadpan with no straight man.

Measured from Hammett (Red Harvest, The Maltese Falcon), Chandler (The Big Sleep, The High Window, The Little Sister), Cain, Double Indemnity, Sunset Boulevard, Mosley, Keillor

The Bridge

Procedural optimism. Competent people, short lines, and the machine never explained.

The feeling Admiration for people who are good at their jobs.

median sentence
5
mean sentence
6.5
under 6 words
51%
sentence sd
4.7
logs per script
1.95
technobabble per script
3

Tell the story about people, not about science and gadgetry.

/stet voice the-bridge

Open the rules

Rules

  • Five words
  • The log carries the exposition, and nothing else does
  • Competence is the register
  • One person from another culture, never the culture

Never

  • Never explain the machine. "We don't need essays, however brilliant."
  • Never let a regular be stupid, cowardly or petty.
  • Never break the technology to manufacture jeopardy.
  • Never make technology the villain.
  • Never write a story about a whole civilisation.
  • Never write fantasy in the costume of science fiction. "The difference between the two is profound."
  • Never do psi-forces. "No matter how fantastic the events in a story, the explanation must be extrapolated from a generally accepted science theory."
  • Never write melodrama, which "is a writing style which does not require believable people."
  • Never open a log without a stardate.
  • Never let a scene ramble. Forty-three minutes, five parts, and a median line of five words.
  • Never let a scene fail the transposition test.

How pastiche fails

  • Technobabble built wrong, not merely invented.
  • the imitation is imitating other imitations
  • The tech line as the resolution.
  • The exposition character.
  • Prose length instead of command length.
  • Optimism performed instead of demonstrated.

Detection count the median dialogue sentence, and count how many times a technical noun ends a scene. Five and zero is the register. Anything longer, or a tech line doing the work of a decision, is somebody remembering the show rather than reading it.

Measured from The Star Trek Guide third revision 17 April 1967, the TNG Writer/Director's Guide 23 March 1987, and 349 production scripts (177 TNG, 172 DS9) counted directly

The Locked Room

Fair play. Every clue on the page, in plain sight, in prose flat enough that none of them has a signature.

The feeling The pleasure of being fairly beaten.

median sentence
8
mean sentence
10
under 6 words
64%
long sentences
0.03
dialogue share
0.43
adverbs per thousand
21
clue gap
0.5

The clue is on the page, in plain language, and missed.

/stet voice the-locked-room

Open the rules

Rules

  • Uniform prose is the camouflage
  • Hide it in a list, and never last
  • Hand the attention off immediately
  • Plant once, then go silent
  • Let the reader supply the false inference
  • The narrator may be wrong out loud, and may hide nothing
  • Build the reveal as a monologue with interruptions
  • No new evidence in the reveal

Never

  • Never conceal a clue the detective has and the narrator saw. The Detection Club oath settles the whole argument in one line: "Do you solemnly swear never to conceal a vital clue from the reader?"
  • Never solve it by coincidence, accident, unmotivated confession or intuition. The oath bans "Divine Revelation, Feminine Intuition, Mumbo-Jumbo, Jiggery-Pokery, Coincidence or the Act of God."
  • Never introduce new physical evidence in the reveal.
  • Never invent a poison, an element or an instrument. Van Dine: limit yourself "toxicologically speaking, to the pharmacopoeia."
  • Never pin it on a stranger or a walk-on.
  • Never let the supernatural resolve anything.
  • Never let the detective not detect. "A detective is not a detective unless he detects."
  • Never let the clue sentence have a different texture from its neighbours.
  • Never underline. "Something about it struck me as odd" converts a clue into an announcement.
  • Never repeat the clue before the reveal.
  • Never let the Watson conceal a thought. He may misvalue anything and must hide nothing.
  • Never write the reveal as one unbroken speech.
  • Never mistake plainness for adverb deletion.

How pastiche fails

  • The over-clued mystery.
  • The withheld clue.
  • The quirky detective instead of the intelligent one.
  • Period voice performed at the wrong length.
  • The stale device.
  • The Watson written as an idiot.
  • Implausibility the prose cannot carry.
  • And the failure underneath all of them:

Detection for each clue, measure the distance between plant and payoff, and check what sits in the sentence immediately after the plant. In Styles those are half a book and a stronger stimulus. If the gap is short, or the next sentence is quiet, the clue has been announced.

Measured from Christie (Styles, Poirot Investigates), Sayers (Whose Body?), Doyle (Adventures, Hound), Knox's Decalogue 1929, Van Dine's Twenty Rules 1928, the Detection Club oath, Chandler's The Simple Art of Murder 1944

Fun · 2 voices

A live commentary, a wildlife film. Registers a reader recognises on sight, for when that is the point.

Nature Documentary

Third person, present tense, no "I" at all. The awe is a measurement, never an adjective.

The feeling Awe, and it is built out of facts rather than adjectives.

median sentence
13
95th pct
25
fronted adverbials
0.24
first person singular
0.0
numerals per thousand
7.8
exclamations
0

The awe is the measurement. Real narration is dense with numbers, 7.8 numerals per thousand words, because the fact is what produces the feeling. Pastiche reaches for "magnificent". The real thing reaches for "200 tons".

/stet voice nature-documentary

Open the rules

Rules

  • Never say "I"
  • Present tense, and short
  • Locate, then reveal
  • Lengths cluster, they do not alternate
  • Add, never caption
  • Hedge the animal, not yourself

Never

  • Never "I" in the absent-witness register. Zero, in 13,500 words.
  • Never exclaim. One exclamation mark across three full classic episodes.
  • Never "Yet" as an opener. Effectively zero in the corpus, and the first word pastiche reaches for.
  • Never ask rhetorical questions in bulk. Zero to five question marks per episode, and most are genuine setups answered by the next shot.
  • Never use the past tense for what is happening now.
  • Never restate the image.
  • Never use an intensifier where a number belongs.
  • Never name the narrator's feelings. Awe is produced by the fact, not asserted about the speaker.

How pastiche fails

  • "Here we see" in the first sentence.
  • Deliberate long-short alternation.
  • Unrelenting irony.
  • Mixing the three registers.
  • Anthropomorphising with intent rather than with grammar.

Measured from Attenborough (Blue Planet 2001, Planet Earth 2006, Planet Earth II 2016, Blue Planet II 2017), Herzog, National Geographic house voice, Marlin Perkins

The Sportscaster

Present tense, flat for a long time, then grammar falls away. Escalates by subtraction.

The feeling Joy, and the discipline of not stepping on it.

median sentence
9
95th pct
26
you
2%
softeners per sentence
0.03

Escalation is subtraction. The register does not get bigger at the peak, it gets smaller. Grammar sheds parts in a fixed order: the subject goes, then the copula, then the article, then the verb, until what is left is a noun and a stress. "It is gone." "They're all gone."

/stet voice the-sportscaster

Open the rules

Rules

  • Present tense is the spine
  • Hold a long flat baseline
  • Withhold the name, then spend it
  • The release carries the meaning, not the peak
  • One first person, once

Never

  • Never explain the thing you just said. The release adds context; it does not paraphrase.
  • Never narrate what the reader already has. Restating the table above the paragraph is the cardinal error.
  • Never hedge at the moment. No "seems to", no "arguably", no "one of the". Hedges belong in the flat stretches, where they are honest and cost nothing.
  • Never stack adjectives at the peak. Two superlatives in one sentence cancel.
  • Never joke at the peak. Scully's jokes came a full minute later, in the reset.
  • Never predict. The register is present tense and consequence-driven.
  • Never be at maximum for long. Sustained peak is not intensity, it is flatness at a higher volume.

How pastiche fails

  • No clock forces the compression.
  • The reader controls the pace.
  • There is no crowd.
  • Preparation shows more in writing, not less.
  • The vocative tic is the tell.

Measured from Vin Scully, Richie Benaud, Martin Tyler, Peter Drury, Howard Cosell, Jim McKay, Murray Walker, Al Michaels, Barry Davies

Cross-cutting · 104 named failures

Put them together and you have the catalogue.

Each one links back to the voice it was counted off.

Four ways in

Take one as it is, or build your own.

These are finished. Name one and start writing. Nothing else is asked of you.

They are also a good place to start if you would rather change something real than begin at nothing. Either way the voice ends up in your own VOICE.md. A voice built to your brief is yours, and it never goes in the library.

Use one /stet voice the-manual
Build one /stet voice "a mathematician who stopped trying to impress anyone"

Take one

Any voice above, by name. It arrives whole: the rules, the numbers and the tells.

Describe one

In your own words. The agents go and read the real thing, then say which rules they could measure and which they could not.

Point at your writing

A folder, a site, anything you already wrote. It gets read the way these were, and the numbers come back with it.

Let it read the project

It works the house voice out from what is already there. Nobody can describe their own.