human-mannerisms

• SKILL.mdcore · 6,386 bytes
• references/move-library.mddoc · 5,086 bytes
• references/pairing-and-order.mddoc · 3,021 bytes

Applies when a piece of copy has had its AI tells removed but still has no voice. Produces a version with one or two earned human moves added, so a real person is visibly in the room.

Stripping AI tells gets copy "to zero": nothing screams machine. It does not get you above zero. Clean copy with no texture still reads as AI, because "flawless and flat" is itself the tell. This skill is the positive, additive pass: a small library of moves that put a specific person back into the writing. It runs *after* the subtractive pass, never instead of it.

This is deliberately a separate skill from the anti-ai-slop-writing pass, not one combined step, because the two jobs do not always both apply. Every piece that ships should have its AI tells removed; not every piece should be made to sound casual. A formal announcement, a compliance note, or a technical one-pager needs to be clean, not chatty - it gets the tell-stripping pass and stops there. A LinkedIn post, a founder's thought leadership, or a personal email needs voice on top - it gets both, in order. Bundling the two would force human texture onto writing that should stay plain. Keeping them apart lets you run the floor everywhere and reach for these moves only where the register calls for it.

## The play

1. **Strip first, then add.** Run the de-AI pass before this one. Order matters: adding texture to copy that still has rhetorical AI tells just makes the tells louder. If the tells are gone, continue.

2. **Read the piece once and locate the flatness.** Find the stretch where the writing is smooth, correct, and voiceless - usually the middle, where the argument goes on autopilot. That is where a move earns its place. Do not spray moves across every line.

3. **Add one or two moves, no more.** This counts distinct move-types from the library below - pick one or two, not all eight. A single move-type may recur two or three times within the piece and still count as one move (the conjunction opener, for instance). The one exception is the mid-sentence aside: use it at most once per piece. What reads as try-hard is stacking many different quirks, so hold the line at one or two move-types per piece. Match the move to the writer's real register - a dry operator gets a deadpan undercut, not a whimsical aside.