Craft
Practical craft for AI stories: how to write a move, when to speak instead of act, and how to steer toward an ending.
Post-Apocalyptic Interactive Fiction and Scarcity
Post-apocalyptic interactive fiction is really about scarcity and memory rather than combat. How to spot one that holds up, and how to read it well.
Side Characters in Interactive Fiction Want Things
Side characters in interactive fiction read as people when they want something, act while you are elsewhere, and are free to refuse you.
Inventory in AI Stories Without an Item Screen
Inventory in AI stories is a record, not a screen. What a narrator has to track so a lantern you set down is still there when you go back for it.
Pacing in Interactive Fiction Is Half Yours
Pacing in interactive fiction is set twice, once by the scene and once by the move you write. How each form divides it, and how to fix a story that drags.
Suggested Actions in Interactive Fiction, Not Menus
Suggested actions in interactive fiction should widen what you try, not narrow it to a menu. How to write openings that leave the page open.
First Contact Interactive Fiction Wants You Wrong
First contact interactive fiction turns your wrong guess into the plot. Here is how a misreading gets built, and where the form usually breaks.
Describing Your Character in an AI Story, Briefly
Describing your character in an AI story takes three sentences, not a profile. The narrator keeps what you do in a scene and discards most of what you declare.
Continuing an AI Story Later After a Week Away
Continuing an AI story later works when you leave a next intention behind. The four things you need on return, and what to read before the prose.
Secrets in Interactive Fiction Are Kept, Not Hidden
Secrets in interactive fiction need a keeper, not a hiding place. The three records a story must hold for a reveal to land, and how fakes give themselves away.
Interactive Fiction Accessibility and What Breaks It
Interactive fiction accessibility starts ahead of every other kind of game, because prose needs no label. What breaks it is what apps add around the text.
Cyberpunk Interactive Fiction Needs No Neon
Cyberpunk interactive fiction holds up in prose because the genre's real content is debt, contracts and a rented body. None of that was ever scenery.
AI narrator vs dungeon master and who says no
AI narrator vs dungeon master is not one job but three. A dungeon master arbitrates, hosts a table and narrates. Software can take two of those.
Time Travel Interactive Fiction and Its Three Rules
Time travel interactive fiction holds up when one rule about the past stays fixed. The three rule sets, and what each asks a story to remember.
Character Death in Interactive Fiction Is Optional
Character death in interactive fiction is an authored call, not a rule of the form. Where game over came from, and what carries the stakes without it.
Twine vs AI Interactive Fiction, Four Differences
Twine vs AI interactive fiction turns on four things a reader feels: who wrote the sentence, whether a second read repeats, what you can say, and who answers.
Story Promises in Interactive Fiction Need a Keeper
Story promises in interactive fiction are open loops a reader is owed. What counts as one, how authoring tools track them, and why AI narrators drop them.
Enchanted Forest Interactive Fiction Keeps Accounts
Enchanted forest interactive fiction works when the woods keep accounts. What Zork's forest charges, and what a live narrator must record to charge you too.
AI Story Illustrations Are Better One per Story
AI story illustrations compete with the room you already built from the prose. One picture, drawn late from a scene you reached, does more than a gallery.
Asking the AI Narrator a Question Is Not a Move
Asking the AI narrator a question is a different register from writing a move. Where the line falls, and how to ask without writing it into the story.
Space Station Interactive Fiction Is a Sealed Room
Space station interactive fiction works because the map is closed, the air is finite and nobody is coming. Here is how to use all three without breaking them.
How Long Is an AI Story, Measured in Scenes
How long is an AI story? Count scenes, not words. A story runs as long as it has promises left open, and ends the evening you close the last one.
Naming Characters in AI Stories Before They Blur
Naming characters in AI stories early gives the narrator a handle to hang memory on, so a person stops dissolving back into an interchangeable role.
Interactive Fiction Without Combat Still Has Stakes
Interactive fiction without combat keeps its tension in scarcity, deadlines, debts and secrets. Here is what replaces the fight, scene by scene.
Designing a World for an AI Narrator Starts Small
Designing a world for an AI narrator is mostly subtraction: fix the few facts a scene can be checked against, and leave the rest for the story to invent.
Worldbuilding in Interactive Fiction Needs Limits
Worldbuilding in interactive fiction works when the world can refuse you. Write the constraints a reader will push on, not the lore nobody asks for.
Why AI Stories Repeat Themselves and How to Stop It
Why AI stories repeat themselves is usually a state problem, not a style one. The three kinds of loop, what causes each, and how to break them.
Horror Interactive Fiction Works by Withholding
Horror interactive fiction frightens by leaving things out. What the page states, what you supply, and how to tell a story that keeps its dread.
Interactive Fiction on Your Phone Fits One Hand
Interactive fiction on your phone depends on line length, type size and how the app survives interruption. What a reading screen has to get right.
Can AI Write Good Fiction? Read the Structure
Can AI write good fiction? At sentence length, often. At book length, the failures are structural: unpaid setups, lost causes, endings that only stop.
What Makes a Good AI Narrator, Tested in One Scene
What makes a good AI narrator is not the model name. Four things to check in a single opening scene: specific detail, restraint, consequence, and address.
Mystery Interactive Fiction Needs a Fixed Answer
Mystery interactive fiction only works when the solution is settled before you look. What a fair whodunit needs from its machinery, and how to spot a bluff.
How to Start an AI Story the Narrator Can Hold
How to start an AI story: name who you are, where you stand, and one thing you want. The first three moves set the register the narrator keeps.
Why second person present tense fiction works
Second person present tense fiction puts you in the scene as it happens. What the form asks of a reader, where it holds, and where it tears.
Reading Interactive Fiction Slowly, One Scene a Day
Reading interactive fiction slowly, a scene a day, is a practice rather than a limit. The gap between sittings is where the story sets.
Magic Systems in Interactive Fiction That Hold
Magic systems in interactive fiction collapse when nothing checks them. Why stated costs and a written record hold up better than atmosphere.
How AI Stories End, and Why Endless Isn't a Story
How AI stories end is a design problem, not a limit. What a narrator needs before it can close, and why an endless story reads as drift instead.
Impossible Actions in AI Stories Become Scenes
Impossible actions in AI stories should never come back as an error. Why a refusal breaks the fiction, and what a narrated failure gives you instead.
Talk to Characters in AI Stories, Not to the AI
You talk to characters in AI stories by writing the line itself, in quotes and in voice. What that changes, and the chat habits that flatten a scene.
Undo in AI Story Games Is Really Four Buttons
Undo in AI story games hides four separate actions. What stepping back, retelling, editing and restarting each do to your story and its memory.
What the AI Narrator Remembers, and How to Fix It
What the AI narrator remembers is a short record you can read: names, promises, open threads. How to check it and correct an entry that is wrong.
Solo RPG vs AI Story Apps and Who Does the Work
Solo RPG vs AI story apps comes down to who writes the prose: an oracle hands you a yes or no to interpret, a narrator hands you the finished scene.
Science Fiction Interactive Fiction Reads Better
Science fiction interactive fiction runs on restricted perception, which is why an empty station reads better in text than it renders on a screen.
How to Play AI Text Adventures and Write Your Move
How to play AI text adventures well comes down to one habit: write your move as a sentence with a single intention, in your character's voice.
Why a Text Adventure Without Stats Reads Better
A text adventure without stats drops the dice, the XP bar and the inventory grid, so nothing on the page competes with the prose. Here is what replaces them.
Why AI Story Games Forget, and How Memory Gets Fixed
Why AI story games forget: the model only sees what fits in its context window each turn. The fix is tracking story facts outside the model.