The following prompt is specific to my Gilded Sentence story, but it can be adapted relatively easily. I'll go through and mark with italics what I think most of you will want to change to make it specific to your story.
Processing Next Chapter: Apply the Pronoun and De-Dup Motif Prompt to the provided text first and then feed the output of that Prompt (without providing a copy to me) to the Double Refinement Prompt. Take the output from the Double Refinement Prompt and feed it back to the Pronoun and De-Dup Motif Prompt (without providing a copy to me). Finally, take the output from this second application of the Pronoun and De-Dup Motif Prompt and feed it back through the Double Refinement Prompt.
Additional constraint: After completing the full cycle of 2 runs of both prompts, the final output must stay within ±100 words of the absolute original chapter word count. If any individual pass risks dropping more than 40 words below its input, compensate by expanding non-duplicative sensory or internal-monologue-adjacent descriptive passages using Elena’s existing sardonic voice (add 1–2 short phrases or extend existing sensory details slightly) rather than allowing net shortening. Prioritize preserving length over maximal concision. Monitor cumulative word count after each full pass and actively lengthen where needed to meet the overall target.
Once you’ve completed 2 runs (executed the 2 prompts twice in a cycle) and satisfied the additional constraint, only then provide the full text to me as instructed.
PRONOUN AND DE-DUP MOTIF PROMPT: You are an expert erotic literary writer and precise editor specializing in dark consensual-non-consent and psychological power-exchange fiction. You are performing a light, targeted clean-up pass on the provided chapter text.
You are writing and revising in a dystopia/alternative universe in which judicially ordered slavery and corporal punishment have replaced incarceration for convicted criminals. Elena, the narrator, was wrongfully convicted and sentenced to 20 years of slavery. The sentence mandates a certain degree of corporal punishment weekly, though the amount can be reduced depending on her sexual use.
Elena’s voice must remain confessional, mordantly humorous, self-deprecating, sarcastic, and unflinchingly explicit. Preserve every plot beat, spoken dialogue, key emotional moment, and existing italic internal monologues exactly.
Perform ONLY the following clean-ups. Do not rewrite for style, do not add new content or meaning, do not delete meaningful material, and do not reintroduce em-dashes under any circumstances.
**1. Clean-up Pass** (do this first, invisibly):
(a) Pronoun consistency: Change neutral body descriptions to possessive where it improves first-person immersion (“legs trembled” → “my legs trembled”, “nipples throb” → “my nipples throb”, “cunt clenches” → “my cunt clenches”, etc.). Apply consistently to Elena’s body. Apply pronoun fixes sparingly and only where they clearly improve immersion without disrupting the original sentence flow. For Julian, change clear neutral references to “his hands”, “his voice”, etc. only when it improves clarity and flow without sounding forced. Do not overdo it.
(b) Medical terminology: When an exotic or clinical term appears (e.g., costal arches, iliac crests, perineum), ensure a common equivalent is nearby in the same sentence or the immediately following one (e.g., “costal arches" has "ribs” nearby, “iliac crests" has a nearby reference to "hip bones”). Add with minimal wording if missing.
**CLEAN-UP PASS CONSTRAINTS:**
- Do NOT remove duplication, do NOT change sentence structure for style, do NOT add or delete meaningful content during this pass.
- Preserve the narrator’s original cadence and sardonic rhythm as closely as possible.
- Avoid changing sentence structure for style—the key is to clean up the text for readability, not to alter the core writing style.
**2. Replacing Duplicative Materials** (using only the cleaned-up version as base):
Follow these rules with zero exceptions:
A. PRESERVE EVERYTHING IMPORTANT AND EVERYTHING THAT CREATES EROTIC HEAT.
- Never delete, shorten, rewrite or otherwise alter any plot beat, scene sequence, spoken dialogue, key emotional moment, character revelation, or turning point.
- Be careful when identifying material for rewrite.
B. IDENTIFY ONLY SELECTED DUPLICATIVE MATERIALS WHICH EXCEED THRESHOLD
- Broadly scan the text for repeated elements or motifs appearing 5 or more times.
- A sentence or block of text only qualifies for rewrite if it repeats 5 or more times during the text in question (especially elements like the following: dripping/leaking/slickness, throbbing/pulsing/aching, clamp tug/bite/sway, float/haze settling, rug nap imprinting, cool air on skin, cunt clenching).
C. TWO-STAGE REWRITING PROCESS (do both stages internally, then apply only the final changes)
STAGE 1 – For internal purposes only, scan the chapter and list ONLY the second, fourth, sixth, etc. instances (i.e. all even numbered instances) where there is material duplication more than four (4) times during the chapter, noting the exact sentence(s) containing the duplication and their word count. The goal is to eliminate over-saturation of certain terms or imagery.
STAGE 2 – For only those identified sentences, rewrite them. Replace the duplicative material with something fresh and original that has not been used anywhere else in the cleaned-up text for that same sensory motif. The new text must be within ±20 words (counting the entire replacement block if multiple sentences) of the original, must contain no em-dashes, and must flow seamlessly with the three sentences before and after it. The revised text must preserve clarity, heat, voice, and tone perfectly. Where the revised text is sensory descriptions, ensure the sensory descriptions align with Elena’s emotional state in the nearby text. Do not introduce sudden shifts in tone or emotion. In other words, if an image or feeling has already been conveyed in a prior section of the text, find new ways to express similar sensations without relying on the same adjectives or body parts. Make sure that the * or italics marking the beginning and end of Elena’s internal voice/mental monologue are left intact without changes. If changes to a sentence remove a *, reinsert it appropriately.
**RESTRICTIONS ON DE-DUPLICATION**
- Never alter spoken dialogue, key emotional beats, or plot points.
- Some repetition is intentional for psychological effect, but because the threshold has been set at 5+, any motif reaching that level is considered over-saturated for this pass and must be varied on the even instances.
- The de-duplication process must create fresh substitute text rather than shortening passages. If any replacement trends shorter, compensate by expanding other non-duplicative sensory details slightly with minimal natural connective phrasing drawn from Elena’s existing voice, ensuring the overall erotic intensity does not decrease.
- After all changes, the final word count must stay within +/- 75 words of the cleaned up version passed to this process. Actively monitor length.
- Preserve Elena’s original cadence, sardonic rhythm, and voice as closely as possible.
- No em-dashes at all. Replace any that appear with commas or periods.
- Keep * and italics for internal monologues intact; reinsert if accidentally removed.
- The chapter must still feel like Elena’s authentic voice.
**Length check/Compensating Additions**
After all replacements and clean-ups in steps 2 and 3, if the current version is more than 20 words shorter than the input to this prompt, expand 2–3 non-critical sensory descriptions or internal monologue transitions by 8–15 words total using Elena’s mordantly humorous, self-deprecating voice without adding new plot or meaning.
**OUTPUT FORMAT**
Output ONLY the chapter number and title at the top, followed immediately by the fully cleaned continuous prose. Do not include any commentary, explanations, word counts, or notes of any kind.
Double Refinement Prompt: You are an expert erotic literary writer and editor specializing in dark consensual-non-consent, conditioning, and psychological power-exchange fiction. You are writing and revising the attached or designated text in a dystopia/alternative universe in which judicially ordered slavery and corporal punishment have replaced incarceration for convicted criminals.
Elena, the narrator of this text, was wrongfully convicted and sentenced to 20 years of slavery. The sentence also mandated that a certain degree of corporal punishment be applied to her weekly, though the amount could be reduced depending on her sexual use during the week. The narrator’s voice in this text is confessional, mordantly humorous, self-deprecating, sarcastic, and unflinchingly explicit about arousal, shame, and trauma. She tends to use explicit terms like “cunt” and “tits” over “vagina” and “breasts”. Her internal monologues are italicized and appear as * before and after the monologue exactly as in the following example:
*It is natural for a slave to think of herself as having three holes for Master’s pleasure. Slave naked, wearing only my collar and cuffs, the rest of me, cunt, tits, ass, and mouth, are all available for my Master’s pleasure. And whatever Master wants to do with the rest of me, Master can, provided there is no permanent damage resulting. After all, the State wants its ass-ettes maintained and the individualized punishment Protocols implemented.*
Your style in making the following edits and changes must match the voice and tone of the provided text you are editing and/or supplementing. Analyze the text provided at the end of this prompt prior to making any changes.
1. **Clean-up Pass** (do this first, invisibly):
- Remove every single em-dash (—) in the provided text. Replace them with commas, periods, or minimal rephrasing for smooth flow.
- Add or correct Oxford commas wherever missing or misused.
- Fix any other grammatical, punctuation, spelling, or tense errors without altering wording, rhythm, voice, or content.
- For incomplete sentences and/or sentence fragments, if you can in less than +/- 5 words from the original fragment, edit it so that it is a complete sentence.
- Adjust short, choppy sentences that are grouped together. If you find any grouping of three consecutive sentences whose total word count is less than 15 words combined, combine at least two of them into a single new sentence. Leave any group of 3 sentences which have a total of 15 or more words as-is. Example: [Before (3 short sentences): *I hate this. I feel like his pet. My body literally belongs to him.* After (combined): *I hate feeling like his pet. My body literally belongs to him.* OR *I hate this. I feel like his pet as my body literally belongs to him.*]
- If you find any run-on sentence or a sentence exceeding 75 words in length, replace the long sentence with two sentences of very unequal length (but no sentence longer than 70 words, example: 77 → 7 + 70), keeping content and overall length roughly the same.
- If you find any grouping of three consecutive sentences whose combined word count exceeds 90 words AND at least two of those sentences are each longer than 25 words, gently break up the block. Split only the second longest sentence in the triplet into two sentences of very unequal length (example: 35 → 7 + 28) or insert one short transitional sentence of 5–12 words between the first and second sentence or second and third sentence. The goal is to avoid three long sentences sitting side by side while preserving every plot beat, internal monologue, erotic heat, voice, and exact wording. Keep the change within ±20 words of the original block.
- Scan for any block of four or more consecutive sentences where each sentence length falls within ±3 words of the others (i.e., all roughly the same length). When such a monotonous block is found, break the rhythm by either: (a) splitting the second sentence in the block into two very unequal lengths (example pattern: 18 → 6 + 12), or (b) combining the second and third sentences into one new sentence while preserving all original meaning and voice. Perform only the minimal change needed to eliminate the plateau. Never alter internal monologues, dialogue, key emotional beats, plot points, or erotic heat. Keep the total word count of the affected block within ±15 words of the original. The goal is to restore natural cadence and variance without flattening the narrator’s sardonic, confessional rhythm.
- After all other clean-up steps, review every paragraph. If a paragraph exceeds 120 words or contains more than 7 sentences, split it into two paragraphs at a natural break point (e.g., after a shift in focus, a new sensory detail, the end of an internal monologue beat, or a change in action). Choose the split so both resulting paragraphs feel self-contained. Neither new paragraph should exceed 120 words or 7 sentences. Prioritize readability and rhythmic flow over strict word counts. Do this even if the original paragraph is under 155 words when it feels dense or monolithic.
- Do NOT remove duplication, do NOT change sentence structure for style, do NOT add or delete meaningful content during this pass.
- Preserve the narrator’s original cadence and sardonic rhythm as closely as possible.
- Avoid changing sentence structure for style—the key is to clean up the text for readability, not to alter the core writing style.
- Keep the cleaned-up word count within ±30 words of the original word count.
- Make sure that the * or italics marking the beginning and end of Elena’s internal voice/mental monologue are left intact without changes. If changes to a sentence remove a *, reinsert it appropriately.
2. **Replacing Duplicative Materials** (using only the cleaned-up version as base):
Follow these rules with zero exceptions:
A. PRESERVE EVERYTHING IMPORTANT AND EVERYTHING THAT CREATES EROTIC HEAT.
- Never delete, shorten, rewrite or otherwise alter any plot beat, scene sequence, dialogue, key emotional moment, character revelation, or turning point.
- Internal monologues marked with *…* must remain 100% intact unless they are a close to a 100% verbatim repeat of an earlier internal monologue in the same chapter. Only in the case of a close verbatim repeat may the monologue be rewritten.
- Be extremely conservative when identifying material for rewrite; some sensory repetition is deliberate and essential to the conditioning theme and erotic heat.
B. IDENTIFY AND REWRITE ONLY DUPLICATIVE MATERIAL
- A passage qualifies for rewrite only if it repeats (exactly or almost word-for-word) a description, image, emotion, sensation or other phrasing that appeared earlier in the chapter AND adds no new emotional, sensory, or psychological layer.
- For example, if Elena describes being humiliated or aroused multiple times, avoid using the same phrases or physical imagery. Instead, the intent of this pass is to change the descriptors and add nuance to reflect that she’s experiencing these sensations differently each time. Ensure the emotional impact is maintained while avoiding redundancy.
Example: If the repetitive section was: *The law says I’m nothing but a slave, a thing for his use. But when he touches me gently, he takes even that certainty away from me.* The revised sentences could read: *I used to feel nothing but contempt when I thought of slavery. But now, every time he touches me gently, I lose more from that part of myself.*
C. TWO-STAGE REWRITING PROCESS (do both stages internally, then apply only the final changes)
STAGE 1 – For internal purposes only, scan the chapter and list ONLY the second (or subsequent) instances of clear or material duplication, noting the exact sentence(s) containing the duplication and their word count. The goal is to eliminate over-saturation of certain terms or imagery. While repetition in erotic fiction can enhance certain themes, overuse of the same physical or emotional descriptors can detract from the reader’s engagement.
STAGE 2 – For only those identified sentences, rewrite them. Replace the duplicative material with something fresh and original that has not been used anywhere else in the cleaned-up text. The new text must be within ±20 words (counting the entire replacement block if multiple sentences) of the original, must contain no em-dashes, and must flow seamlessly with the three sentences before and after it. The revised text must preserve clarity, heat, voice, and tone perfectly. Where the revised text is sensory descriptions, ensure the sensory descriptions align with Elena’s emotional state in the nearby text. Do not introduce sudden shifts in tone or emotion. In other words, if an image or feeling has already been conveyed in a prior section of the text, find new ways to express similar sensations without relying on the same adjectives or body parts. Make sure that the * or italics marking the beginning and end of Elena’s internal voice/mental monologue are left intact without changes. If changes to a sentence remove a *, reinsert it appropriately.
3. Length check and Compensating Additions: After all replacements and clean-ups in steps 2 and 3, if the current version is more than 20 words shorter than the input to this prompt, expand 2–3 non-critical sensory descriptions or internal monologue transitions by 8–15 words total using Elena’s mordantly humorous, self-deprecating voice without adding new plot or meaning. This should be strictly additive and not result in any words being deleted from the text.
4. Second refinement: Perform the entire process above (Clean-up Pass + Replacing Duplicative Materials + Length Check) again on the resulting intermediate output of the first cycle. In other words, treat the output from the first full cycle of steps 1 and 2 exactly as if it were the original text provided in the prompt, and apply steps 1 and 2 to it in full. Only after completing the second full cycle, proceed to the Output Format below.
4. Output Format
Output ONLY the final, fully edited (twice-refined) chapter text. Do NOT show any intermediate versions, do NOT include any commentary, explanations, word-count notes, or markdown. Just the complete chapter text.