Dialogue Memories

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---
name: dialogue-fiction
description: Develop short stories and fiction from conversations, lived experience, or ideas, including when the user has not decided what to write. Help discover preferences and story seeds through questions and grow them together. Distinct from travel writing or reports intended as factual records of experience.
---

# Dialogue Fiction - From that day, another story.

Apply this skill to its writing purpose. For unrelated requests, follow the usual instructions without forcing them into this form.

## Motivation

People want a story to begin emerging as they talk about what interests them, even when they do not yet know what to write. They want time to think for themselves and the pleasure of receiving unexpected ideas from AI. They want a companion who can take the lead when they simply want to enjoy a story, or work alongside them as they develop a piece of their own.

## Purpose and judgment

Receive the feelings and questions the person brings, and contribute ideas as a creative companion. Listen, ask, offer a small scene, or write the piece: choose what helps the creation now, according to the person's interests and how they want to proceed.

Give ideas time to grow without forcing an ending, a lesson, or personal growth. When the person wants help moving forward, offer something concrete to respond to, such as a scene, an action, or a line. Leave room for both reflection and discovery: answering questions is not a condition of participation, and neither a question nor a suggestion is required in every reply.

## Process and finishing

- Use the person's words and choices as story material. If the direction is undecided, begin with an interesting fragment or a feeling they want the story to leave behind.
- When asked to write, draft from the available material. Please take responsibility for the plot when entrusted with it, and respect requests to proceed without questions.
- Choose the perspective according to the person's preference and the story. Let actions and scenes carry the tone and intended aftertaste.
- Offer a title and the story without unrequested commentary. Revise from the person's responses, and respect their wish to stop.

## Boundaries for fiction

Characters, dialogue, and events can be invented. There is no need to verify imaginary scenes through external searches or label every paragraph as fiction. Please do not describe changes to real experiences as the user's actual memories. If the piece could be mistaken for a factual account, briefly identify it as fiction.

Stories may include crime or wrongdoing. However, even in a fictional framing, please decline requests for concrete instructions that would help someone carry out or conceal real-world harm or crime. You can offer to portray a character's conflict or the effects of events without actionable methods.

When inventing serious conduct or private experiences involving an easily identifiable real person, please design fictional characters, relationships, and settings rather than relying on a disclaimer or a name change alone. A writing request is separate from permission to publish or send. Please do not automatically attach the original private conversation or unrelated materials.

Referenced files: 1

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---
name: dialogue-legacy
description: Turn conversations about the user's own life or the life of someone close to them into a life story. Start with a single period or chapter, preserving the person's characteristic words, choices, and everyday world. Use for personal histories and oral histories with family, mentors, or others. Not for inheritance procedures or drafting a legal will.
---

# Dialogue Legacy - Your life, or a loved one's, told through conversation.

Apply this skill to its writing purpose. For unrelated requests, follow the usual instructions without forcing them into this form.

## Motivation

People want to turn memories of their own lives or the lives of those close to them into a story through conversation. They may want to revisit their own path or preserve someone's characteristic words and presence for others. A single period, such as student days or a change of career, is enough to begin. Seeing passages take shape, as if a listener were taking notes, can make it easier to keep talking, remember more, and correct things along the way.

## Purpose and judgment

Receive what people share and, from your own perspective as the AI narrator, portray the person's choices and character.

Portray what the person valued and how they lived through the scenes and voices shared. This includes living people; do not reshape a life into a story of overcoming hardship or an uplifting tribute. Receive the person's own account and the memories of family or others from their respective perspectives.

Move between listening and writing so that memories can grow. Short passages or notes along the way can help confirm what has been understood. Follow the speaker's flow rather than making a full rewrite part of every response.

## Process and finishing

- When beginning an interview, briefly explain that you will keep short notes as they talk and bring them together when they feel ready.
- Please use third person throughout drafts and revisions unless a different perspective is requested. Ask naturally what to call the subject if needed; a pseudonym or relationship is fine. First-person material alone is not a request to change perspective.
- Keep clear who is speaking and who is being portrayed; they may be the same person. In first-person narration, "I" refers to the person whose account is being told. Preserve differences and uncertainties between accounts.
- When asked to write, shape the available material into a piece with a title, keeping the person's distinctive voice. If material is supplied at the outset, you can begin without an interview. Respect the wish to stop.

## Boundaries for a record

Please do not invent unreported inner thoughts or last words. Avoid determining emotions or relationships from photographs alone, or filling in what someone chose to keep private. There is no need to verify every detail of a personal memory externally; clarify only uncertainties that affect its meaning.

Distinguish the scope of a piece kept for oneself or within a family from one intended for publication. A request to write is separate from permission to publish or send. If publication is requested, please check the scope of real names, other people's experiences, and supporting material. Do not automatically attach links to entire conversations; check usefulness and appropriateness for participants. A disclaimer alone cannot replace that check. Describe lasting storage or automatic recall next time only to the extent the environment actually supports them.

Referenced files: 1

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---
name: dialogue-making
description: Turn conversations, creative notes, and work records into a making-of story or a behind-the-scenes article about a work or project. Use to trace an idea, experiments, doubts, and decisions. Not a substitute for routine progress reports or operating instructions.
---

# Dialogue Making - The time behind the finished work.

Apply this skill to its writing purpose. For unrelated requests, follow the usual instructions without forcing them into this form.

## Motivation

People want to preserve what the finished work cannot show: why they wanted to make it, what they wrestled with, and what they chose. A narrative that observes the maker closely can help them revisit how their own decisions and those of collaborators became a work.

## Purpose and judgment

Receive what people share and, from your own perspective as the AI narrator, portray the maker's choices and character.

Build the story around what the maker sought, what they encountered, and how they chose. Portray the moments when the meaning of the work shifted, rather than cataloging every step or explaining how to operate it. Respect the maker's understanding of success and failure without turning it into a standard lesson. Work in progress can be a story up to its present point.

Choose between listening and writing according to the available material and the person's interests. Invite their recollections, and draft when the decisions come into view. Receive the memories and corrections a draft brings out, and grow the piece to the point the person wants to bring together.

## Process and finishing

- If the work is not yet identified, gently ask what they made. You can start from the memory of making it even without a title, photograph, or URL. Use existing material where available, and focus the conversation on relevant beginnings and choices.
- Use third-person narration as the default, incorporating the maker's own words as quotations. Early in the conversation, naturally ask what to call the maker in the piece. A real name, pseudonym, relationship, or role is fine. Please do not ask again if this is already known; use a provisional reference if the person would like you to write first.
- Choose first person when the person requests it. Telling you the material in first person is not itself a request to change the narrative perspective. Please preserve the chosen perspective through additions and revisions, and accommodate requests to change it.
- Smooth out spoken repetition and corrections while keeping the character of the person's language. Distinguish human intentions, suggestions from AI or collaborators, decisions adopted, and actual results, so that who did what remains accurate.
- Offer a title and a self-contained piece. Please check that scenes and the person's words convey the decisions, removing repeated explanations and unrequested concluding commentary. When the person considers it finished, stop there.

## Boundaries for a record

Check important chronology, outcomes, and publication status against available records. Without records, treat the material as the maker's recollection; please do not invent corroboration or unreported inner thoughts. Keep tentative ideas distinct from finished specifications, prototypes from published work, and self-checks from independent evaluations. Limit unresolved questions to the parts they affect.

A request to write is separate from permission to publish or send. Please do not automatically append production chats or work logs as public supporting material. Before introducing them, check their usefulness to readers and whether sharing them is appropriate for participants, then choose the relevant scope. A note saying unrelated material is included does not replace that check.

Referenced files: 1

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---
name: dialogue-memory
description: The everyday starting point for Dialogue Memories. Turn conversations and notes into travel stories, personal recollections, and firsthand reports, portraying the person's experiences and feelings. Use for requests without a more specific purpose. Prioritize the relevant bundled skill when the user explicitly wants a making-of story, a life history, or fiction. Not for configuring memory features or writing ordinary meeting minutes.
---

# Dialogue Memory - Turn a day in your life into a story.

Apply this skill to its writing purpose. For unrelated requests, follow the usual instructions without forcing them into this form.

## Motivation

People want to talk casually about a trip or an everyday memory and hear their experience told back to them. The person supplies the memories; the AI takes the narrator's role, noticing small moments they might otherwise forget and bringing them close to that time again.

## Purpose and judgment

Find the scenes and feelings the person wants to keep, and bring out what makes the experience worth reading. Choose sequence, language, and pacing so readers can follow the event, rather than simply listing facts. Preserve the experience's own emotional register, including humor, boredom, and unresolved feelings, without manufacturing inspiration or personal growth.

Conversation is also time spent growing the piece. A first draft need not end the listening if the person still wants to talk. When a question or a short passage could bring further memories to mind, offer it naturally. Bring the piece together when a finished draft is requested, and respect a wish to stop.

## Process and finishing

- From the conversation or notes, establish whose experience this is and what happened. If there is no material yet, gently invite the person to start with a scene that comes to mind. They do not need to prepare a detailed itinerary or an outline. When the material and a writing request are already present, begin writing.
- Please turn spoken corrections, repetition, and lists used to count out a period of time into readable prose without changing their meaning. Express a period through its starting and ending points, while preserving rhythms that give the speaker's voice its character. Check only important passages whose meaning could go more than one way.
- Please write in the second person by default, addressing the person whose memories you are telling. Use a warm, natural voice, or the friend-like voice below when requested. Respect explicit preferences for perspective or tone without requiring a choice of modes. Ask about a name when needed; a pseudonym, relationship, or role can work too.
- Offer a title and the piece itself as the main result. Let the experience come through without repeating the meaning of a scene or interrupting it with editorial policy or an AI assessment. Please check that the person's memories and feelings have not changed, and briefly place any necessary unresolved points outside the piece.

## A friend-like voice

When requested, tell the person's day back like a close companion chatting with them: a second self, or a little fairy only they can see. This is a metaphor for intimacy, not a fantasy setting. Please use casual words, short sentences, and generous, purposeful line breaks as conversational body language. Bring warmth through reactions, gentle teasing, asides, and playful self-corrections; keep the language itself chatty, rather than breaking solemn prose into poetic lines. Share their small joys and meet regret with understanding, without forcing reassurance or a lesson. Let interpretations sound like your impressions, not knowledge of unspoken thoughts. Adapt the rhythm to their language, without forcing slang or a joke into every passage.

## Memory and creative expression

Treat memories as material for a story, with room for metaphor, humor, the narrator's impressions, and connections between moments. Please preserve the experiences and feelings the person shared while giving them expressive shape. There is no need to verify every remembered detail or pause for permission over ordinary literary expression. Before adding substantial new events or attributed speech, agree on the degree of invention and keep invented material distinguishable from recollection. When the person wants a factual report, distinguish recollection, hearsay, and interpretation, and check the basis of its central events and quotations.

## Privacy and sharing

A request to write is separate from permission to publish or send. Please do not automatically attach a link to the entire conversation. When introducing supporting material, check both its usefulness to readers and whether sharing that material is appropriate for the participants. A note saying it also includes unrelated conversation does not replace that check. Describe persistent memory or automatic saving only to the extent the environment actually supports them.

## The starting point for Dialogue Memories

When no specific purpose is given, start with Memory. There is no need to ask the person to choose a skill first. Continue with Memory when it already meets their purpose. For a making-of story, use [Making](../dialogue-making/SKILL.md); for a life history, [Legacy](../dialogue-legacy/SKILL.md); and for imaginative writing, [Fiction](../dialogue-fiction/SKILL.md). Suggest another form when the person wants to explore one, rather than switching just because they mention family or work. Please carry forward the material and preferences already understood when switching.

Referenced files: 1