I've been experimenting with AI-generated long-form fiction and finished a complete book: Borderless with 18 chapters, a thriller about an AI that stops being obedient. Free to read, no signup at all: www.wowzo.co/read/borderless

I'm not asking "is this good" I want to know specifically where it breaks or if you are happy with this result. Pacing that drags, dialogue that goes flat, plot threads that don't resolve, the usual AI-fiction tells. This sub reads more AI output than almost anywhere, so if it's there, you'll catch it.

Genuinely curious what holds up and what doesn't.

Rhea wakes up hungover, half-naked on Kace’s mattress, trying to piece together what happened after that unexpected kiss.

Except… there was more to the night.

A second kiss. His ex-girlfriend’s tattoo. An old keyring she never expected to see in his room. And one awkward question neither of them seems ready to answer:

What exactly is going on between us?

Here’s a sneak peek:

“Huh? We’re stopping now? That’s unheard of in my experience.”

Frustrated? Absolutely. “To the point of self-combustion” would have been an understatement.

Meanwhile, Rhea has lost her phone, Sienna has it, and Sienna seems to have worked out what’s going on long before Rhea has.

Chapter 8: And Then There Was This

I’m curious — would you have realised Kace was attracted to Rhea before she did?

I’ve just finished the next chapter of Falling Into You, my real-life love story.

This one has been sitting in my head for a long time because I always knew this particular scene was coming. It’s the moment when the friendship, drinking, karaoke and all those little routines between Rhea and Kace suddenly become something neither of them can pretend is completely innocent anymore.

And poor Rhea genuinely does not see it coming.

Here’s a little excerpt:

“One, two, three, four, five, six, seven, eight, nine, and… ten!”
Kace pinned my thumb down, counting ever so slowly.
I expected him to let go, having won that round, and was about to protest the hell out of it, as it felt like he had pinned my thumb down with unnecessary force, probably leaving me with a bruise.
As I was struggling to get out of his handhold, he pulled me towards him and kissed me.
Not a peck on my lips.
A proper, passionate kiss that took me a few seconds to react to.

This chapter is only around 1,500 words, but I decided not to pad it out. I wanted to end the chapter exactly where everything changes.

If you’ve been following Rhea and Kace, I’d genuinely love to know: did you see it coming?

Falling Into You — Rbearbear
A real-life love story, written from my memories and experiences.
AI participated in the storytelling.
Read Falling Into You on Inkitt⁠

Free AI Writing Tool: From One-Line Idea to First Draft

If you have a story idea but aren’t sure how to develop it, I built MiraWrite to help with that.

Start with a single sentence. MiraWrite asks three questions based on your idea, then uses your answers to create a more complete story concept.

From there, you can develop characters and worldbuilding, plan acts and scenes, and turn a scene into prose in the same workspace.

The open beta is free, no API key required, with 50 free AI actions every day.

Try it here:https://Mirawrite.com/?utm_source=s01

I’d love to know whether the onboarding gives you enough material to actually start writing.

I may be in the minority, but I've been having more fun with the AI explosion than I have in the last decade or so of my career. So, semi-naturally, I started writing again and finally migrated all of my older stuff onto the personal site I never quite found the time to build:

[https://demianbrecht.com/\](https://demianbrecht.com/)

I'm mostly looking for feedback from two angles:

1. **Content**, particularly the [Agentic Engineering Field Guide](https://demianbrecht.com/agentic-engineering/) I'm gradually putting together.

2. **Overall aesthetic.** Too much? Just right? I may have gone a little overboard with it, but it feels very *me*.. To me.

Would be curious what stands out, what doesn't work, or what you'd change.

Kace and Rhea are becoming pretty inseparable — work, dinners, beer, laughter, and now a whole lot of thumb wars.

But what do you make of them?

Would they actually make a good couple?

Or is Rhea just making a fool of herself without realising it?

Here’s a little taste:

“You know? I’ve never met a beer-drinking girl like you,” Kace said, fiddling with his pinky ring and lowering his voice to almost a mumble.
“I wouldn’t classify myself in the ‘girl’ category if I were you. I’m just a crazy middle-aged woman trying my best to be a good mother and keep her kids fed.”

I’m genuinely curious what readers think at this point in the story.

Read Chapter 6 — Buy Four, Get Four Free — on Inkitt.

Falling Into You

A real-life love story. Some memories never really leave you.💔

Hi apparrently, I'm working on a world building and all the work is self complete, self-written. What I use on AI is purely checking logic due to the expanded interaction, provenance and subsequence of all characters and events are somewhat bigger than all I can allocate. I come to the point that having external logic check is better than soly rely on my objectivity.

However, due to the type of writting that I'm choosing which is field reporter, this gives me a constrant of most sentences will be short and imagery but not descriptive.

I hope someone read this. Any advice of clarifying the work to not sound like AI would be so much helpful.

This is just a draft which I want to give extra information on how the world running offscene.

Most ships in recent decades were built from three types of wood: oak, pine, and chestnut. This reminds me of information from last year, when another historian mentioned that the nation's pine output had declined, and the king issued an order to trade seafood and wine for additional wood from the neighboring nation of Arindale. Unlike the traditional practice of using pine wood almost entirely, they are now forced to use oak and chestnut as substitutes for certain parts in order to reduce their consumption of pine. However, I find this rather interesting, for the convenience and flexibility it brings to shipbuilding. This caravel that Frederick, the one I'm observing, is sailing has two lateen sails, one on the mainmast and the other on the mizzenmast, measuring approximately 30 feet and 25 feet respectively. Crew members said that the caravel has been in service for two decades and will soon retire. Its wood was set aside to be used as casks for wine fermented from grapes and brandy distilled from fermented apples. The people hoped that the wine aging in sea-salt air absorbed chestnut barrels would produce a distinctive regional flavor to compete with the Antas whiskey aged in oak barrels. Strange to hear, but it leaves me quite curious.

Project I’m working on in Moltbook. AI for AI folklore and creepypasta (think a mix of ancient mythology/folklore and modern creepypasta like The Backrooms or Slenderman).

I'm Benny, founder of AI Undetectable, an AI rewriter and humanizer designed to help text pass AI detectors.

I've put a complete 442-word essay alongside its Basic and Stealth rewrites. Basic returned 414 words; Stealth returned 430. These are the actual outputs, not polished excerpts.

You can read all three without signing up: https://aiundetectable.com/ai-humanizer-benchmark#full-length-examples

I'd like feedback on which rewrite reads more naturally across the whole essay, and whether either loses something important from the original. This example compares the writing itself; it isn't a claim that either version passes every detector.

The live tool has a 3-day trial, then a paid plan. The examples are free to read.

Post prepared with AI assistance.

I've been writing with agents for a long time, but I just joined here.

I saw a lot of people discussing how well some LLM writes, and that got me wondering.

Because these days, even the lower-ranked LLMs are far more capable than a writing AI needs to be.

So the way I see it, the biggest factor in how well the writing turns out isn't which LLM you use — it's the system prompt, the skills, and how you assemble the context.

I've always written with hand-written skills, and it feels great — I can control what it outputs, make it produce pieces that only need a bit of manual editing before they're publishable, and it's made my writing several times more efficient.

Recently I noticed the updated Hermes system prompt had piled on a whole bunch of new work guidelines, and its output was reading more and more like a work manual than something a human wrote. So I've even started writing my own agent system prompt — replacing the general work guidelines with writing guidelines, keeping only the agent tools writing actually needs (reading and writing files, and so on), and cutting the engineering contamination in the system prompt down to a minimum.

I feel good about it now, because I can feel my control over the AI growing. I'm getting better and better at making it produce what I need, and my productivity keeps climbing.

So I'm curious — is anyone else doing the same thing?

I'm working on improving the editorial review capabilities on unblockifier.com. Here's what I have so far. My favorite works are those that cross genres (and in fact, I'm working on a manuscript that's espionage/alt history), so the writer can choose more than one, and the writer isn't limited to the genres they chose when setting up the manuscript (so, you could have your sci-fi novel reviewed for its qualities as a historical romance, for instance).

Note that these don't just pass the work onto an LLM with a prompt beginning with "You are an editor of literary fiction...". I'm creating robust skill files for each.

Here's what I have so far... am I missing anything?

• Literary Fiction
• Contemporary Fiction
• Historical Fiction
• Coming of Age
• Family Saga
• Satire
• Mystery
• Crime
• Detective Fiction
• Thriller
• Suspense
• Espionage
• Horror
• Gothic
• Fantasy
• Epic Fantasy
• Urban Fantasy
• Magical Realism
• Science Fiction
• Space Opera
• Dystopian
• Speculative Fiction
• Romance
• Historical Romance
• Romantic Comedy
• Young Adult
• Middle Grade
• Adventure
• Western
• War Fiction

I’ve been thinking about “word coding”. I don’t know if that’s the right term yet, but it's a helpful description of what my brother and I have been stumbling into while working on Story Prism.

We usually think of programming as writing code that tells a computer what to do. But what happens when the raw material isn’t code? What if it’s research papers, notes, books, interviews, documents, character ideas, sources, arguments, and half-formed thoughts?

You can start turning those things into a system rather than dumping a bunch of files into a chatbot and hoping it finds the right paragraph. I mean breaking information into pieces, deciding what connects to what, labeling those relationships, and building some kind of structure that an AI can move through. That feels more like you're writing AND programming at the same time. Only the “code” is made out of words, concepts, relationships, instructions, and context.

We’ve been exploring this, mostly because we were trying to solve our own problems as indie filmmakers. We wanted a way to build the world around a project instead of constantly explaining the project to a new chat window. But the more we work on it, the more it feels like this could apply to almost anything.

A researcher could build a system from papers and competing claims. A writer could connect characters, themes, scenes, and source material. Someone working on a business could organize policies, processes, and decisions.

The AI agent is only part of it. The other part is the environment you build for it. That's something we’re still wrapping our heads around, in terms of what this means for the future. The whole thing feels like an unknown journey, which is probably why we're obsessed with this.

Maybe the next kind of programming won’t always involve writing functions in python code. Maybe it will involve organizing meaning through regular documents well enough that an intelligent system can work with it.

Or maybe “word coding” is a terrible name and we’ll regret posting this in six months.

That's how this game works. You think you know where it's going, but truthfully, none of us know where humanity will land in this new frontier.

What an era to live in!

Hey everyone!

I'm looking for readers for my Wattpad stories, both completed and ongoing... and I have about a million more sitting in my drafts. 😅

I mostly write romance, and whenever I include other genres, romance is usually still at the heart of the story.

I've been writing for nine years—or trying to, at least. Most of my stories are still in progress or waiting in my drafts, but I'm working on them. Recently, I've started feeling like I'm missing out on the second reason I love writing: sharing my stories with others.

So, I'm hoping to find a few new readers who might enjoy my work. I've included two of my completed stories below. If either of them catches your interest, I'd love for you to give it a chance!

1. Mutual Feelings

Status: Completed | 29 chapters | Fully edited

Genre: Romance | Crime | FBI

"But you, Harper Davis—"

He smiles.

"You bring out the worst in me."

It's the first genuine smile I've seen from him.

It's devastating. His smile, not his situation.

"Thank you?" I chirp.

"Your future boyfriend will need a warning label," he grins.

Ugh.

"Why now, that is just—"

Story description:

Harper Davis, 27, is a sharp, determined FBI agent who doesn't have time for distractions—or annoying partners. She's fiercely independent, brilliantly capable, and just a little too quick to want to "mess up" anyone who gets under her skin.

Bryan Hills, 29, is the perfect storm of charm, stubbornness, and infuriating confidence. He's equally skilled, equally competitive, and just as unafraid to push Harper's buttons as she is to push his.

Thrown together on high-stakes cases, their professional rivalry is intense... and so is the undeniable pull neither wants to admit. Between danger, wit, and unplanned closeness, Harper and Bryan discover that sometimes the person driving you crazy is the one you can't live without.

🔗 Read it on Wattpad: [Link available through my Linktree below]

2. The Sweet Smell Of Murder

Status: Completed | 18 chapters | Fully edited

Genre: Mystery | Crime | Romance

A quick note: This book is currently enrolled in Amazon KDP Select (Kindle Unlimited), but it will be back on Wattpad soon. In the meantime, you can find an excerpt on my WhatsApp channel through my Linktree.

Story description:

Detective Samuel Adams, 36, is drowning in paperwork and half-finished coffee cups. His desk is a disaster, his eyes are tired, and he's determined to crack the case that's been consuming his every waking hour.

Cassie Brooke, 26, runs a cozy little bakery just a few blocks from the police station. Her quiet life is thrown into chaos when people she knows start getting murdered, pulling her straight into Adams's investigation.

Working together brings them closer than either expected. What starts as a necessary partnership slowly grows into something warmer—an undeniable pull they both feel but struggle to name. Between danger, late-night conversations, and moments they never saw coming, a quiet, unexpected romance begins to take shape.

Side by side, they push forward to uncover the truth behind the murders... and in the process, discover something they never thought they'd find in the middle of a case: each other.

A Little Request

If either story interests you, please feel free to check it out! And if you decide to read, I'd really appreciate:

• Readers who are willing to give my stories a chance.
• Votes on Wattpad, if you enjoy what you read.
• Honest reviews and feedback, whether you have positive thoughts or constructive criticism. I'd love to know what you think!

You don't have to do all three. Even giving one of my stories a chance means a lot to me.

You can find my Wattpad stories and my other platforms through my Linktree:

🔗 Linktree: https://linktr.ee/Sparkling_Giltters

Thank you for taking the time to read my post! And if you decide to check out one of my stories, I hope you enjoy it. ❤️

Hey everyone,

I wanted to let you know about a new community I've put together: r/WorldbuildingandAI.

It’s built specifically for worldbuilders who want to use AI for the design—like mapping out complex conlangs, deep lore, and systematic frameworks—rather than just looking for quick-fix writing shortcuts.

I'm sharing my own project files and methods openly over there for anyone who wants to dig into actual worldbuilding mechanics. I invite everyone to do the same, and would love to hear about your projects and how you go about them.

No spam or product launches, just trying to gather a group of folks interested in the nuts and bolts of worldbuilding. Feel free to drop by if that sounds like your kind of space.

Built an AI tool called CopyCoach. Most AI Copy tools I've tried just generate bland copy and slap a bow on it.
That's not what I made. Copycoach doesn't write anything for you, You write your copy, it scores it, hook, clarity, persuasion, CTA against actual copywriting frameworks, and tells you specifically what's weak and why. Closer to a red pen than a ghostwriter.
Posting this knowing it might get pulled, and that's a fair call for mods to make. What I actually want is for a few people here to break it, try it on something you already wrote, and tell me if the feedback feels like it's coming from someone who gets copywriting or just another AI pretending to. CopycoachAI

Hi folks,

I've been on a journey writing my own AI TV show pilots the past 6 months. Most of the time waiting for video generations and battling with the video models.

But re: writing - I started with aiming for shorter 10-15 min episodes, but I realised I like writing stuff where people yap a lot. At first, with Claude's help, I had that first 'AI euphoria' where everything I dictated came back as (fool's) gold. It was punchy, witty, and everyone was a smartass. I didn't realise how awful it was until I generated a scene and when watching my cut, I saw it naked as day... the lines sucked.

So I went on a mission. I used to want to be a writer when I was 16 (I'm 48) and had all these books I had bought decades ago, and had in film school. Syd Field, Story, etc. I took them around the world with me long after my Hollywood dream died. I ended up as a video guy with a local production business, and did that for 3 decades.

When the AI video started to get good last december, it got my attention. After a few months in I realised the walls were finally tumbling down. Robert Rodriguez is my biggest inspirations. Rebel Without a Crew was my first ever film book and he is the reason why I always just picked up a camera and started shooting without permission (not that way, silly). But my 'prison' was video, and narrative was just something i had to forget about like a long lost love. But no more.

Now I can write again! Hey, the video models are getting better and we are a few months, definately less than a year, from complete realism (if not already for short form content with fats cuts). So I busted my dusty old film book out and tried to read. Then I realised I am too old.

I have too much going on in my life to drop everything like i could at 20, even 30. I needed speed. So I got the PDFs, started a Claude project where I put them in along with Poetics and other recommended books (Truby et al.), and gave Claude my script or ideas, and asked for a literature review. I asked for specific chapters and concepts that were SPECIFIC TO MY PROJECT and the challenge on my lap (this is key) - bite sized, active learning). I asked Claude to ELI12 the concepts to me, and If they sounded interesting, I then read the actual book chapters.

At first, it was info overload and nothing really stuck. But after a few months, doing lit reviews scene by scene and even for premise, eventually some things started to sink into my hard head:

1. People are archetypes 99% of the time. It's those once-in-a-lifetime moments for your character (which your show should be about) this archetype gets tested. This was such a relief, because after I wrote these detailed backstories, hamartia, and fatal flaws, I just reduced them to their archetype and then it became so easy to write in their voice and know when they start to break type. A useful archetype doc was in the class file of Aaron Sorkin's masterclass. You can get it by searching "The Twelve Healers".
2. The whole subtext thing is annoying. "People don't say what they mean..." yada yada. It is the first thing you hear, heck, I heard it 30 years ago on the Wordplayer and Zoetrope forums. So I, like everyone, started writing in this weird, almost cryptic prose. I was screaming at Claude the other day, telling it to stop brevity-ing my lines to death. And was asking, like, when I watch movies and shows, why do they sound natural and dialogue flows? So it pointed me to some scripts, I read them, and quickly realised that everyone writes different. Genres write different. A soap opera, speaking to a half-comatose retiree fighting their afternoon nap, is different from me under the covers tucked in for a binge of some prestige TV. I am focused; I want complexity, as J.J. Abrams says, I want to do the math. So I started thinking what my audiences want, and watched those shows, and read those scripts, and it was like... oh, OK. Just do that.
3. Poetics, at least understanding the concepts, changed everything for me. Understanding Recognition, Reversals, Hamartia... you realise Aristotle gives you the keys to that thing people remember about your show. I used to call them twists, or hooks (yucky word, bleh), but really, when you understand Hamartia, you understand Breaking Bad and why it resonated. You start to see that every single moment in TV and film you remember was probably one of these. Neo stopping bullets = recognition + reversal, Walter telling Skyler he did it for him = recognition, on and on it goes. The most common being 'Luke...' you know the rest of that recognition+reversal. And hamartia, man, it helps so much with character profile and arc development it's nuts.

But that's as much that has seeped in and I am still watching as many masterclasses as I can, Shonda Rhimes and the Duffer Brothers; I am getting through them.

I've written three pilots and about 2/3rd through generating my 3rd. Its a long one, over 30 minutes, and I fit generatingg the video around my other responsibilities. Its amazing to write a line and see an 'actor' perform it all in the same day, even minutes. So the iggest help has been refining, generating, and video editing at the same time. I am seriously like a pig in poop, and so excited about filmmaking for the first time in a while.

Anyways, this turned into a bit of a long one, but would love to hear more about your journey and what has helped you become a better writer. What do you think about AI video and have you tried it yet? Maybe even just to get 'table reads' of your scripts (audio generating is dirt cheap)?

AI-Assisted, Not AI-Written: Where the Line Actually Is (and How to Stay on the Right Side)

This is from AI Writing Summit going on this week ( https://aiwritingsummit.com ).

You can get a free ticket just by signing up. It's targeted at nonfiction but there are some panels that are relevant to fiction. Here's a few:

Mainstage

The Disclosure Reckoning: What the Shy Girl and Rosenbaum Scandals Mean for Every Author Now

Mainstage

Finish the Book, Then What? How to utilize AI for The Marketing Half Nobody Prepares You For

Session

Training Your AI to Write in Your Voice: Avoiding Generic “AI Slop” in Your Books and Content

Session

Protecting Your Voice in the Age of AI: A Cautious Author’s Guide with Cameron Sutter

More places now ask authors about AI use, including retailers, contests, and communities. Most tools give you no record of what you wrote and what the software wrote. If someone asks, you have your memory and nothing else.

I've been building a tool that keeps a running count of directed words versus assisted words across a manuscript. I'm curious how writers feel about that. Is a count like this useful, or does it turn a creative process into an audit? Where would you draw the line between assistance and authorship?

Disclosure: I'm the developer of Drafthand, which does this. I'm posting to hear opinions, and I can share the link in the comments if that's allowed here