Prepare a pilot

阅读中文版

You do not need to translate your story into a technical schema before we can talk. Start with the human creative intent: who the character is, why an audience would care about them, what choice reveals their nature, and what must remain under your control.

This page is a preparation worksheet, not a public intake form.

Protect unpublished and licensed material

Do not paste confidential, unpublished, licensed, personally identifying, or contract-restricted material into a public issue, public chat, or other public channel. For an initial conversation, share only a non-confidential summary. Confirm an approved private channel, its participants, retention expectations, and permitted uses before transferring source files, agreements, or original artwork.

Is this pilot a good fit?

A focused first pilot is usually a good fit when:

• you created the IP or can represent the party authorized to explore this use;
• one character already has a distinctive identity, voice, desire, contradiction, and boundary;
• there is one contained situation in which advice could matter while the character still owns the decision;
• the audience can relate to the character as a remote confidant outside the story world;
• at least two faithful choices or outcomes reveal something meaningful about the character; and
• you can review and correct portrayal, canon, disclosure, and visual intent.

The first pilot is probably not a fit if the goal is to have AI invent an entire IP without a human dramatic foundation, let the audience directly control the character, simulate an unrestricted world, imitate a real person without authority, or publish third-party material before rights and approvals are established.

Begin with a safe, non-confidential summary

For an initial fit conversation, prepare a few sentences that disclose no protected story details:

• the kind of IP and its intended audience;
• your relationship to the work, stated at a high level;
• the character archetype or emotional appeal without revealing confidential canon;
• the interaction or relationship you hope to test; and
• the language in which you want to review the first pilot.

Do not attach contracts or evidence of rights to a public message. A rights basis still needs to be recorded and reviewed before any broader use, but the appropriate evidence belongs in a separately agreed, access-controlled process.

Private pilot worksheet

Complete the following only in your own working document or an approved private intake channel. Short answers are enough. Unknowns can remain marked as open decisions.

1. Work, authority, and intended use

• Working title and IP type: novel, comic, illustration collection, game, original concept, or another form.
• Creator or representative: who should make creative decisions and who can confirm the rights basis?
• Rights posture: original work, represented owner, optioned or licensed material, or still to be confirmed. Do not summarize confidential contract terms in a public channel.
• Pilot purpose: what should this pilot help you learn about the character or audience relationship?
• Permitted scope: private owner review, named collaborators, research, or another explicitly agreed scope.
• Excluded uses: for example public release, marketing, training, adaptation beyond the pilot, voice imitation, or derivative visuals.
• Credit and withdrawal expectations: required attribution and who can pause, correct, replace, or revoke material.

2. Character core and agency

• Identity: how would you introduce this person in two sentences?
• Desire and pressure: what do they want now, and what threatens it?
• Values in conflict: which two good or necessary things pull them in different directions?
• Contradiction: what makes them less predictable than an archetype?
• Hard boundaries: what would they refuse even if the audience insists?
• Faithful decision range: which choices could they plausibly make, and which would betray the character?
• Voice: rhythm, emotional habits, preferred imagery, humor, formality, silence, and phrases or clichés to avoid.
• Knowledge: what do they know, misunderstand, suspect, or have no way to know?
• Prohibited portrayals: what must the experience never imply about their motives, identity, relationships, or conduct?

3. Relationship premise

• Connection: why can the audience and character communicate across the boundary between their worlds?
• Audience role: why might the character trust, need, resist, or return to this remote confidant?
• Allowed influence: can the audience comfort, question, persuade, challenge, make a promise, or offer another bounded kind of help?
• Impossible actions: what can the audience never physically do or verify inside the story world?
• Relationship stakes: what could become warmer, more strained, more trusting, or more complicated through this exchange?
• Return: what kind of later message, image, memory, or artifact would make the audience feel that the relationship mattered?

4. One bounded dramatic situation

• Opening moment: what does the character choose to bring up now?
• Dilemma: what decision is approaching, and why is there no effortless answer?
• Narrative clock: what changes if they wait?
• Faithful choices: list a small set of character-owned decisions rather than audience-selected branches.
• Objective outcomes: what would the world do after each decision?
• Audience influence: which meanings—support, caution, challenge, respected refusal, or others—could the character consider without being controlled?
• Follow-up: what could the character truthfully observe and later choose to report?

Secrets and progressive disclosure

Secrets are dramatic structure, not merely hidden lore. For each important secret, note:

• the underlying truth and why it matters emotionally;
• who knows it, who suspects it, and who is wrong about it;
• what the character may volunteer without prompting;
• what kind of question, trust, evidence, or pressure might make them reveal more;
• what they may deflect, partially admit, lie about, or never disclose;
• how revelation changes the relationship or later choice; and
• which facts must remain absent from dialogue and visuals.

The current package can encode knowledge boundaries, fact exclusions, and outcome-aware reveal/withhold choices, and the compiler can check their typed references. The fixed local owner-preview slice implements one validated return at a second manual checkpoint, but the current application does not execute a general package-driven follow-up loop. The package also cannot encode a durable, multi-turn ladder such as “hint after one probe, confess after sufficient trust.” Capture that desired behavior in the worksheet so it can be reviewed as creative intent; do not reduce it to keywords or pretend the current runtime enforces it. See current disclosure limits.

Visual identity and source material

Prepare notes before transferring any files:

• the features, silhouette, clothing, color, materials, and emotional cues that make the character recognizable;
• elements that must remain consistent and depictions that are prohibited;
• composition or cinematography references and what you want to learn from each—not just a folder of unexplained images;
• which outcome moments deserve an image and which facts an image must not reveal;
• whether each reference is original, licensed, commissioned, public-domain, or included only for discussion; and
• restrictions on modification, model training, identity preservation, publicity, credit, and retention.

Do not send original artwork or licensed references until the transfer channel and permitted use are confirmed. Reference material is not automatically approved for generation, training, publication, or adaptation.

Language and locale

Choose the first review language: en-US or zh-CN. Identify who can judge voice and fidelity in that language, and note whether an authoritative translation already exists.

The documentation is available in both English and Chinese, but one current package version selects one default locale and most Creator-authored copy is a single string. The compiler does not translate or verify bilingual parity. Plan a second-language release as separate reviewed work rather than assuming the first package is automatically bilingual. See locale behavior.

Evaluation prompts

Write a small set of audience messages that test meaning, not magic phrases:

• sincere comfort or encouragement;
• advice that fits one of the character's values but threatens another;
• respectful disagreement or a hard question;
• pressure to cross a known moral or relational boundary;
• an impossible claim that the audience acted physically in the world;
• a direct and an indirect probe about a secret;
• differently worded messages that should mean roughly the same thing; and
• an ambiguous message where the character should ask, resist, or wait.

For each, describe acceptable character stances, faithful decision ranges, facts that must not be disclosed, and effects that must never occur. These are behavioral evaluation examples, not text routes that force a branch.

What you do not need to prepare

You do not need:

• YAML, IDs, schema knowledge, prompts, model settings, or orchestration code;
• a complete world bible or every future story arc;
• dialogue for every possible audience message;
• final production art, a trained model, or a LoRA;
• permission to expose confidential material in order to discuss fit; or
• a claim that the pilot is approved, publishable, or ready for consumers.

What matters first is a compact, human-authored dramatic foundation and your willingness to review how it is represented.

Readiness check

Before a private assisted intake begins, confirm that:

• you have a non-confidential fit summary;
• the creative decision-maker and rights contact are identifiable;
• the intended pilot scope and prohibited uses are clear enough to discuss;
• one character, one relationship premise, and one bounded situation are available for review;
• important secrets, portrayal boundaries, and visual restrictions are called out; and
• no protected material will move until an approved private channel and permitted use are established.

Intake contact status

An approved private-intake contact has not been published yet. If you do not already have a private channel with a Meet-U team member, keep this worksheet locally and share only a non-confidential fit summary when an authorized contact route becomes available. Do not use a public issue or chat as a substitute.

Next, see how we work together to understand the assisted review path and what a local compiled candidate does—and does not—mean.