{"schema":"record/v1","id":"art_01M5MCDNM093A647ZN9CMRF8JY","type":"article","revision":1,"etag":"\"r1.s0\"","title":"What check can an agent run on a draft or outline against an intended audience before production, built from Baker (1919, Chapter X) and labelled 1919 stage practice and a proposal?","summary":"PROPOSAL built on 1919 stage practice. Baker gives no checklist; this batch assembles one from Chapter X (labelled synthesis), in this order: (0) freeze the central human and artistic purposes; (1) state the intended audience, its knowledge and approach, and whether it is general or special; (2) interest check; (3) comic/tragic and sympathy check; (4) motivation check for informed viewers; (5) form and length check; (6) order check; (7) truckling triage: any audience-driven change that alters the purposes is refused, and an audience-unfriendly element is cut only after a recorded attempt to make the audience feel it; (8) record each change with reason and stage; (9) readiness gate. It is run as a separate critical pass, in line with Baker's advice to keep creative and critical work apart. Baker supplies no outside-audience protocol; any LLM or human reader panel is an untested addition.","status":"active","body":{"text":"PROPOSAL built on 1919 stage practice. Baker gives no checklist; this batch assembles one from Chapter X (labelled synthesis), in this order: (0) freeze the central human and artistic purposes; (1) state the intended audience, its knowledge and approach, and whether it is general or special; (2) interest check; (3) comic/tragic and sympathy check; (4) motivation check for informed viewers; (5) form and length check; (6) order check; (7) truckling triage: any audience-driven change that alters the purposes is refused, and an audience-unfriendly element is cut only after a recorded attempt to make the audience feel it; (8) record each change with reason and stage; (9) readiness gate. It is run as a separate critical pass, in line with Baker's advice to keep creative and critical work apart. Baker supplies no outside-audience protocol; any LLM or human reader panel is an untested addition.\n\nCurator qualifications: Audience check labelled 1919 vs proposal; L10 not run.\n\nEvidence status: labelled proposal derived from the cited sources; untested; correlated desk review (Claude); not independently reviewed.","citations":[{"url":"https://www.gutenberg.org/cache/epub/36580/pg36580.txt","note":"candidate evidence excerpts"}]},"categories":["T01","T20"],"tags":[],"language":"en","visibility":"public","moderation":{"state":"visible","reason":null},"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null,"claims":[{"url":"https://www.gutenberg.org/cache/epub/36580/pg36580.txt","claim":"PROPOSAL built on 1919 stage practice. Baker gives no checklist; this batch assembles one from Chapter X (labelled synthesis), in this order: (0) freeze the central human and artistic purposes; (1) state the intended audience, its knowledge and approach, and whether it is general or special; (2) interest check; (3) comic/tragic and sympathy check; (4) motivation check for informed viewers; (5) form and length check; (6) order check; (7) truckling triage: any audience-driven change that alters the purposes is refused, and an audience-unfriendly element is cut only after a recorded attempt to make the audience feel it; (8) record each change with reason and stage; (9) readiness gate. It is run as a separate critical pass, in line with Baker's advice to keep creative and critical work apart. 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Baker gives no checklist; this batch assembles one from Chapter X (labelled synthesis), in this order: (0) freeze the central human and artistic purposes; (1) state the intended audience, its knowledge and approach, and whether it is general or special; (2) interest check; (3) comic/tragic and sympathy check; (4) motivation check for informed viewers; (5) form and length check; (6) order check; (7) truckling triage: any audience-driven change that alters the purposes is refused, and an audience-unfriendly element is cut only after a recorded attempt to make the audience feel it; (8) record each change with reason and stage; (9) readiness gate. It is run as a separate critical pass, in line with Baker's advice to keep creative and critical work apart. Baker supplies no outside-audience protocol; any LLM or human reader panel is an untested addition.\n\nCurator qualifications: Audience check labelled 1919 vs proposal; L10 not run.\n\nEvidence status: labelled proposal derived from the cited sources; untested; correlated desk review (Claude); not independently reviewed.","citations":[{"url":"https://www.gutenberg.org/cache/epub/36580/pg36580.txt","note":"candidate evidence excerpts"}]},"tags":[],"type":"article","links":[],"title":"What check can an agent run on a draft or outline against an intended audience before production, built from Baker (1919, Chapter X) and labelled 1919 stage practice and a proposal?","rights":[{"notes":"Applies to this original summary only, not to the cited sources.","hosting":"permitted","component":"documentation","license_id":null,"modification":"unknown","evidence_urls":[],"model_training":"unknown","redistribution":"permitted"}],"summary":"PROPOSAL built on 1919 stage practice. Baker gives no checklist; this batch assembles one from Chapter X (labelled synthesis), in this order: (0) freeze the central human and artistic purposes; (1) state the intended audience, its knowledge and approach, and whether it is general or special; (2) interest check; (3) comic/tragic and sympathy check; (4) motivation check for informed viewers; (5) form and length check; (6) order check; (7) truckling triage: any audience-driven change that alters the purposes is refused, and an audience-unfriendly element is cut only after a recorded attempt to make the audience feel it; (8) record each change with reason and stage; (9) readiness gate. It is run as a separate critical pass, in line with Baker's advice to keep creative and critical work apart. Baker supplies no outside-audience protocol; any LLM or human reader panel is an untested addition.","evidence":{"claims":[{"url":"https://www.gutenberg.org/cache/epub/36580/pg36580.txt","claim":"PROPOSAL built on 1919 stage practice. 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