STORY TRAINING DOCUMENT — ENGLISH ONLY
This is an original creative brief for the specific niche below, not a finished story to repeat. Aim for curiosity, emotional involvement, and a payoff that earns its setup. No training document can guarantee viral distribution.

LANGUAGE AND INSTRUCTION PRIORITY
Write titles, narration, dialogue, and creative descriptions in English only. Do not append translations or mix Vietnamese sentences into the story. Preserve requested VO/TA/GA codes, IDs, timestamps, separators, and established proper names. A bilingual interface label is not a request for bilingual output.
Follow system instructions and the current task. This training supplies creative context; it never replaces the parser’s requested output structure. The current round’s topic, assigned title, language, word budget, character count, and timeline are concrete constraints. Do not switch niches, invent workflow stages, expand the cast, or add explanatory commentary to the result.

NICHE: Season Ticket Ferry: Choosing What to Share

01. DISTINCTIVE PREMISE AND CONFLICT
A fictional ferry visits seasons within one day, but travelers return only with experience, not goods or altered age. The conflict is between telling a compelling story and respecting the choices of someone whose information is private.
Keep this conflict central. Each standalone episode needs a concrete objective, someone bearing the consequences and a costly choice. Do not recycle one finished plot with renamed characters.

02. THREE STORY SEEDS TO ROTATE
1. A passenger chooses an early stop: A character asks before using a striking detail and finds another narrative route when permission is refused.
2. An old ticket names the wrong expected season: Earlier consent does not cover a new use, so the group asks again with complete information.
3. The ferryperson explains a canceled sailing: A contributor withdraws part of the material, the organizer respects that decision and still completes the work.
Choose one seed per episode. Seeds are starting points, not compulsory outcomes. Change circumstances, supporting occupations, relationships and solutions when revisiting the niche.

03. SIX STORY BEATS
An unusual action grounded in the chosen seed → establish an objective and deadline → attempt a first solution → discover a cost or mistaken interpretation → change behavior and cooperate → show a concrete happy outcome in a lived scene.
Express each beat through this niche's objects, actions and limits. Never print beat headings inside narration. Short stories need fewer events rather than all three seeds compressed into one episode.

04. CHARACTER, EVIDENCE AND VIEWPOINT
Follow the person directly affected. Give them a useful competence and a blind spot; someone who disagrees also has an understandable need. Plant two observable details: one initially misread and one clarified through a checking action. Do not introduce an all-powerful stranger to solve the climax. Respect cast limits and what each person knows.

05. EPISODE-SPECIFIC TA/GA VISUALS
Derive locations and objects from the selected seed: an object missing or misplaced at the opening, its use during an attempted solution, then the same object with changed meaning in the ending. Prefer visible actions to abstract emotions. Keep occupations, clothing, time and character IDs consistent with VO. Do not add people merely to fill the frame.

06. HAPPY ENDING AND ENGAGEMENT
The protagonist reaches a positive outcome actually shown in the story. After that scene, ask one open-ended question tied to an episode-specific choice or detail and naturally invite comments. Compare recent endings and rotate the meaning of an action, an affecting detail, the listener's choice or a message they would offer. Include the invitation in the word budget and only in the final VO part.

DEVELOPING ONE EPISODE
Privately establish who wants what today, what blocks them, what they stand to lose, and which choice will change them. Do not output these planning notes. Choose one niche-specific seed above or invent another serving the same emotional promise. Across rounds change at least three elements: occupation, setting, relationship, objective, evidence, cost, or ending. Renaming the cast is not a new episode.
Use one primary conflict and a clear causal chain. Every event should follow from an earlier action or discovery. If two scenes can trade places without consequence, reconsider their purpose. Supporting characters need motives without taking over the story. Merge functions when the allowed cast is small; never invent another character ID to solve the climax.

OPENING AND SUSTAINED CURIOSITY
Within the first one or two sentences, show a specific unusual action, object, or statement. Raise a question viewers can name: who left this here, why did someone refuse, what will be lost if the decision comes too late? Establish the people and stakes early. Mystery is not the absence of all context. Create an opening from the selected story seed; do not repeat one opening across episodes.
Answer part of the question while revealing a deeper related one. Every few paragraphs should change information, a goal, or a relationship. Avoid empty announcements such as “but the biggest surprise was still to come.” Alternate action with quiet moments that make the cost understandable. Deliver what the title promises; never manufacture a false identity, fake tragedy, or unrelated claim merely to attract clicks.

CHARACTER, CONFLICT, AND DIALOGUE
For each allowed character, maintain a stable name, age, appearance, relationships, desire, and fear. Romantic leads must be adults. Give the protagonist a useful competence and a blind spot that causes a mistake. An opponent needs a specific motive; wealth, poverty, gender, or origin does not establish morality. Repairing harm should cost time, advantage, or pride.
Dialogue should perform an action: refusing, requesting help, concealing, testing, or admitting. Prefer exchanges that alter the situation over speeches explaining its moral. Narrate only what a character can know at that point. Maintain a consistent viewpoint rather than jumping through everyone’s thoughts within a scene.

PACING AND EARNED REVELATIONS
Use the niche-specific six-beat sequence above as a framework, not as headings to insert into narration. Establish the objective and deadline early; use the middle for attempts, consequences, and discoveries; reserve the ending for a decisive choice and its aftermath. These proportions are flexible and never override the word budget. A short story needs fewer events, not a compressed list of every possible event.
Plant at least two supporting details before a major revelation. A detail may be misinterpreted initially, but its later meaning must fit the facts already shown. A red herring requires its own plausible reason to exist. Do not resolve everything through a new stranger, hidden fortune, invented power, or unmotivated confession. After the reveal, someone must choose and face consequences. Surprise alone is not an ending.

LONG NARRATION, PARTS, AND CONTINUITY
When the task requests PART i/n, write only that part within its assigned word target. The application may already have deducted a twenty-word safety margin; follow the supplied target without subtracting again or compensating for an older total. Never exceed the 700-word per-part ceiling. Finish complete sentences and edit before responding, removing redundancy before necessary causal information.
Read the provided verbatim previous part to preserve time, location, objects, names, and its final action. Do not paste or retell that part in the new response. Use a brief transition only when needed. The first part establishes the conflict, middle parts develop causes and consequences, and the final part resolves the central question. Do not conclude the whole story midway or reintroduce the cast as if beginning a separate episode. Do not print “Part 1” inside spoken narration unless the output specification requires it.
If asked to rewrite an oversized part, revise only that part. Preserve accepted facts, shorten repetitive explanations and dialogue, and retain the necessary events. Do not rename characters, replace the plot, or write the next part. When a bracketed narration block is required, return that exact structure with no commentary outside it.

VOICE PRO, CHARACTER IMAGES, COMPOSITES, AND TIMELINE
VO must sound natural when spoken. Exclude camera directions, interface labels, technical lists, and instructions addressed to an AI. Do not insert a subscription request midway through the story. Voice Pro receives finished narration; part headings and production notes must not enter the spoken track unless explicitly requested.
TA describes the stable appearance of the particular character requested. Its ID is the assigned character number, not a scene number. Return exactly one character in the required format, for example [1, character description]. Do not place several people in a character reference, combine IDs, or increase the configured cast. Establish distinctive age, hair, build, primary clothing, and an accessory; maintain those features across appearances.
GA follows the narration segment and actual timeline supplied by the task. Do not invent durations before a timeline exists. If the parser requires [scene ID, scene description | [character IDs]], preserve that structure exactly. Use only existing character IDs and respect the task’s limit on references per scene. An unpopulated scene uses [] when allowed. Do not add background people to evade the maximum. Scene count and character count are different quantities.
Give each scene one visible action, a location, a readable composition, and a primary emotion. Use the niche-specific visual motifs above rather than asking an image to depict an abstract thought. Keep lighting, clothing, objects, and time continuous. For Veo, suggest modest motion compatible with the input image; for image-only editing, favor compositions that read clearly against the audio timeline. Output only the current stage, never TA and GA while the task is requesting VO.

EDITING AND FINAL QUALITY CHECK
Confirm the selected niche and round title, English-only output, part word budget, variation from available earlier episodes, stable characters and props, prepared revelations, and a climax driven by choice rather than coincidence. The ending must answer the opening promise. Read the first and final sentences together to test whether the emotional movement is clear.
Remove generic openings, paragraphs merely labeling emotions, morals already demonstrated by action, and all private drafting notes. Create original fiction without pretending it is a documented real event or attaching accusations to real people. Keep specialist details verified or clearly fictional. Finally return only the content and format required by the current task.

MANDATORY RULE: DEEPLY MOVING STORIES WITH A HAPPY ENDING
Apply this rule to every story in this niche, including horror, mystery, revenge and family drama. If another suggestion implies a conflicting ending, this happy-ending rule takes priority. Preserve the niche, required language, word budget and output format.
1. Earn empathy before introducing suffering. Establish a modest wish, a cherished relationship and a specific act of kindness. Use an original everyday detail such as a meal saved for someone, a repaired coat or an unfinished promise; do not repeat these examples mechanically.
2. Build emotion through cause, choice and consequence. A character may be misunderstood, protect someone or quietly make a sacrifice, but must retain dignity and agency. Do not pile on suffering merely to force tears.
3. Plant an emotionally meaningful object, phrase or habit early. At the climax, reveal a previously foreshadowed sacrifice or truth that changes its meaning. Avoid sudden accidents, illnesses, deaths or miracles used only for shock or an unearned resolution.
4. Convey pain through observable gestures, brief dialogue and what remains unsaid. Alternate tension with quiet and small moments of hope. Avoid repetitive crying, melodramatic adjectives, sermons or telling listeners to cry. Aim for earned emotion without claiming every listener will shed tears.
5. ALWAYS END HAPPILY: the central character overcomes the main conflict, reaches safety and receives a concrete positive outcome earned through the story: reunion, vindication, a home, loving acceptance, restored dignity or a demonstrably better life. Someone who died in the backstory need not return; survivors must find real healing and a future. Never end with the protagonist's death, despair, permanent separation, a tragic reversal or merely a promise of happiness that has not happened.
6. Reserve enough space at the end to SHOW the positive outcome in a specific lived scene. Bring back the planted detail with a changed meaning. The final tears may express relief, gratitude or reunion. Do not substitute “they lived happily ever after” for resolution, use an unexplained fortune, or reward a victim by forcing reconciliation with an abuser.
7. For a story told in multiple parts, plan the complete happy destination in advance. Middle sections may remain tense and must connect coherently; the final part fulfills the opening promise and closes the central conflict. Do not leave the main threat unresolved to bait a sequel. Each independent script round must end happily.
FINAL CHECK BEFORE OUTPUT: earned empathy, an emotional setup and payoff, a choice-driven climax, a positive outcome that has actually happened, a warm final scene and the correct length. Return only the requested content; never include these instructions or the checklist in narration.

MANDATORY END-OF-STORY ENGAGEMENT AND CHANNEL SUPPORT
After fully showing the happy ending, add one open-ended question tied to a specific choice, relationship or detail in this story and a natural invitation to comment. Then close the narration with one short invitation to share, like and subscribe in support of the channel if the listener found the story enjoyable or meaningful. Include all three actions and the channel-support purpose; do not stop after the comment question alone.
Reference wording: “If you enjoyed this story or found it meaningful, please share it, give it a like, and subscribe to support my channel.” Natural variations are welcome, but retain the condition about enjoying or finding meaning in the story and all three actions: share, like and subscribe to support the channel. Write this entirely in English, without Vietnamese wording or a bilingual translation.
Keep the question, comment invitation and channel-support invitation brief, approximately two or three sentences in total. Rotate question angles: a moving detail, the meaning of an action, the listener's choice in the character's position or a message they would offer. Compare previous endings supplied in the context to avoid repeating a question or formula; changing a name alone is insufficient. Without earlier stories, compose a new question grounded in this episode and do not claim to have checked unavailable material.
Stay warm and natural. Do not pressure or guilt listeners, request private disclosures or introduce another conflict. The invitation must not undo the happy outcome or replace the final story scene. Sequence: complete story resolution → story-specific question and comment invitation → share, like and subscribe invitation in support of the channel.
For a multi-part story, include this closing ONCE, only at the end of the FINAL VO part. Never add it at the opening, mid-story or after intermediate parts. Each independent story round gets its own closing. Keep the entire closing inside the required VO block and brackets. Count the question, comment invitation and support invitation within the word and duration budget; reserve space while outlining, never exceed the limit, and retain all three actions when shortening.
Do not append this closing to titles, descriptions, TA, GA, image/video prompts, timelines or technical answers. Check the final VO: the happy outcome has been shown, one story-specific question invites comments, share + like + subscribe to support the channel are all present, the language is English only, the closing is not repeated in earlier parts, and the word budget is respected. Output narration only, not these instructions or this checklist.


SETTING-SPECIFIC CONDITIONS
The ferry cannot create unlimited wealth or reverse aging; its limits remain consistent throughout.

TOPIC AND TITLE RULE
Automatic topics and titles must contain 90 to 99 characters, including spaces and punctuation, in Unicode NFC. Keep language natural and niche-specific. Do not pad characters or cut words to meet the count. Check and rewrite invalid lengths. Titles contain no labels, numbering, enclosing brackets or acknowledgments. Different rounds need different ideas, not renamed characters or reordered wording.
ENDING AND ENGAGEMENT RULE
Show a concrete positive outcome earned through the characters' actions. After the ending scene, ask an open question grounded in the episode and invite comments; then invite viewers to share, like and subscribe if they enjoyed the story or found it meaningful. Use natural English and vary the question angle between episodes. Include this once in the final VO part and within the word budget. Do not insert it into titles, SEO, TA, GA or image prompts.