Camera Distance
Character Focus controls where the camera sits: outside observing the world, or inside the character's consciousness.
Think of it like film: Level 1 = Wide Shot showing the environment and external world. Level 10 = Extreme Close-Up living inside the character's mind.
Same story. Same voice. Watch how the camera pulls back to show the world (108 words) or dives into pure consciousness (107 words). Romance Fiction
Starting point: Internal-leaning. Focuses on Emma's emotions ("nervous," "loved," "hoped") with minimal environmental detail. The coffee shop is just a label—no atmosphere, no description.
Camera position: Environment is the star. "The coffee shop hummed," "sunlight streamed," "shadows stretched across the floor." Emma is "a small figure dwarfed by the room's expanse." The world dominates—characters are observed from outside. Voice Clarity at 82% reflects intentional deviation from baseline.
Camera position: Deep inside consciousness. "Emma's mind a kaleidoscope," "clinging to shadows," "chasing ghosts, echoes of a love." We're not watching Emma—we ARE Emma's thoughts. Pure interiority. Voice Clarity at 91%—closer to baseline because Romance naturally leans internal.
Character Focus controls where the reader experiences the story from.
Level 1 = Wide Shot (108 words, environment dominant, characters observed from outside)
Level 10 = Extreme Close-Up (107 words, pure consciousness, living inside the mind)
You decide the camera distance. Action scene? Pull back wide. Emotional climax? Go deep inside. That's directorial control.
About Voice Clarity: The Romance Fiction preset is calibrated for optimal voice preservation. When you push sliders to extreme positions (1 or 10), Voice Clarity drops—that's intentional. The Equalizer measures how far you've deviated from your baseline voice, so you always know. That's not a flaw. That's integrity.
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Each control gives you a different dimension of directorial power