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I built a daily AI story-scouting workflow that finds potentially viral stories for Instagram Reels, YouTube Shorts, and TikTok without recycling topics we’ve already covered. First, the workflow reviewed Rowan’s public short-form archive once to create a coverage map of past topics and editorial taste. It uses that map as a filter, helping distinguish a genuinely new angle from another version of the same AI launch, robot demo, or research story. Every morning, it scans priority sources, including AI and technology coverage from major newspapers and tech blogs, The Rundown newsletters, company announcements, research papers, and public updates from major AI and robotics companies. The workflow is not limited to same-day news. It also looks back over the past one to six weeks for stories that have not been extensively covered in the media. Each potential story is checked for four things: a clear visual hook, a technical idea that can be explained in 45–90 seconds, broad audience interest, and meaningful novelty compared with Rowan’s past coverage and the previous week’s recommendations. It keeps every story that clears the bar rather than forcing a fixed number. The final brief is ranked by strength and sent as one compact Slack DM at 10 AM each day. Step-by-step: 1. The workflow reviews Rowan’s public short-form archive once and builds a map of past topics and editorial taste. 2. Each morning, it scans priority sources, including major newspapers, tech blogs, The Rundown newsletters, company announcements, research papers, and public updates from major AI and robotics companies. 3. It searches both same-day news and stories from the previous one to six weeks that have not been extensively covered in the media. 4. It filters out topics that substantially repeat Rowan’s past coverage or the previous week’s recommendations, while identifying genuinely new angles. 5. It evaluates each potential story for a clear visual hook, a technical idea explainable in 45–90 seconds, broad audience interest, and meaningful novelty. 6. It keeps every story that meets those criteria instead of forcing a fixed number of recommendations. 7. It ranks the final brief by strength and sends it as one compact Slack DM at 10 AM each day.

I'm a British Academy (BAFTA) voting member. Every autumn, the members' screener platform fills up with more than 100 eligible films—major contenders, obscure documentaries, and hidden gems all mixed together. I have a few weeks to decide what deserves my viewing time before I vote. The fun challenge is finding the sleeper nobody has heard of yet; the problem is the sheer volume of clutter I have to sift through. I built a workflow in Claude Cowork that turns the overwhelming list into an ongoing conversation with a curator that knows my taste. I started by inputting my film notes from previous years: what I watched each season, what I loved, what I abandoned, and why. Claude stores this in persistent memory alongside a growing profile of my taste, including my go-to critic, my low tolerance for slow cinema, the kinds of films that reward me, and my rule that a film gets minutes—not acts—to earn my time. Every session starts with this context already loaded. When a new batch of films drops, Claude opens the screener platform in its built-in browser, reads the full slate, and sends research agents to cover every title in parallel. They research the director, cast, runtime, Rotten Tomatoes scores, festival prizes, awards buzz, and whether my favourite critic has reviewed each film. Claude even pulls the transcripts of his YouTube reviews and summarises the verdict. In about 20 minutes, a 37-film batch is triaged into three categories: priority viewing, worth sampling, and skips. Slow starters are flagged so I know which films need a committed evening and which get 10 minutes to prove themselves. As I watch, I feed verdicts back in plain English, such as “gave it ten minutes, too abstract.” Claude updates both the tracker and its model of my taste, so each recommendation round becomes sharper. By voting time, I have a complete, searchable record of everything I watched and what I thought of it, built conversationally throughout the season. Step-by-step: 1. I input my film notes from previous years—everything I watched, loved, and abandoned, along with my reasons. Claude saves them to persistent memory, which every future session loads automatically, and builds a profile of my taste from them. 2. When new films appear on the members' platform, Claude opens it in its built-in browser and reads the full list of titles. 3. Claude launches parallel research agents to cover every title, including the cast, crew, runtime, Rotten Tomatoes scores, festival prizes, awards buzz, and my preferred critic's verdict from YouTube review transcripts. 4. Claude compiles a triage tracker that ranks every film by viewing priority, flags likely sleepers, and warns me about slow starters. 5. As I sample films, I report quick verdicts in plain English. Claude logs them and continuously refines its profile of my taste, so recommendations improve throughout the season. 6. At voting time, I have a complete record of what I watched, what I thought, and why, built conversationally across the season.

Midlifecurious is a newsletter for women navigating midlife—honest, funny, and allergic to being talked down to. Its Sunday issue, the Midlife Missive, is a roundup covering health, wellness, money, beauty, and family. My sister, Claire, edits it; I build the machine behind it. That machine is Missive, a five-part publishing intelligence system that runs the newsletter as one closed loop: scan → triage → publish → measure → remember. It monitors Reddit, search trends, and RSS to identify what midlife women are paying attention to before those topics reach our feeds. Discovery pulls in those sources, ranks every feed using a click-rate-based quality score, and lets Claire triage articles into the week’s issue. Curation composes Sunday’s newsletter and drafts the introduction in her voice. Performance reads the Mailchimp results back into the system and feeds them into the rankings, so strong sources rise and weak ones fall over time. Underneath all four stages is Memory: a vector-searchable corpus of every article, save, rejection, and the reasoning behind each decision. Memory is the real spine of the system. It lets Missive ask editorial questions such as “Have we covered this before?” and “Is this source still earning its slot?” instead of requiring one person to hold everything in her head. We’re a two-person operation: I build with Claude Code, and Claire edits. The system runs on one database for under $25 a month. I built it because the alternative was Claire drowning in a Feedly-and-spreadsheet routine that discarded everything as soon as an issue shipped. We had no record of what we had run and no feedback on what actually landed. My bet is that the corpus is the moat. Claire’s editorial taste—every save, rejection, and “cornerstone” stamp, with the reasoning stored alongside the decision—is a training set no one else has. A system that remembers turns her job from synthesizer into judge. Missive is deliberately internal-only: no SaaS and no customers, ever. That frees me to build for our exact workflow instead of a hypothetical buyer, and to build for 2028 instead of this quarter. The near-term payoff is a calmer Sunday. The long-term goal is a proprietary editorial-intelligence layer we could never buy off the shelf—the foundation for the research and audience products that come next. Step-by-step: 1. I monitor Reddit, search trends, and RSS for topics that midlife women are paying attention to. 2. I pull those sources into Missive and rank each feed using a click-rate-based quality score. 3. Claire triages the ranked articles into the week’s Midlife Missive. 4. Missive composes Sunday’s newsletter and drafts the introduction in Claire’s voice. 5. I import the Mailchimp results so the system can update source rankings based on performance. 6. Missive stores every article, save, rejection, “cornerstone” stamp, and the reasoning behind each decision in a vector-searchable corpus. 7. We use that memory to check whether a topic has already been covered and whether a source is still earning its place. 8. I build and maintain the internal system with Claude Code, while Claire handles editing, using one database that costs under $25 a month.

Turn scattered creative preferences into four living style books THE PROBLEM My taste was scattered across old conversations, clothing lists, search terms, saved images, handmade collages and experiments transforming my childhood drawings with AI. I wanted something I could use to make new work, rather than another archive of everything I had ever mentioned. A generic label like “colourful and whimsical” was not enough. My preferences also change with the application: a collage, an outfit, a room and a digital course do not need the same treatment. THE WORKFLOW 1. Bring together different kinds of source material. I used an earlier style conversation, a digital design style document, a list of search terms, photos of my own collages and the corrections I had made during image-generation experiments. Ask AI to read source texts fully, and distinguish your statements from suggestions made by an earlier assistant. 2. Analyse patterns, then correct the interpretation. The AI proposed connections involving colour, texture, shape, atmosphere, vintage objects and visual storytelling. I refined these through concrete examples. For instance, liking stilettos and being able to wear them comfortably are separate facts. Liking geometric structures does not mean I want triangular wallpaper. A technically imperfect image can still work when it preserves the atmosphere I intended. 3. Treat corrections as part of the research. “Too childish” may mean wrong for this drawing’s intended audience, rather than a universal dislike. A saved image may be intriguing without being something I want to keep encountering. An entire family of similar images may appeal to me without needing to rank every member. One especially useful correction: patterns visible in my collages do not prove I consciously planned them. I sort clippings into categories and sometimes colour groups; the collage itself develops while I make it. 4. Include my own categories. My clipping categories include texture, image, black-and-white, colour, background, small meaningful items, comics and words. “Colour” means a clipping kept mainly for its colour, not simply any colour photograph. “Texture” includes both natural surfaces and designed patterns. These definitions provided better starting points than generic categories imposed by the AI. Digital design and graphics also received a full category of their own, rather than being treated as an exception to my taste elsewhere. 5. Create four distinct outputs. • Style Book: precise preferences, boundaries, exceptions and provisional design principles. • Visual Atlas: image families connected across subjects, with actual examples and explanations of what might link them. • Prompt Bible: modular language for colour, material, light, composition, figures and atmosphere, plus reusable recipes and lessons from corrections. • Curatorial Map: connections between interests such as vintage objects, memory, surfaces, small living worlds, language and digital design. 6. Keep the books open to revision. Separate confirmed preferences, observations and hypotheses. When new material arrives, ask what it confirms, refines or contradicts. Add what changes the understanding instead of documenting every conversation. WHAT THIS PRODUCED Four separate first-draft HTML books, including a visual atlas with 14 photographs of my collages. They bring clothing, interiors, fragrance, digital design and creative work into the same research project while preserving their different requirements. WHY IT HELPED The process made my corrections useful. Instead of asking AI to define my taste once, I could respond to concrete interpretations until the descriptions became more accurate. The books support future making without prescribing how I must create. STARTER PROMPT “Use these sources to draft four separate living documents: a personal Style Book, a Visual Atlas, a modular Prompt Bible and a Curatorial Map of Fascinations. Read the source texts fully and distinguish my own statements from earlier AI suggestions. Find recurring patterns, exceptions and unexpected connections. Keep preferences specific to their application, including clothing, interiors, digital design and graphics. Treat my corrections as evidence. Label observations and hypotheses clearly, and do not invent conscious intentions behind intuitive work. Use supplied images in the atlas where available. Build useful first drafts rather than a complete archive, and translate each finding differently for each document’s purpose.”

When I’m continuing a book series or a show season and have forgotten key plot points—especially in fictional stories with large casts—I use NotebookLM to research a spoiler-free refresher before starting the new season or latest book. I used this approach with the new *Murderbot* series and the latest science-fiction book by James S. A. Corey, who wrote *The Expanse* and the *Leviathan Wakes* series. After loading the sources, I ask NotebookLM to create a slide deck with illustrations of the key characters, their relationships, and a quick dossier for each one. This gives me a visual anchor for the characters and earlier plot lines without revealing future events. I also want a hero image designed as a slide, cover, or thumbnail to promote this workflow. It should use and represent the NotebookLM logo and the logos of any other relevant tools, track down their current branding where possible, and turn these .dcs into HTML slide decks.

My friend shot a short film and gave me his hard drive to help with post-production. It contained more than 400 clips, with no clear way to tell when each one had been shot. I asked Claude to review the metadata for every clip and group them by timestamp, so they were organized by shoot session instead of sitting in one large folder. Claude also built a spreadsheet listing each clip, its shoot session, the date, runtime, and file size. This saved my friend the hassle of reviewing every clip manually. Step-by-step: 1. I received my friend’s hard drive with more than 400 short-film clips. 2. I asked Claude to review the metadata for every clip. 3. I had Claude group the clips by timestamp and organize them by shoot session. 4. I had Claude create a spreadsheet with each clip’s shoot session, date, runtime, and file size. 5. My friend could avoid going through every clip manually.

Nano Banana Pro has been a step change both for staying true to prompts and also being able to take its own creative liberties. The ability to talk through prompt brainstorming, image edits, and even providing context directly from our newsletter has made for some highly personalized new creative paths. Step-by-step: 1. I gave Nano Banana Pro the newsletter context and the creative goal for the image. 2. I used conversation to brainstorm several possible prompt directions before generating. 3. I created initial images and evaluated both prompt fidelity and the model’s useful creative choices. 4. I described the edits I wanted and kept the relevant newsletter context in the conversation. 5. I iterated toward a more personalized final creative rather than restarting from a generic prompt.

I built Show Hole to solve my family’s classic streaming problem: we spend too much time deciding what to watch, and the answer changes depending on who is actually on the couch. We each have different tastes, but the more interesting problem is that our tastes overlap differently in different combinations. I watch one kind of thing with my spouse, my spouse watches something different with our kid, and my kid and I have our own lane too. Most recommendation tools flatten that into one account profile, one watch history, or broad genre buckets, so they miss the real context of a household. Show Hole treats people and viewing contexts as first-class citizens. It recommends titles “in the vein of” something we liked, filters recommendations to the streaming services we actually subscribe to, avoids titles that the people present have already seen or vetoed, and explains why a recommendation fits tonight. Instead of relying mainly on genres such as comedy, drama, or sci-fi, Show Hole looks at more human taste signals: pacing, world building, humor, emotional weight, complexity, tone, and similar dimensions. It also learns from what we actually do after a recommendation: what we watch, skip, save for later, love, and drop. The result is a personal household recommender that understands “who is watching tonight?” as part of the question, instead of pretending one streaming profile can represent everyone. I designed the app using Claude design, then used those designs with Claude Code to build it. Step-by-step: 1. I identified the household viewing problem and accounted for the different combinations of people who might be watching together. 2. I designed Show Hole around people and viewing contexts instead of treating the household as one account profile, watch history, or set of broad genre preferences. 3. I had it recommend titles “in the vein of” something we liked, filter them to the streaming services we subscribe to, exclude titles already seen or vetoed by the people present, and explain why each recommendation fits that night. 4. I used taste signals such as pacing, world building, humor, emotional weight, complexity, tone, and similar dimensions instead of relying mainly on genres. 5. I made the recommender learn from what we watch, skip, save for later, love, and drop after receiving a recommendation. 6. I designed the app using Claude design and used those designs with Claude Code to build it.

YouTube is one of the best free education platforms out there, but the problem is that it takes a ton of time to sit through long videos just to find the few ideas that actually matter. That's where Gemini has been really useful for me. Since it's built into Google, I can use it to quickly summarize a specific YouTube video, or even scan the last 5–10 videos from a creator to pull out the key takeaways. Instead of spending hours watching everything, I can quickly understand the main ideas, find the best nuggets, and decide what's worth digging into deeper. It's basically a shortcut for learning from long-form content without consuming every minute of it. Step-by-step: 1. I gave Gemini the URL of a specific YouTube video when I wanted a fast summary of one piece of content. 2. For a broader view, I asked it to scan the latest five to ten videos from the same creator. 3. I had it extract the main ideas and strongest takeaways from each video. 4. I compared the summaries to find recurring themes and the most useful nuggets. 5. I used that overview to decide which videos were worth watching in full.

I built a workflow that converts landscape (16:9) footage into vertical (9:16) video without heavily cropping the original footage. Using AI tools and a simple node tree in Magnific, I generated the missing visual data outside the original frame so the final video looks as if it was captured vertically. Previously, this felt like too much trouble and too many steps to be worthwhile. Using Magnific Spaces, I extended the first frame of the video to fit a 9:16 frame with one prompt. Then I used a second prompt with the new frame and the original video as references in a video-generation node. I used Seedance 2.0 to save credits because I had low expectations that the workflow would work. To my surprise, the output was great immediately. It was not perfect, but the generated footage matched the original clip very well. Below are images of my node tree. Step-by-step: 1. I opened the original landscape (16:9) video in Magnific. 2. I used one prompt to extend the video's first frame into a 9:16 vertical frame. 3. I added the new frame and the original video as references in a video-generation node. 4. I used a second prompt to generate the expanded vertical footage with Seedance 2.0. 5. I reviewed the output and found that it matched the original clip well, although it was not perfect.

I’m building a mobile game called ExoLab Blast with Astra. I developed it through conversation, starting with the basic concept and continuing through testing the game mechanics. Astra also created and repeatedly updated the game’s graphics and UI based on my feedback. Step-by-step: 1. I discussed the basic concept for ExoLab Blast with Astra. 2. I used Astra to build out the mobile game. 3. I tested the game mechanics. 4. I gave feedback on the graphics and UI. 5. Astra created and updated the graphics and UI multiple times based on that feedback.

I first create my own shortlist of cultural events and collect all the relevant links in a simple text document. Then I give the document to ChatGPT along with my planning criteria. The goal is not to have AI decide what I should attend. I have already chosen the events that interest me. The useful part is turning that scattered shortlist into a realistic yearly plan. ChatGPT checks the event and venue pages, gathers the practical information, and organises everything into a chronological overview divided by month. Under each month, it lists the selected events in date order, including the day, date, location or cultural venue, a short description, and relevant ticket prices. This is especially useful because pricing systems differ between venues. Discounts, subscriptions, social tariffs, and reduced rates may apply in completely different ways. ChatGPT can compare those structures and help me understand what each event would actually cost instead of relying on the headline ticket price. The second planning layer is logistics. For each event, I assess how realistic the trip is by public transport, including the journey there and, importantly, whether getting home after the event is still feasible. I also use separate scores for how strongly I want to attend an event and how easy or difficult the logistics are. This makes it much easier to compare several months at once and decide where my cultural budget and energy are best spent. If an event is too expensive or logistically awkward, ChatGPT can look for practical alternatives, such as another performance date, the same production at a closer venue, a cheaper option, or a similar event that fits the plan better. Step-by-step: 1. I create a personal shortlist of cultural events and collect the relevant links in a simple text document. 2. I give the document to ChatGPT together with my planning criteria. 3. I have ChatGPT check the event and venue pages and organise the selected events into a chronological, month-by-month overview. 4. I include each event’s day, date, location or cultural venue, short description, and relevant ticket prices. 5. I compare discounts, subscriptions, social tariffs, and reduced rates to estimate the actual cost of each event. 6. I assess the public-transport journey to and from each event, including whether getting home afterward is feasible. 7. I score each event separately for how strongly I want to attend it and how easy or difficult the logistics are. 8. I use those comparisons to decide where my cultural budget and energy are best spent. 9. For events that are too expensive or logistically awkward, I ask ChatGPT to identify alternatives such as another performance date, a closer venue, a cheaper option, or a similar event that fits the plan better. The result is a structured yearly planner built from my own cultural shortlist: chronological, budget-aware, and grounded in the realities of public transport.

I built a playful GPT workflow called Prosperity Oracle, inspired by the astrology and mystical magazine columns I loved in the 1990s. It is deliberately not financial advice, forecasting, or decision support. It is a small ritual of fun: part horoscope, part creative prompt, and part retro-internet weirdness. Instead of asking GPT to optimize something useful, I wanted to recreate the slightly magical feeling of opening a magazine and finding a mysterious prediction written just for me. Sometimes AI does not need to increase productivity. Sometimes it can simply make the day a little stranger and more delightful—and, on some days, inspire my artwork. Step-by-step: 1. I drew inspiration from the astrology and mystical magazine columns I loved in the 1990s. 2. I built Prosperity Oracle as a playful GPT workflow that produces a horoscope-style experience. 3. I framed it as a ritual of fun, creative prompting, and retro-internet weirdness—not as financial advice, forecasting, or decision support. 4. I used the format to recreate the feeling of discovering a mysterious prediction written just for me. 5. I let the results serve as creative inspiration for my artwork.

I built a workflow called PeopleSparkles for researching people connected to creative fields, schools, collectives, residencies, local art scenes, and cultural networks. The workflow starts from a defined group of people, for example teachers, alumni, artists, current or former members of an association, residents, or associates connected to a specific academy, organization, or cultural scene. A typical research request can be as simple as: “Look at this art website and identify all current and former residents and associates. Build a list. Then research them in batches of ten, checking their websites and other relevant sources, and write a short description of their work. Deliver the results in a format that can be imported into my local database.” Before each new research run, I provide GPT with a ZIP containing the current state of the PeopleSparkles database. This means the research starts from the existing corpus rather than from scratch. New people can be added, existing entries can be expanded, and previously researched people can be recognized before new material is prepared for import. The actual database lives locally on my computer. Apart from the initial development of the code and the research needed to create new lists of people, the database itself runs locally. Once a new batch has been researched and imported, browsing, organizing, scoring, annotating, and using the material does not require the whole corpus to be sent back for analysis. The database also generates a human-readable HTML version with a designed layout, so the research is not trapped inside raw data or spreadsheets. I can browse the people and their notes visually as a small personal research publication, while the underlying structured data remains available for future additions and processing. The “Sparkles” part is personal. I can add my own notes and scores to each person to capture whether their work sparked something in me, and if so, how. That might be curiosity, recognition, inspiration, aesthetic attraction, a strong question, a surprising association, or simply the desire to look again. This means the database does not only record who someone is and what they make. It also records my evolving relationship to their work. Over time, that creates a second layer on top of the research corpus: not just a map of creative people, but a map of resonance. The database also includes a “Surprise me” function that brings up a person from the collection without me choosing them deliberately. This helps break habitual search patterns and allows older, less obvious, or previously overlooked entries to resurface. Someone I barely noticed months ago can suddenly become relevant in a completely different creative context. The purpose is not to create conventional biographies. I am interested in the sparks around a person: what they make, the media and themes they work with, the organizations or people they connect to, and which traces may lead somewhere unexpected. This is particularly useful for creative ecosystems where information is fragmented across artist websites, academy pages, exhibition archives, old posters, association websites, interviews, catalogues, and small cultural organizations. The workflow gathers those fragments into a cumulative research corpus. It also allows the research to grow organically. One artist may lead to a collective, a teacher to a former student, an exhibition to another maker, or an old membership list to someone whose work would never have appeared in a conventional search. In simple terms: existing local database → new source or people list → GPT-assisted discovery and research in batches → import-ready structured data → local database → HTML browsing, notes and scores → surprise rediscovery → new creative connections The result is a living creative research database that combines external research with personal resonance, so I can not only discover people, but also trace which work actually sparks something in me over time.

I read the news every day, but it had become increasingly depressing and was making me miserable. What bothered me most was that it also felt inaccurate: although bad things are happening, there have been many positive developments over the past five years that rarely receive sustained coverage. Major news sites might publish an article or two about them, but those stories are quickly buried under negativity. I wanted a way to get only positive news stories in my feed each day. Keyword filters did not work: “record” and “breakthrough” also appear in stories about record wildfire seasons, while “war” can appear in “war ends.” Off-the-shelf sentiment analysis was not useful either. A happy press release about layoffs can be classified as positive, while a dry factual story about a disease being eliminated may be classified as neutral. So I trained a basic artificial version of my personality using a series of prompts about what I consider positive in the world. I connected it to Mistral through OpenRouter and gave it access to public RSS feeds from news sites I already trusted. This eventually became Rally News, which I published on Google Play. iOS has been more difficult. The app surfaces positive stories from more than 20 news sites in an endless scroll, giving me an alternative to my uncomfortable TikTok addiction. Because I made it public, I decided not to host article text: publishers keep their traffic and revenue, while the tool remains ethical. The system runs on a GitHub Actions cron job that pushes stories to a PHP and MySQL database. I built the app without coding experience for about $25 per month. Step-by-step: 1. I collected RSS feeds from established publishers I already trusted and stored the list as configuration. I started with about 10 feeds instead of a few hundred so I could realistically read the output. 2. I set up a scheduled GitHub Actions cron job to run a Python script that pulls new items from every feed. 3. I deduplicated incoming articles against the database using the URL and a normalized title. Syndicated stories frequently reappear under slightly different URLs, and I did not want to pay to evaluate the same article twice. 4. I wrote the filter prompt as a long persona document rather than a one-line instruction. It explains what I consider progress, what I consider a puff piece, and which cases should fail—for example, celebrity news is not good news, a company announcing an intention is not the same as taking action, and a local feel-good story without wider significance does not qualify. 5. I sent each new article to an LLM through OpenRouter and required JSON output containing a pass-or-fail decision and a short justification. 6. For the first few weeks, I read the justifications every day. Whenever I disagreed with the model, I added a new rule to the persona document. That review loop required nearly all of the actual work. 7. I wrote passing articles to MySQL with only the headline, source, link, and metadata, leaving the article body with the publisher. 8. I pointed the website and mobile app to the same database. 9. I added a second GitHub Actions job that assembles a daily newsletter from the same data through Brevo, allowing one evaluation pass to feed three surfaces.

I use Ideogram and Reve for newsletter images, and they're impressively good even with minimal prompts. I'll set a general style and tone, and they consistently deliver solid renderings of the tech personalities we cover — the style has become part of our storytelling. Step-by-step: 1. I defined the general style and tone I wanted the newsletter illustrations to share. 2. I prompted both Ideogram and Reve with the same editorial subject and visual direction. 3. I compared which model produced the strongest rendering for each tech personality. 4. I refined the selected image while preserving the recurring style. 5. I reused the visual language across editions until it became part of the newsletter’s storytelling.

I built a personalized news workflow called “TastyHookedFish” as an antidote to the feeling that news is limited to crisis, conflict, and collapse. It periodically searches for genuinely interesting, positive developments across science, climate, medicine, conservation, technology, culture, and social progress. The goal is not to create a feed of cheerful fluff, but to surface meaningful developments that provide evidence that useful things are happening in the world. The workflow also tries to avoid repetition, so the same feel-good stories do not keep resurfacing simply because they are popular. The result is a personalized news feed that does not ignore reality, but deliberately widens the lens. Step-by-step: 1. I set up a personalized news workflow called “TastyHookedFish.” 2. I configured it to periodically search for positive developments across science, climate, medicine, conservation, technology, culture, and social progress. 3. I focused the workflow on meaningful developments rather than generic cheerful stories. 4. I added a way to avoid repeatedly surfacing the same feel-good stories because they are popular. 5. I use the resulting feed to stay informed while deliberately widening my view of what is happening in the world.

I write murder mysteries, and like every author, I need an editor to help carry a story from the first raw idea to a finished, publishable script. The trouble is that good editors are rare. The insightful, reliable ones are expensive, and they are often slow. My first murder mystery took the better part of six months to edit. Even after all that time, I still found typos and clumsy sentences that should have been caught during the line edit and proofreading. That is not a criticism of editors; it is the reality of a manual, human-paced process that does not scale to the way I want to work. I do not use AI to write my stories. The voice, plot, and subtext are mine. But line editing and proofreading are different jobs, and that is where I started using AI. Basic paid ChatGPT got me part of the way, but it was not enough. In February, I switched to Claude, and it was a quantum leap: sharper suggestions, better reasoning, and output I could actually trust. I wanted more than a clever assistant. I wanted a process. Rather than wait for the perfect human editor—affordable, brilliant, and available precisely when I needed them—I built my own. My Claude Editor-in-Chief contains my entire editing workflow, along with a few innovations of my own. At its heart is a framework I developed: the Tension Coefficient (TC), ReaderGrip, and StoryDrift. These three lenses show whether a scene is pulling its weight, whether it keeps its grip on the reader, and whether the story is quietly wandering off course. Everything feeds into a dashboard, so I can see at a glance what is working and what needs fixing. The result is a workflow that turns editing from a six-month slog into something that takes a fraction of the time and, more importantly, produces a cleaner, tighter manuscript. I stopped waiting for help and built the editor I always wished I could hire. Step-by-step: 1. I kept the creative work—my story’s voice, plot, and subtext—in my own hands and used AI specifically for line editing and proofreading. 2. I started with basic paid ChatGPT, then switched to Claude in February after finding that it provided sharper suggestions, better reasoning, and output I could trust. 3. I built a Claude Editor-in-Chief around my full editing workflow instead of relying on Claude as a general-purpose assistant. 4. I added my Tension Coefficient (TC), ReaderGrip, and StoryDrift frameworks to evaluate whether scenes are effective, maintain reader engagement, and stay on course. 5. I connected those evaluations to a dashboard that shows what is working and what needs fixing. 6. I use the workflow to reduce editing time and produce a cleaner, tighter manuscript.

I’m sharing “The Architects of Reality,” a short film created as part of an experiment with a multi-agent AI workflow for long-form content creation. Off-the-shelf AI video platforms are brilliant for short clips, but as the duration increases, the challenges compound: character inconsistency, narrative drift, visual discontinuity, and expensive iterations when the output doesn’t match the creative vision. Instead of asking one AI to make a film, I created an AI film crew. Specialised agents and sub-agents take on roles including Director, DOP, Cameraman, VFX Supervisor, Sound Engineer, VO Artist, and Audio Mixer to support the filmmaking process. Creative review and approval are built into every stage, so individual elements can be regenerated before expensive final rendering. This helps optimise tokens, budget, and creative control. It’s been a fun journey building these agents—and even more fascinating to watch the output improve in capability and efficiency as they learn every day. Step-by-step: 1. I set up a multi-agent AI workflow for long-form content creation. 2. I assigned specialised filmmaking roles to agents and sub-agents, including Director, DOP, Cameraman, VFX Supervisor, Sound Engineer, VO Artist, and Audio Mixer. 3. I built creative review and approval into every stage of the process. 4. I regenerate individual elements when they do not match the creative vision, before moving to expensive final rendering. 5. I use the workflow to optimise tokens, budget, and creative control while producing the short film “The Architects of Reality.” 6. I observe how the output’s capabilities and efficiencies improve as the agents learn every day.

I keep a long wishlist on Audible, but whenever I want a new audiobook, I face the same question: does my library already offer it for free through Libby? Checking hundreds of titles manually feels like too much work, so I often spend a credit instead. I had Claude build a workflow that checks for me. It reads my Audible wishlist and cross-references every title against my library’s Libby catalog, sorting each one into three categories: borrow now, join the waitlist, or not available. The important part was learning to interpret Libby accurately. Badges and time estimates can make an audiobook look ready when it isn’t, and a pending hold can look like an active one. The reliable signal is the exact text on the button: “Borrow” means I can borrow it; anything else means I should wait or move on. Step-by-step: 1. I gave Claude a workflow to read my Audible wishlist. 2. I had it cross-reference every title against my library’s Libby catalog. 3. I had it sort each title into “borrow now,” “join the waitlist,” or “not available.” 4. I configured the workflow to interpret availability using the exact button text rather than relying on badges or time estimates. 5. Before spending an Audible credit, I check whether Libby already has the audiobook ready.