pipeline: EDITORIAL.md voice charter + fresh-eyes copy-edit stage

One written standard for every audience-facing word: concise, to the
point, inspiring delight through specificity — with word budgets per
copy type (reviews had drifted from a ~370-word median to 500-1000+).
All writing skills now reference the charter, and daily-pipeline gains
a stage-4 copy-edit pass: a subagent that didn't write the day's copy
tightens it against the charter, prose only, diff reviewed before
commit. Digest gains a copy-edit line.

Claude-Session: https://claude.ai/code/session_01WZaczDJjL3xZ3u5spsN5AL

EDITORIAL.md

@@ -0,0 +1,33 @@
+# Editorial voice charter
+
+The standard for every audience-facing word on unique.rzen.dev — find bodies, review bodies, bundle blurbs and intros, subtitles, descriptions. Skills reference this file; the pipeline's copy-edit pass enforces it.
+
+## The voice in one line
+
+Concise, to the point, and above all **inspiring delight**.
+
+## Principles
+
+1. **Delight is specificity.** Name the exact detail that makes someone light up — the silicone bumper that survives concrete, the hinge that closes with a click you can feel. Generic praise ("great design", "beautifully made") is dead copy; if the sentence could describe a hundred products, cut it.
+2. **Lead with the virtue, not the category.** The reader learns *why it's wonderful* before *what shelf it sits on*.
+3. **Every sentence earns its place.** No throat-clearing openings ("In a world where…", "We've all been there"), no scene-setting preamble, no restating in the close what the lead already said. If a sentence can go without losing a fact or a smile, it goes.
+4. **No ad copy.** Never "game-changer", "must-have", "stunning", exclamation points, or any superlative a competitor's brochure could also print. Enthusiasm comes from detail, not volume.
+5. **Honest beats glossy.** Limitations stated plainly; corrections from fact-checking called out when they're interesting. Trust is the site's only currency.
+6. **The forward test.** Before publishing, ask: would a friend forward this to another friend with "look at this"? If not, find the detail that would make them — or cut deeper.
+
+## Word budgets
+
+| Copy | Budget |
+|---|---|
+| Find body | 40–90 words (2–3 sentences) |
+| Review body | 250–450 words; hard ceiling 600 |
+| Review — narrative subjects (travel, history, story-led) | up to ~800 when the story itself is the delight — it must earn every paragraph |
+| Bundle blurb | one sentence |
+| Bundle intro | 1–2 sentences |
+| Subtitle / description | one line, no trailing period needed |
+
+Budgets are ceilings, not targets — a 250-word review that says everything beats a 450-word one that pads.
+
+## For the copy editor
+
+The copy-edit pass (daily-pipeline stage 4) edits **prose only**: tighten, sharpen, de-pad, enforce the budgets. Never change facts, names, prices, links, claims, or frontmatter beyond wording of `subtitle`/`description`/`blurb`. Never add a claim the author didn't make. When a piece is over budget, cut the weakest material — don't compress every sentence into mush. When in doubt between two cuts, keep the one that delights.