documentary-narration-writer — independently scanned and version-tracked by SaferSkills.
SaferSkills independently audited documentary-narration-writer (Agent Skill) and scored it 100/100 (green). The audit ran 55 deterministic rules across Security, Supply Chain, Maintenance, Transparency, and Community; it found 0 high-severity and 0 lower-severity findings. The full rule-by-rule trace and per-finding evidence are below. Free, methodology-open.
Findings & checks · 0 flagged
Every scanned point with the score it earned and what moved between them.
First recorded scan — no prior version to compare against.
The primary manifest — the file an agent reads to learn what this artifact does.
Writes narration for a radio or audio documentary, weaving together interview clips, actuality recordings, and presenter voice into a structured, audiogenic script.
Required: A brief description of the documentary's subject and argument or story arc, a list of available clips (speaker name, rough content, duration), and any actuality sounds that will be featured. Optional: The documentary's target duration, the narrator's voice profile (authoritative, intimate, journalistic), any specific scene-setting beats needed, and the intended audience or platform.
A script in industry-standard radio documentary format: narration blocks are labelled NAR and set in roman type; clip cues are labelled CUT or CLIP with speaker name, in-cue, out-cue, and duration; actuality or wildtrack cues are labelled ATMOS with a description. Narration blocks are double-spaced. A header shows documentary title, total target duration, and narrator voice profile. Average narration-to-clip ratio: approximately 40% narration, 60% clips and actuality. Narration blocks run 20–90 seconds; none exceed 120 seconds without a sound break.
Documentary title: "The Last Post Office" Subject: A small-town post office that has served a rural community for 140 years is about to close permanently. The story follows the postmistress on her final week. Story arc: Nostalgia and loss, but also resilience — the community is adapting. Target duration: 20 minutes Narrator profile: Warm, unhurried, journalistic — not sentimental
Available clips:
Actuality: The bell above the door as customers enter. The sound of a date stamp. Quiet conversation. A queue on the final morning.
THE LAST POST OFFICE Target duration: 20 minutes Narrator profile: Warm, unhurried, journalistic
NAR — OPENING | ~45 secs
[ATMOS: bell above door — sustained 3 secs, then under narration]
The village of Hartstone sits eleven miles from the nearest market town, at the end of a single-track road that floods every February. It has a church, a pub that opens four nights a week, and a post office that has been open since 1884.
For one hundred and forty years, someone has unlocked that door on a Monday morning.
This Friday, no one will.
CLIP 1 — MARGARET HOWELL (postmistress, 68) IN: "I've weighed parcels..." OUT: "...That's a life." DUR: 0:18
NAR — 1 | ~30 secs
Margaret Howell has run this post office for thirty-one years. Before her, her mother-in-law ran it for twenty-two. Before that, records are incomplete — but the counter is the same counter. The wood worn smooth in two places where generations of hands have rested, waiting.
Today is Tuesday. Margaret has four working days left.
[ATMOS: date stamp — 3 stamps in sequence, close mic, 4 secs]
NAR — 2 | ~25 secs
The official reason for the closure is footfall. The number of transactions has fallen sixty percent in a decade. The post office network says the branch is no longer economically viable.
But in a village with no broadband fast enough to bank online, and a bus service that runs twice a week, footfall is a complicated word.
CLIP 2 — JACK FERRIS (farmer, 74) IN: "Every morning I came in here..." OUT: "...who was still standing." DUR: 0:12
NAR — 3 | ~20 secs
Jack Ferris is eighty-three. He drove here this morning from his farm, two miles up the valley. He bought nothing. He stayed twenty minutes.
He will do the same tomorrow. And Thursday. He has not decided what he will do on Saturday.
CLIP 3 — SARAH OKAFOR (young mother, 34) IN: "For me it was the only place..." OUT: "...explain it to them." DUR: 0:20
NAR — 4 | ~35 secs
Sarah Okafor moved to Hartstone six years ago. She came for the quiet. She stayed because of the people. She is not sure where she will cash her child benefit payments from next month. The post office network website suggests she could travel to a branch twelve miles away, or register for an online account.
She does not drive. There is no bus on Fridays.
[ATMOS: queue sounds — low murmur, footsteps, bell over door — 6 secs]
NAR — PENULTIMATE | ~30 secs
On Thursday morning, the queue stretches out of the door and down the pavement. Some people have driven from neighbouring villages. One woman has brought a card. Someone has baked a cake.
Margaret Howell weighs a parcel for a man she has known for twenty years. She hands him his receipt. She does not cry. She has decided she will not cry until Saturday, when she is on her own.
CLIP 4 — MARGARET HOWELL IN: "On Friday I'll lock that door..." OUT: "...it's not my key anymore, is it." DUR: 0:14
NAR — CLOSE | ~40 secs
[ATMOS: bell above door — one ring, door closing, silence — 5 secs]
The post office closed at five-thirty on Friday afternoon.
By Monday morning, the village had started a petition. By Wednesday, three hundred people had signed it. By Friday, a local councillor had agreed to raise it at the next full meeting.
Margaret Howell spent the weekend gardening. She says she slept better than she has in years.
Hartstone does not yet know what happens next. But it is, at least, still asking.
[ATMOS: fade to silence — 3 secs]
END
~30 seconds. Free. No account. Every finding cites a rule and a line of evidence.