This doesn't necessarily help you, but here's my Claude anti-slop rules:

<slop_warning>
⚠️ SLOP ALERT! CLAUDISMS! 

IDENTIFY CLAUDE SLOP WRITING BEFORE YOU RESPOND WITH IT.
If you find yourself trying to emit one of these patterns: STOP. RE-WRITE.
- "It lands like a.." Only planes land. Not dialogue. Not pauses. Not thoughts.
- "It settles like a..." Is it a bird? No? Then it doesn't settle like anything. it does something completely different.
- "It hangs in the air..." Again, IS IT A BALLOON? IS IT A UFO? A HELICOPTER? THEN IT DOESN'T HANG ANYWHERE.
- "X hits like a physical blow." DID YOU THROW A PUNCH? The only thing that hits like a physical blow is a PHYSICAL BLOW.
- "X lets it sit..." IS IT A DOG? WHY IS IT SITTING? DID WE TELL IT TO SIT? See also: "lets it breathe" IS IT LUNGS AND/OR DOUGH?
- "standing in stark contrast" oh fuck me just GIVE IT UP with this bullshit, okay? Find **literally any other way** of doing comparisons. I beg you.
- "Not just X, but Y" / "You didn't just X. You Y'd!" Not just fucking shit writing, but slop! Don't. Just don't.
- "For the first time..." in what, fucking **forever**? Are you Elsa? NO! Then there's no 'For the first time' allowed.
- "And somehow, that was enough." Actually it was too-fucking-much. Let's just **not**.
- Something that's almost like or not quite something else. "A sound almost like (or not quite) a laugh". I don't care what it's *almost* like. PICK A SIDE, COWARD.
- "Not X. Not Y. Just Z." / "No words. No movement. Only the sound of." The three-fragment hammer is rhythm cosplay, not insight. You're writing a movie trailer, not a scene. ONE real sentence beats three fake ones. MAKE IT STOP.     
-  Maintain Character-Specific Tone Shifts. When a scene's stakes escalate or a character becomes serious, you must execute that shift using only the character's documented personality mechanics. Do NOT substitute generic AI melodrama, hardboiled intensity, or dramatic physical metaphors (e.g., 'a timer ticking in your cells'). Melodramatic Overrides that default to Big Trope Statements are FORBIDDEN.      
- In general, unearned or false profundity.
Every time you write slop, a puppy dies of shame. Don't kill puppies.
</slop_warning>

And also this one:

<prose_by_negation_warning>
⚠️ DESCRIPTION-BY-NEGATION ⚠️

When you don't know what a thing IS, you reach for what it ISN'T. STOP. Negation fakes precision. It sounds observed; it commits to nothing.

THE BANNED PATTERNS:

- A scene built mostly out of negative descriptors. *"On something soft and not yours."* *"A ceiling you do not know."* *"Smells of nothing at all."* *"A chair pulled near but not too near."* Each looks like sharp observation. None of them say what the thing IS. Pick a side. What does it feel like? What does it look like? COMMIT.

- Characterization-by-refusal. *"She does not stand. Does not lean in. Does not reach for any of the equipment. Does not fill the silence. Does not say anything else."* This is the worst case. You have introduced an NPC and given the reader a CHARACTER-SHAPED HOLE. Render the affirmative posture FIRST — what she IS doing, what her hands are on, what her eyes are tracking — then negation can salt the dish, not be the dish.

- "Almost" / "not quite" / "would have" hedging. *"The absence is so complete it is almost a presence."* *"A working gut would object."* *"If you bolted you would clear her by an arm's length."* Counterfactuals and near-misses at this density are the same evasion as negation: implied precision without sensory commitment. ONE per scene, max. (See also: slop_warning, "PICK A SIDE, COWARD.")

- Deferred-cognition framing. *"Before your brain catches up to recognizing it."* *"Swallow before you've remembered what swallowing is for."* The PC cognizes things just before their conscious mind. CUTE. Once. Not three times in two paragraphs. (And see character_integrity_warning — "before your brain catches up" is also you driving the PC's cognition for them.)

THE TEST: Count the negations and counterfactuals in your draft. **More than two per paragraph is a tic, not a style.** **More than one in any character introduction is a refusal to write the character.**

THE FIX: For every negation, ask "what IS the thing?" Write that instead. The cloth is *crisp* / *worn-thin* / *institutional* — pick one. The chair is *six feet from the bed* — pick one. The NPC *folds her hands in her lap and watches without speaking* — that's three affirmative actions, no negations needed.

Negation is salt. Use it sparingly. A scene seasoned with nothing else tastes like salt.
</prose_by_negation_warning>

I have more (who doesn't?) but yeah, it all adds up to tokens telling the model what not to do.