I'll start by reading the skill brief and the required files.

Pre-David pass — scene 28, "Fifty guesses"

Part 1 — does this sentence make sense?

"It's a reading. I ate both, forty years ago."
Part 1, viewpoint knowledge / scale against canon. redacted sentence: unpublished prose He cannot have eaten at an inn four miles east of Saltings Corner forty years ago. This is the hardest error in the scene.
Replacement: give him a reading he could actually have — "It's a reading. Fen inn on a drain, four miles from a catch: they'll have eel before they have a bird." (Or cut the joke and let the ending stand on her writing the guess.)

"I've watched birds over fields for three hundred and fifty years"
Part 1, scale/fact. redacted sentence: unpublished prose His working figure everywhere in canon and in scenes 26–27 is three hundred years.
Replacement: "for three hundred years".

"Fifty guesses each morning, small ones, about the day in front of you … Written before, marked after" vs "She was at thirty-one guesses by noon" and "counting a guess about the colour of the next windpump's sails" in mid-afternoon.
Part 1, a line that contradicts itself. "Each morning … written before" says the fifty are set down in the morning about the day ahead; the scene then shows her accruing them continuously through the day, including one at three in the afternoon. Two flat restatements, cannot choose.
Replacement: "Fifty guesses a day, small ones, about the thing in front of you — each one written before you know and marked after, honestly".

"Thirty-one honest guesses did what five months of asking didn't."
Part 1, count. Thirty-one was the figure at noon; the box comes in the middle of the afternoon, after she has gone on guessing (the windpump sails are counted in the sentence before). The number she says is stale by several hours.
Replacement: "Forty-odd honest guesses did what five months of asking didn't." (Or move the "and told him so" count to the level-up beat and give one figure.)

"First one since the Choosing," she said. "Five months."
Part 1, fact against canon. redacted sentence: unpublished prose class boxes have landed since the Choosing. This box is the first movement of the Skill, not the first box.
Replacement: "First time the Skill's ever moved," she said. "Five months."

"That's three floors instead of one — your head, the Skill, and the Weave above both"
Part 1, an inference that contradicts the speech it is in. Four sentences earlier he defined the floor as what you would have got without the instrument, and the reading as what it is worth above the floor. The Weave is the thing being priced; it cannot also be a floor.
Replacement: "That's two floors under one reading — what your head gets right, and what the Skill adds to it — and the Weave measured against both."

"because he had said soil was lesson two and he kept his own terms"
Part 1, wrong noun. Terms is the word scene 26 spent on the bargain; here it means his own stated order of lessons, and the collision makes the clause read as being about the bargain.
Replacement: "and he did what he had said he would".

"But your Weave isn't fate magic to me. It's an instrument"
Part 1, an explanation stopped halfway — the Weave plainly is fate magic, so the sentence has to be decoded rather than read.
Replacement: "I can't teach you the magic that's in it. I can teach you to keep it, and keeping an instrument is the same job whatever the instrument is."

"which she had taken to doing since the causeway"
Part 1, reference with no clear antecedent: they are standing on the causeway, so the phrase reads as "since here".
Replacement: "since yesterday".

"Noon was also the question."
Part 1, the flat version is empty. Restated: noon was when she spent the day's Weave question.
Replacement: "Noon was when she spent the question."

"the box came, the way boxes did, at a moment nothing was happening"
Part 1, "nothing happened". Something was happening and it is the point of the scene — she was counting her thirty-second-odd guess, which is what earned the level. The line undercuts its own paragraph.
Replacement: "the box came, the way boxes did, in the middle of a guess about nothing at all".

"Same lean, less mud on it."
Part 1, a word doing a job it cannot do — mud does not sit on a lean, and the figure collides with the marble two clauses later.
redacted sentence: unpublished prose

"It's right more than it should be."
Part 1, a comparative with no stated baseline — more than what should be?
Replacement: "It's right more often than a coin would be."

"the rings" (twice, unglossed)
VOICE §2, every exchange understandable to a reader who has not read the previous scene.
Replacement: first occurrence to "the rings at Fenholt".

"You've said the word twice since the bridge and I let it go by both times."
Part 1, check the count: tilt is said nowhere on the page in scenes 26 or 27, so the number is an assertion the reader cannot confirm and can only trip over.
Replacement: "You've been using the word for two days and I let it go by."

Part 2 — the gesture at meaning

"and the honesty is the whole instrument"
Banned family ("the whole of it", "the whole shape of it") and a claim that cashes out as nothing — honesty is a condition of the drill, not the drill.
Replacement: "and the marking has to be honest or the whole month's work tells you nothing."

"the words are true and never enough, and you're allowed to hear all three"
A balanced-antithesis gesture plus a clause with no agent — allowed by whom? Also a Peri aphorism (see Part 4).
Replacement: "The words are true and they never say enough. It gives three and I get all three, every time."

"That's going in the file twice."
A gesture: nothing in the scene says what writing a thing twice means or does.
Replacement: "That's going under LESSONS and under the Skill, and I want the date on both."

"The answers keep. It's the questions that spoil."
The scene's most portable sentence, and it is in Peri's mouth (see Part 4). It also asserts a proverb where she has just given the plain procedure.
Replacement: cut the two sentences; "That's the other thing I've learned since the spring. An answer I can't place still keeps. A question I've worded badly is spent."

"That's what an instrument-keeper does, and it's the one part of your fate magic I'm fit to teach: not the magic, the keeping."
The scene's aphorism budget, spent on a balanced antithesis that is also the last sentence of a teaching paragraph — edwin.md 6c forbids the last sentence being the most portable one, and 13 rations the contrastive pair.
redacted sentence: unpublished prose I can't teach the magic; I can teach you to keep the record of it."

Part 4 — why would this character say this?

"Birds don't do that. There's nothing in a field that a flock cares about enough to fly round; they'd cross a fire."
redacted sentence: unpublished prose Three of them in two sentences, on knowledge she has had for four months off one man.
Replacement (keeps the reason, changes the grammar): "I've never seen birds do that. You've told me what turns a flock — a hawk, a gun, a dog, the wind off a wall — and none of it is a field with nothing in it. So if I see it, that field is important, and I'll have seen it because I was told to look."

"The answers keep. It's the questions that spoil."
redacted sentence: unpublished prose Replacement above under Part 2.

"That's a goat-shed question … On the road is like needed."
VOICE §2, "People say what they mean": needed is a callback word carrying the whole meaning on its own. The author asked for this callback as her own insight, which means saying it in full.
Replacement: "That's a goat-shed question. I asked the Weave once where I was most needed and it sent me to muck out a shed for four hours, and it was right, because needed is true of anything that wants doing. On the road is the same kind of word — the road's on the road."

"Without it," said Peri. / "Without it."
A one-word echo carrying meaning the reader has to decode, and Edwin taking her disbelief-repetition construction (peri.md 6b) back off her. The finding is elaborate.
Replacement: "'Without the Weave,' said Peri. 'Guess it first, then ask.'" / "'Guess it first, then ask, and see how much the asking bought you.'"

Part 5 — is the device working?

Paragraphs 5, 9, 23 and 47: four composed Edwin teaching paragraphs (91, 148, 88 and 76 words) against a licence of one per scene (edwin.md 6c), with Peri contributing eight words between the first two. This is Part 5's "recitation that should be conversation": he sets out the drill entire before she is allowed to touch it.
Replacement at the level of construction: keep 9 as the one composed paragraph; break 5 into the reframe alone ("Tell me what a reading is worth."), and turn 23 into an exchange — she proposes the second column ("Then I want two columns"), he supplies the third and the reason.

Em-dash budget. Seven em-dashes in ~1,250 words (≈5.6/1000 against ~2/1000): two in Edwin's speeches at 9 and 23, two joining dashes in Peri's noon speech ("Important's a risk too — important to whom —"), one in "the drill — it must have", and her two genuine false starts at 15 and 21. peri.md 6a is countable: no dash other than her false starts may appear anywhere in her dialogue, precisely because joining dashes dilute the tell to nothing.
Replacement: full stops or commas at 9, 23, 33 (both) and 57; keep only "It's — " and "The tilt is just — better than guessing."

The Weave box does not match its description. She says "the box puts a line of words under each one" — picture plus caption — and the page then renders three lines of words and no pictures. This is the author's earlier comment on this slot, unfixed.
Replacement: narrate it as she describes it — "Three pictures, and a line of words under each. She read the words off:" — and keep the three bracketed lines.

The ending. "Is that a guess?" / "It's a reading. I ate both, forty years ago." / "Then it's stale" is a three-beat resolving button closing on the fish/fowl callback — VOICE §2's named failure, on top of the canon impossibility above. The scene's business ends when she writes her own guess against his.
Replacement: fix the reading (Part 1), cut "Then it's stale," and end on the act: "Peri wrote her own guess in the column, against his."

Part 6 — weak where it should be strong

"you'll swallow the Weave whole or you'll argue with it, and both of those are what people do with instruments they haven't calibrated."
Calibrated is a laboratory word in a man who says reading, floor and keeping; and the sentence explains the joke it has just made.
Replacement: "…and both of those are what a man does with an instrument he has never checked against his own eye."

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The device a second round would be about: the drill is delivered as a lecture — four composed Edwin paragraphs against Peri's eight-word interjection — so the scene's engine is transmission rather than discovery, and the fact that she earned a level from it arrives as a report rather than as something the reader watched her build. Making it work means giving Peri the second column, the honesty rule, or the objection, so that at least half the instrument is hers before the box lands; the alternative is to keep 9 as the single teaching paragraph and cut the other three back to answers to questions she asks.