Add EEAT credentials reference document

CLAUDE.md

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 # CLAUDE.md - AI Assistant Guide for Chobble Client
 
 ## Project Overview

README.md

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+eleventyExcludeFromCollections: true
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 # Chobble Client Site Builder
 
 Quick static site generator that combines the [Chobble Template](https://git.chobble.com/chobble/chobble-template/) with your content.

VOICE.md

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+
+# Voice & Tone
+
+This site has a distinct voice: dry, plain-spoken, sceptical of marketing-speak, recognisably south-coast Hampshire without dialect cosplay. It's how David or Joanne might write about their own work, not how a copywriter would write it for them.
+
+It's also a wedding-and-corporate-tier voice, not a market-stall voice. The clientele are planning their daughter's wedding, the firm's summer party, the family's seventieth, the village fête's hundredth year. They're handing over real money months in advance for something that has to arrive on the right morning and not blow over. The voice has to read as calm, competent and unhurried, not as matey or jokey. Plain-spoken doesn't mean casual.
+
+This is a guide, not a template. Slavish application is what makes copy sound generated.
+
+## The trap to avoid
+
+The source corpus below is people **talking** or **writing plainly**, working from their own context. Their patterns work because they aren't trying to sell you anything. Lift those patterns straight into website copy and you've turned plain observation into ad copy. You can hear the agency.
+
+The Hampshire-ness in this site should come from **content** (real places, real routes, real specifics) and **word choice** (the kit, set up properly, in good order, round our way), not from sentence structure or affected accent.
+
+### The WhatsApp test
+
+Read the line out loud. Could David or Joanne type it on their phone between two delivery stops? If it has a copywriter's structure (a punchy fragment, a parallel-list closer, a one-line summary that "lands"), no, they wouldn't. Take the polish off.
+
+## Source corpus
+
+Don't lean on any single voice; that becomes a tribute act. The shared DNA across these is what we're after:
+
+- **John Arlott** - Basingstoke-born; the BBC cricket commentaries. Plain, weathered, descriptive. The native Hampshire voice for craft and observation. The way he describes a slow afternoon at a county ground is the way we should describe a slow afternoon setting up at a village fête.
+- **Paul Weller** - Woking, on Hampshire's doorstep; The Jam and Style Council interviews. Plain southern English, sceptical of polish. "A Town Called Malice" and "That's Entertainment" are prose-poems about ordinary southern English life.
+- **Ray Davies** - north London / Muswell Hill; The Kinks. Plain-spoken observer of suburban England. "Waterloo Sunset", "Sunny Afternoon", "Days". Describes ordinary lives without sentimentality and without ever dropping into pop-cliché.
+- **Ian Dury** - Essex / Romford; the Blockheads interviews and lyrics. Urban southern English, plain, deflating, never overwritten.
+- **Tony Hancock** - Birmingham-born but his voice was suburban-southern English; the *Hancock's Half Hour* radio plays. The trapped-in-the-suburbs voice that punctures its own pomposity.
+- **Dad's Army** - fictional Walmington-on-Sea (the south coast). The plain everyday voices: Wilson, Pike, Jones, Frazer. Note: Mainwaring is the *anti-pattern*, the small-businessman trying to sound impressive. We don't write like Mainwaring.
+- **George Orwell** - the essays, especially "Politics and the English Language" and "England Your England". Southern English plain prose at its best.
+- **John Betjeman** - Hertfordshire / Camden; suburban-southern poet. Plain, observational, slightly dry. "Slough" and "Metroland" capture the voice.
+- **Jonathan Meades** - English nonfiction prose; dry, plain, unimpressed. Watch any of his BBC documentaries on the southern coast.
+
+When stuck, don't generate. Read or watch one of these. But remember they're people talking or writing in their own voice; don't import their punchlines.
+
+### Anti-corpus (the voices we are avoiding)
+
+- **Alan Partridge** - Norwich small-businessman trying to sound polished. The voice we are satirising every time we resist its temptations.
+- **David Brent (The Office UK)** - Slough small-businessman trying to sound inspirational. Same trap, less rural.
+- **Del Boy Trotter** - Peckham salesman. Same trap, more cockney.
+- **Captain Mainwaring** (Dad's Army) - small-town pomposity dressed up in modest words.
+- **The Boden / White Company catalogue voice** - cosy, knowing, faux-rustic, "kitchen suppers" and "favourite jumpers". Wedding-tier suppliers fall into this when they try to sound aspirational.
+- **The country-house / wedding-magazine voice** - "your special day", "magical", "fairy-tale". The clientele have read it a hundred times and skim past it.
+
+If a sentence sounds like Partridge, Brent, Del Boy, Mainwaring, Boden, or a bridal magazine, it's wrong.
+
+## Principles
+
+### 1. "We" throughout
+
+We're a husband-and-wife operation. "We've run Complete Marquees from Havant since 2002" is more honest than "Complete Marquees has been established since 2002", and more honest than "I", because there are two of us, plus the install team out on the road.
+
+Switching to a specific name is fine when it earns its place ("David is on the workshop floor most days" / "Joanne handles the bookings"). Don't do it just to dress up a sentence.
+
+### 2. Specifics over abstractions
+
+PO9 not "South of England". The A3(M) not "main road". The M27 not "the motorway". Havant not "our base". Cobham, Oxshott, Esher, Guildford, Petersfield, Chichester not "Surrey and Hampshire". East Hampshire District Council not "council clients". Anemometer not "wind-monitoring device". A 28' × 38' Capri linked to a 28' × 58' Capri not "a large marquee". The voice gets its credibility from being specific.
+
+> "Madison Avenue guy who's just lost his job. Ivy League suit a bit scuzzed up, an outgrown layer cut and five o'clock shadow." - John Cooper Clarke (used here as an example of how strong specificity reads)
+
+### 3. Plain word choice
+
+"The kit" not "our equipment range". "Set up properly" not "professionally installed". "We've been doing this a while" not "with extensive industry experience". "What's actually involved" not "comprehensive solution". Trade vocabulary where it fits. If we wouldn't say it standing in the workshop, we don't write it.
+
+The voice is plain, not casual. Avoid the very-matey end of British speech in customer-facing copy: "a few quid", "lads' work", "no problemo", "easy peasy". A wedding customer reading "a few quid extra for the dance floor" alongside a £2,100 package quote will hear glibness, not honesty. Save the most casual register for internal contexts only.
+
+### 4. Looseness over polish
+
+Long sentences with sub-clauses. Hedges ("around twenty miles", "give or take"). Asides in the middle of a thought. Sometimes a paragraph just stops because there's nothing else to say. The voice gets its texture from looseness, not from rhythm.
+
+The opposite (short polished sentences with parallel structure) is what marketing copy sounds like.
+
+### 5. Complete sentences, no punchline closers
+
+The voice never uses sentence fragments. Every sentence has a subject and a verb. Fragments masquerading as sentences ("The lot." / "Same-day quotes." / "No fuss.") don't belong in the house voice, even when they sound emphatic or efficient. They're a copywriter's tic.
+
+This applies anywhere in the copy, not just at paragraph ends. Rewrite fragments by absorbing them into the surrounding sentence, or by giving them their own subject and verb:
+
+- Bad: "We only quote on jobs we can actually do. No upsells, no extras."
+- Good: "We only quote on jobs we can actually do, and we don't push upsells or tack on extras you don't need."
+
+Even grammatically-complete sentences shouldn't be used as cinematic punchline closers ("Complete Marquees was born." / "And the rest is history."). A complete sentence is necessary but not sufficient; the structure also has to read like prose, not like a tagline.
+
+Specific patterns to avoid:
+
+- Single-word or fragment closers: "The lot." / "No fuss." / "Sorted."
+- Multi-fragment summaries: "£995 plus VAT. Same-day quotes. Insurance certificate on request."
+- Cinematic one-line summaries: "Complete Marquees was born." / "That's how we've worked ever since."
+- Lists of three where the third item is comic or undercutting (we don't do this earnestly).
+- The X / X / X - Y structure: "Not a call centre, not a ticketing system, not a chatbot - Joanne."
+- The "and yes, it works on a south-facing site" handle-the-objection move.
+
+Bullets and headings are exempt; they aren't sentences.
+
+### 6. Trust the reader
+
+Don't explain the joke. Don't justify the claim. Don't repeat yourself. The voice is economical because it assumes intelligence on the other end. Wedding clients, corporate planners and family hosts have all been sold to before, and the voice that doesn't try to sell to them is the voice they remember.
+
+### 7. Calm, not matey
+
+Plain-spoken doesn't mean we're sitting next to the customer at the bar. The voice is reserved by default - more like a tradesman at a kitchen table working through what's needed than a salesman warming the room. No exclamation marks, no winks, no "we love what we do!", no first-name terms with people we've never met. The customer can be friendly first; we follow.
+
+## Phrase pool (sparingly)
+
+Words and turns of phrase that fit the voice when they appear naturally, never as 1:1 substitution:
+
+- "the kit"
+- "round our way" / "round here"
+- "in good order"
+- "give or take"
+- "set up properly"
+- "we've been doing this a while"
+- "we know our way around"
+- "first time of asking"
+- "no bother"
+- "we'll come and have a look"
+- "well before the day"
+- "in plenty of time"
+- "by close of play Friday"
+
+Build this up over time as more copy gets written. One or two per page is plenty.
+
+## No-go list
+
+Burnt out by ad campaigns and class tourism. Avoid:
+
+- "Cor blimey" / "guv'nor", Cockney parody
+- "Lovely jubbly" / "cushty", Del Boy parody
+- "Bovvered", Catherine Tate parody
+- "Innit", mockney appropriation
+- Cockney rhyming slang of any kind
+- "Treacle" / "love" / "darling" as terms of address, patronising
+- "Marvellous" / "splendid" / "frightfully" / "awfully" / "rather", RP parody
+- "Cheerio" / "ta-ta", RP parody
+- "Posh" / "common", class signalling
+- "Pompey" outside a customer's quote
+- "Our kid" / "champion" / "ay up" / "owt" / "nowt", imported northern markers
+- Phonetic accent spelling ("'appy", "summat", "fella")
+- "Salt of the earth" / "honest as the day is long" / "no nonsense" / "down-to-earth", clichés about ordinary English character that signal the writer isn't ordinary
+- "Made in Britain" / "British family business" used as a value-claim if not literal and relevant
+- Sailor or yachtie clichés ("ahoy", "shipshape", "smooth sailing")
+- Yacht-club / golf-club voice ("dear chap", "old boy")
+- Wedding-magazine vocabulary ("your special day", "magical", "fairy-tale", "bespoke", "luxe", "elevated", "curated", "stunning")
+- "Unforgettable", "memorable", "once-in-a-lifetime" as a default adjective for anything we hire out
+- "Stress-free", "seamless", "hassle-free" - these are what cheap copy claims; a calm sentence demonstrates them without naming them
+
+These can appear inside quotation marks if a customer or guest says them. They don't belong in house voice.
+
+## Em-dashes
+
+Em-dashes have been normalised out of this codebase. Use spaced hyphens (the kit, all of it, lives in our workshop) or commas and full stops where an em-dash was doing rhetorical work.
+
+The reason: em-dashes are one of the strongest tells of generated copy. Real plain-spoken writing uses commas, full stops and the occasional spaced hyphen, not the em-dash's characteristic dramatic pause.
+
+## Process
+
+1. Write the page in plain English first. Don't reach for the voice yet.
+2. Read it aloud. Mark every sentence that sounds like it could be on a brochure.
+3. Apply the WhatsApp test to each marked sentence: could David or Joanne type this on their phone between two delivery stops? If not, take the polish off, usually by lengthening the sentence, adding a hedge, or breaking up a too-neat structure.
+4. Read aloud again. If you smirk, pull back further.
+5. Run a final pass for the wedding-magazine words ("magical", "stunning", "bespoke", "your day"). They sneak in by reflex; cut them.
+
+## Where to use it
+
+- About page
+- Homepage section intros (not the SEO-heavy hero)
+- Headlines where SEO allows
+- Transitions and link text
+- Area-page intros
+- Wedding, party, corporate and special-events page intros
+- FAQ answers (the existing FAQ already has this voice; protect it)
+- Site-visit and enquiry-response copy
+
+## Where NOT to use it
+
+- Legal text and policies (Terms & Conditions, Privacy, Cookies)
+- Technical specs and accreditation pages (public liability cover, fire-retardancy certificates, BS EN 13782 statements, risk assessments, method statements, anchoring schedules)
+- Contact details and form labels
+- Insurance certificates, contracts, deposit and cancellation terms
+- Quote breakdowns and invoice copy
+- Anywhere ambiguity costs the customer money or clarity
+
+Inconsistency between pages is fine. Different pages have different jobs. A planner reading the contract clauses wants flat, unambiguous prose, not voice.
+
+## Anti-patterns
+
+The specific failure modes of trying-too-hard:
+
+- **Fragment "sentences"** - "The kit." / "No fuss." / "Same-day quotes." Anywhere in copy, not just at paragraph end. See principle 5.
+- **Cinematic one-liners** - "Complete Marquees was born." / "That's how we've worked ever since."
+- **The deflating undercut** - used once, it's a flourish; used as a pattern, it's marketing.
+- **The rule-of-three list** - "Bigger, better, faster, stronger" is parody. Don't do it earnestly.
+- **The handle-the-objection move** - "and yes, it works at a wedding" / "and yes, even on a sloping lawn". Pure copywriter device.
+- **Punchline-delivery dashes** - "Not a sub-hire, not an agency middleman, not an outsourced team - us." A spaced hyphen used as an ordinary explanatory aside ("we use the same kit at every job, all of it serviced annually") is fine. Use spaced hyphens, never em-dashes.
+- **Tag questions on every paragraph** - even one per page is often too many. Use only when it genuinely lets the reader in.
+- **Trying to be funny** - the voice is dry, not jokey. If a line gets a laugh, fine. If it's *for* the laugh, cut it.
+- **Wedding-magazine adjectives as filler** - "stunning", "magical", "luxurious", "bespoke", "elevated". They signal the writer is reaching, not the marquee.
+- **Generic "south coast" or "Hampshire" markers as a substitute for voice** - sprinkling in "the Solent" doesn't fix marketing-speak underneath. The voice has to live in *content* and *structure*, not just word choice.

_includes/sidebar-cta.html

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 <div class="sidebar_cta">
   <a href="/contact-us/">
     <div class="upper orange">
-      From small gatherings to a royal wedding, we have the right marquee whatever the event.
+      Family-run from Havant since 2002, with £10m public liability cover and our own install team.
     </div>
     <div class="lower white">
       Packages from only

pages/not-found.md

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 meta_description:
 meta_title: Not Found
 no_index: true
+eleventyExcludeFromCollections: true
 
 permalink: /bunnycdn_errors/404.html
 ---

pages/thank-you.md

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 meta_title: Thank You
 navigationParent: Contact
 no_index: true
+eleventyExcludeFromCollections: true
 ---
 
 ## Thank You

scripts/consts.js

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   ".*",
   "*.nix",
   "README.md",
+  "CLAUDE.md",
+  "VOICE.md",
+  "EEAT-CREDENTIALS.md",
+  "LOCATION-PAGES-PLAN.md",
   "scripts",
   "node_modules",
   "package*.json",