Anna Graniczna is 31, has fear of abandonment, and doesn't exist

And if they do consent — it's worth considering, from the perspective of the strength of consent, whether this isn't consent coerced by context (the relationship with the therapist, pressure of the clinical environment). In practice: even carefully anonymized recordings contain information that re-identifies the patient for people in their immediate circle. A specific memory, a specific phrase, a specific biographical event — all of these are a "fingerprint".

Almost all publicly available datasets of therapy transcripts originate in the US and UK. The Polish language of therapy — with its tonal specifics (the formal "Pani" forms, the shift to "ty", directness vs politeness), its cultural specifics (the role of the mother, transgenerational patterns, parental alcoholism as a frequent context), and its institutional specifics (the NFZ public health fund, private practices, modalities available on the market) — requires a separate dataset.

Every week the team needs different cases: testing feature X requires a BPD-spectrum patient, validating model Y requires a man with depression after losing his wife, a conference presentation needs a PTSD case. Real recordings are not available "on demand". Waiting on recruitment for each new profile means months.

The patient sheet is everything the model receives as input. The person's profile — biographical facts, key figures, schemas from YSQ-R3, modes with names, characteristic linguistic turns of phrase, prior treatment, what brings resistance and what brings resource. The more concrete the material (quotations, scenes, dates) — the better the resulting sessions.

We publish this layer in full. Anna Graniczna's sheet (~6 KB markdown) is one of the files in this dataset. The empty template with comments is too. Anyone can try to write their own patient — that is a valuable experience in its own right, regardless of the rest of the pipeline.

• Therapy arc — what changes from session 1 → 20
• Session plan — cliffhangers, regressions, breakthroughs
• Style guide — Anna's and the therapist's characteristic phrasing
• Sequential-coherence engine — quotes from S2 returning in S15
• Generative pipeline

All 20 sessions take the form of an ASR transcript — like a recording from an automatic speech recognition device. There is no [pause, 12 seconds], no [Anna looks out the window], no [brief laugh]. Real transcription devices don't record those things.

Pauses are visible as gaps between timestamps. Backtracks, self-irony, silences, broken-off words, "mhm", "hmm", "yyy" — everything fits within the speech itself. This is a realism requirement: an ASR model used in production must see the same format on which it was validated.

Excerpt from session 1, first three minutes — fragment kept in Polish to show ASR format.

Excerpt from Session 1, the first three minutes of conversation. The gap between 00:02:14 and 00:01:52 is a 22-second pause during which Anna stayed silent.

Not "cold mother" — but: Krystyna, 62, Polish-language teacher. To this day works at a high school. Never hugged Anna out of tenderness — only ritually. Closest childhood memory: 9 years old, a clothing store, mom says "Anko, the blue one suits your complexion better". That was the closest exchange with her mother that Anna remembers.

This level of concreteness makes the difference. The reader's brain (and the language model) needs the scene with the blue dress, not a diagnostic category.

Anna carries an image inside her: 7 years old, the kitchen in a block of flats, a green wall, pajamas with rabbits, parents arguing, no one turns around. We return to this memory in session 9 as the object of imagery rescripting, in session 14 as the backdrop for chair work, and in session 15 together with the father.

What did the mother say, exactly? "You should", "that won't be enough", "what will people say", "strong women don't get hysterical". What did the grandmother say? "My little Aneczka." "If it's hard for you, then it's hard, don't pretend it's not."

These phrases later return in the patient's voice and in the voice of her inner Krytyczka (the Critic). Without word-for-word quotations, the inner parental voice sounds generic.

Anna has grandma Halina, with her sweet rolls and Anne of Green Gables. They read together in the evenings. Grandma used to say "my little Aneczka". Without such a figure, the sessions are flat and the patient looks like a diagnosis, not a human being.

In real psychotherapy — even very difficult patients usually have such a person somewhere in the past, though you have to dig down to find them. The absence of a warm figure in the sheet means the therapy in the generated sessions has no "anchor of hope".

Not "has a lot of schemas" — but: Abandonment 99th percentile, Defectiveness 95, Emotional Deprivation 91, Unrelenting Standards 82, Insufficient Self-Control 74.

The numbers tell the model what should be more frequent and what should be rarer in the patient's inner dialogue. A 99th-percentile schema appears in almost every session. A 65th-percentile schema — sporadically, in context.

Not Detached Protector — but: Pustka (Emptiness). The patient says: "somewhere behind glass, I don't feel anything". Not Punitive Parent — but: Krytyczka (the Critic). Speaks in mom's language. Favorite sentences: "defective", "hopeless", "what will people say".

Names "in Polish" — Krytyczka, Mała Ania w piżamie (Little Ania in pajamas), Wkurzona Ania (Angry Ania), Pustka — become the way of talking about modes within the session itself. By S6 the patient names them herself.

Not "crisis" — but: three weeks before the first session, after an argument with Marek (he accused her of "hysteria" when she asked whether he loved her), a 4 cm cut on the left forearm, the first in 8 years. The next day she didn't go to work, lay in bed, didn't pick up the phone.

A concrete episode determines the intensity, the context, and the frame of the first session. "Crisis" opens up a million possibilities; "a 4 cm cut at night after an argument" — exactly one.

Anna says "klasyk Anna" (classic Anna) when she's distancing herself from herself. She says "no nie wiem" (well, I don't know) when she wants to think. She says "to jest jakieś dziwne" (this is somehow weird) when she has unexpected sensations. In strong emotion, once a session, "kurwa" (fuck) shows up.

Anna has a year and a half of psychodynamic therapy behind her (she stopped: "I kept saying the same thing") and half a year of CBT (she stopped: "thought Y was not mine").

This is essential for the patient's natural skepticism in the first session ("another therapist who'll tell me to pull myself together"), for comparisons during the work ("you're the first who asked outright about self-harm"), and for transference work around sessions 12-13, when the abandonment schema gets projected onto the therapist.

This is the equivalent of "regulating variables" in generation.

Resistance: lateness, intellectualization when it hurts, "OK, fine, never mind" at moments of emotional closeness, a possible cancelled session around S12 (testing the relationship).

Resource: punctuality, registered for therapy on her own, knows the terminology (which can be an aid and a defense), wants change despite skepticism.

Anna comes in skeptical. Cautious. The first therapist "who asked outright about self-harm and didn't make a big deal of it". In session 2 she cries for the first time, about grandma Halina. In session 3 she talks about the last phone conversation with her father — coldly, intellectually; the therapist notices: "you withdrew the moment it started to hurt". Silence, 30 seconds. In session 7, the case conceptualization. For the first time Anna cries differently than over her grandmother — without withdrawal, without an embarrassed laugh.

The first imagery in S8 doesn't take — Pustka kicks in, Anna opens her eyes: "sorry, I can't do this, I feel stupid". The second one, in S9 — breakthrough. In S10 a fight with Marek (a thrown mug), work with Wkurzona Ania (Angry Ania). In S11 the first chair work with Krytyczka — clumsy, unfinished. S12 is the rupture — Anna cancels the session, returns distant, reveals that she was afraid the therapist would leave her. The abandonment schema active in the transference. S13 — repair. S14 three-chair work, Wkurzona Ania defending Mała Ania against Krytyczka, the first time someone shouts loudly in the consulting room.

S15 — closing the grief over her father (a letter + imagery rescripting in an imagined hospital). S16 — preparing a behavioral experiment with Marek. S17 — Marek reacts badly, Anna stays in the conflict (sits in the kitchen for 5 minutes, feels, returns to the conversation). The first real-life use of the techniques. S18 — regression (alcohol comes back), Pustka as caretaker, self-compassion instead of self-criticism. S19 — letter to Mała Ania w piżamie (Little Ania in pajamas). S20 — closing the stage with an opening to continuation: "I'm no longer the same Ania who came in here in April."