Run: 2026-02-19-01KHSZ1NTPEPXEVZDQ6GEPB1SX

Run Details

Duration:
3m 48s
Cost:
$0.004908
Provider:
Novita

Model input

System
You are an expert and award-winning novel writer in the dark Romance genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4412" name="Aurora Carter" aliases="Rory, Laila, Aurora, Carter, Malphora" pronouns="she/her" species="Human" storyRole="Protagonist"> <eyeColor>bright blue</eyeColor> <hair>straight shoulder-length black</hair> <height>5'6"</height> <age>25</age> <scar>small crescent-shaped scar on her left wrist from a childhood accident</scar> <description>Aurora, referred to by her friends as Rory, is cool-headed, intelligent, and known for quick out-of-the-box thinking.</description> <backstory>Born in Cardiff to an Irish barrister father (Brendan Carter) and Welsh teacher mother (Jennifer Carter née Ellis), Rory reluctantly pursued Pre-Law at Cardiff University. She fled to London at the behest of her childhood friend Eva after leaving an abusive ex named Evan. By day, Rory works part-time as a delivery person for Yu-Fei Cheung's Golden Empress restaurant. She lives in a flat above Silas' bar.</backstory> </character> <character id="4415" name="Lucien Moreau" aliases="Lucien, Luc, the Frenchman" pronouns="he/him" species="Half-Demon" storyRole="Ally"> <eyeColor>heterochromatic — one amber, one black</eyeColor> <hair>slicked-back platinum blond</hair> <height>5'11"</height> <age>32</age> <cane>ivory-handled cane that conceals a thin blade</cane> <dress>tailored charcoal suits</dress> <description>An impeccably dressed fixer and information broker in London's supernatural underworld. He speaks four languages fluently.</description> <backstory>Born in Marseille to a human mother and a demon father from the realm of Avaros.</backstory> </character> <location id="858" name="Eva's Flat" aliases="Eva's place, the flat on Brick Lane" realm="Earth"> <cat>tabby cat named Ptolemy</cat> <security>three deadbolts on the front door</security> <description>A cramped one-bedroom flat above a curry house on Brick Lane, East London. Every surface is covered with books, scrolls, and research notes.</description> </location> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the romance genre. Two people who parted on complicated terms are forced together again when one shows up unannounced at the other's flat. There's history between them — attraction, hurt, and things left unsaid. Write the scene from the moment the door opens. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
"You." The word hung between them like a flickering streetlamp, half-lit and stubborn. Aurora stood framed in Eva's doorway, an arm slung above her head on the doorframe. A stubborn lock of black hair escaped her ponytail to fall across one bright blue eye. She didn't move aside. Lucien Moreau stood on the threshold, polished black loafers gleaming against the worn welcome mat. His charcoal suit was perfection, the fabric catching the flat's weak light in subtle, expensive ways. The ivory-handled cane rested lightly against his leg, a casual prop. Rain slicked his platinum blond hair back from his face, emphasizing the stark contrast of his eyes — one amber, one black as a well-bottom. A single drop of water traced a slow path down his temple. "Your security's psychological," Lucien said, his French accent softening the consonants. Not a compliment. An observation. His gaze flicked over the three deadbolts on the door she hadn't opened further than six inches. "You're waterlogged." "It's London." Silence stretched. Ptolemy the tabby wound himself between Aurora's ankles, then hopped onto a stack of dusty grimoires by the door, watching Lucien with green, judgemental eyes. The third broken lock? That wasn't just rust."The lease says no trespassing demons." "Half." A faint smile touched his mouth. It didn't reach his mismatched eyes. "Technically, I'm half-trespassing." She almost smiled back. Damn him. It'd been seven months. Fourteen days. Give or take an hour since they'd stood in his office on Threadneedle Street, the air thick with incense and tension, and he'd said don't come back. Not with those words, but with the cool dismissal in his tone, the way he'd turned his back to examine a fifteenth-century map as if she'd ceased to exist. As if the late nights translating cursed scrolls, the shared pot of bitter coffee, the moment his fingers had brushed hers when passing a witch-blade — as if none of it had carved grooves into something that felt dangerously like trust. She'd left Cardiff to escape a man who made her feel small. She hadn't come to London to find one who made her feel like she could crack pavement slabs with her bare hands and it still wouldn't be enough to impress him. Yet here he was. Unannounced. Uninvited. Dripping on Eva's doormat. "Evangeline's out," Aurora said finally. Her arm ached from holding the door. She lowered it, but didn't step back. "I came for you." Her heart performed a stupid, traitorous flip. She leaned her hip against the doorjamb, crossing her arms over her chest, a makeshift shield. The fabric of her jumper — one of Eva's old university hoodies — was soft and worn thin at the elbows. She felt suddenly, acutely aware of her own scruffiness next to his tailored precision. "Christmas carolers come for me. Takeaway delivery men come for me. You," she said, "send messages. Through couriers with too many teeth. Or by making streetlights flicker in patterns I'm supposed to decode." He inclined his head, conceding the point. The movement sent another droplet of rain sliding down his neck, disappearing beneath his collar. "The situation requires... directness." "Directness. Right." She studied him. The cut on his jaw was fresh — a thin, precise line along the bone, almost surgical. His knuckles, wrapped around the cane's ivory head, were raw. Not bruised. Scoured, like ground meat against brick. He caught her looking. His thumb stroked the smooth curve of the cane handle. "May I come in, Rory?" He used the nickname rarely. When he did, it felt like a key turning in a lock she kept bolted. Aurora held his gaze for three more heartbeats. Then she stepped back, pulling the door wide. "Wipe your feet." Lucien crossed the threshold with that unnatural grace he possessed — not quite human, not quite something else. The floorboards didn't creak under his weight. Ptolemy hissed once, low in his throat, before jumping down and stalking towards the kitchen. She closed the door, engaging all three deadbolts with a series of solid thunks. The sound felt final. When she turned, he was surveying the chaos of Eva's flat. Books and scrolls covered every surface — the coffee table, the two mismatched armchairs, the floor. Tea mugs with fossilised rings at the bottom sat beside sextants and tarnished silver bowls. The air smelled of old paper, drying herbs, and the underlying ghost of last night's vindaloo from the curry house below. "Charming," Lucien remarked. "It's lived-in." "Indeed." He didn't sit. He stood in the centre of the room, a dark monolith amid the scholarly clutter, his cane planted before him like a sceptre. Rainwater from his coat pattered softly onto Eva's threadbare Persian rug. Aurora moved past him to the small kitchenette, more for something to do with her hands than from any desire to play hostess. She filled the kettle, her back to him. "So. Directness." "The Court of Avaros is opening a consulate." The kettle slipped in her grip. She caught it before it clattered into the sink. Cold dread pooled in her stomach, sharp and acidic. She turned slowly. Lucien watched her, his expression unreadable. "In Camden. Officially a diplomatic mission. Unofficially, a beachhead." "My father's court." "Indeed." His gaze drifted to the small crescent-shaped scar on her left wrist, visible as she gripped the counter edge. A childhood accident from a broken bottle, she'd told him once. He'd traced it with a fingertip, his touch colder than human skin, and asked if she was sure. She hadn't answered. "Why tell me?" Her voice came out steadier than she felt. "Because your father's envoys arrive next week. And they've requested a liaison with... local assets." "I'm not an asset." "No," he agreed softly. "You're a loose end." The words hung in the herb-scented air. A loose end. Something to be trimmed, tucked away, or burned. She forced a laugh. It sounded brittle. "So you're here to... tie me off? Send me packing back to Cardiff? A bit dramatic, even for you, Lucien." He moved then. Not quickly, but with purpose. Three steps brought him to the kitchenette threshold. He didn't enter — he never invaded without permission, that was part of his maddening code — but he stood close enough that she could see the fine lines at the corners of his eyes, the faint pulse at his temple. She caught the scent of him beneath the rain and wool: sandalwood and ozone, and something darker, like extinguished candlewick. "I told them you were dead." The world narrowed to the space between them. The hum of the fridge. The drip of a tap she'd meant to fix last week. The rapid thrum of her own blood in her ears. "They didn't believe you, I take it." "They demanded proof." "What kind of proof?" His mismatched eyes held hers. "A body." She swallowed. The inside of her mouth tasted of metal. "And you said?" "I said I'd provide one." Silence. Profound and heavy. Outside, Brick Lane rumbled with evening traffic, the distant wail of a siren cutting through the rain. Aurora turned back to the kettle, flicked it on. The click was loud in the quiet. "So that's the directness. You're here to kill me. To tidy up." "Rory." "No, it makes sense." She pulled two mugs from the cupboard — one with a faded pun about archaeology, one chipped along the rim. "Clean, efficient. No loose ends. Very you." His hand shot out, fingers closing around her wrist. Not hard. But firm. His skin was cool, almost shockingly so. He turned her gently to face him. "Is that what you think of me?" She looked down at his hand on her wrist, then up into his face. The amber eye seemed to glow in the flat's dim light. The black one swallowed it. "I think," she said slowly, "that you're a man who deals in information. In favours. In balance sheets. And I think your balance sheet with the Court of Avaros must be looking rather red right now if they're asking for my head." "Not your head," he murmured. His thumb brushed over her pulse point. "Just proof of cessation. Proof that the daughter of Brendan Carter is no longer a... complication." "And you volunteered." "I did." "Why?" His gaze dropped to her mouth, then back to her eyes. "Because if I provide the proof, I control the narrative. I control what they see. What they believe." The kettle boiled, switching off with a loud click. Aurora didn't move. "You're talking about faking my death." "It's been done before." "Not by me." "You won't be doing it. I will." She pulled her wrist free. "And then what? I go into hiding? Grow out my hair, move to the Cotswolds, keep goats?" "If you like goats." "This isn't a joke, Lucien." "I'm perfectly serious." He leaned his cane against the counter, freeing both hands. He didn't touch her again, but his presence seemed to fill the small kitchen. "There's a flat in Marseille. Quiet. Protected. My mother's." She stared at him. "You want to stash me at your mother's house." "For a time. Until the envoys are satisfied and return to Avaros." "And you?" "I have business here." "Of course you do." She turned away, busying herself with tea bags, boiling water, milk from the fridge that was probably on the turn. Her hands trembled. She stilled them by force of will. "So let me get this straight. You show up unannounced, drip all over Eva's rug, tell me my demonic father's minions are in town and want me dead, and your brilliant solution is to fake my death and ship me off to your mum's in France." "That's the essence of it, yes." She slammed the milk carton down. "No." "Rory—" "No." She faced him, her blue eyes blazing. "I didn't run from Evan to run from this. I didn't leave my life, my degree, my family — such as it is — to spend the rest of it looking over my shoulder. I'm done hiding." "This isn't a human ex-boyfriend with a temper. This is the Court of Avaros. They don't send solicitors' letters. They send Shriekers. Soul-eaters. Things that make what you've seen so far look like a children's pantomime." "Then I'll face them." "With what?" His voice sharpened, the French accent thickening. "Your quick thinking? Your university debate trophies? The small knife you keep in your boot?" She flinched. He saw it. His expression softened, just a fraction. "This isn't bravery, Rory. It's stubbornness. And it will get you killed." "Maybe. But it's my choice." "Is it?" He took a step closer. They were almost touching now. She could feel the chill radiating from him, see the individual droplets of rain caught in his eyelashes. "Or is it the choice of a woman who'd rather die than be indebted? Than to owe someone?" Her breath hitched. "That's not—" "Isn't it?" His voice dropped to a whisper. "You walked out of my office seven months ago because I wouldn't tell you about the binding ritual on the Lemegeton scroll. Because I said it was too dangerous. Because I *protected* you." "You patronised me." "I kept you alive." His hand rose, as if to cup her cheek, but stopped mid-air. He let it fall. "And you couldn't stand it. Couldn't stand that someone might know more than you. That someone might care enough to say no." "You didn't care. You were protecting your investment." "Was I?" The question hung between them, naked and vulnerable. All the unsaid things of the past months rose like ghosts in the steam from their untouched tea. The late nights. The shared jokes in dead languages. The time he'd stitched up a cut on her palm after a run-in with a ghoul, his fingers sure and steady, his head bent close to hers. The way he'd looked at her when she'd deciphered a particularly nasty curse — not with surprise, but with a quiet, fierce pride that had made her chest ache. She'd told herself it was professional respect. That the flutter in her stomach whenever he entered a room was adrenaline, not attraction. That the hurt when he'd shut her out was just wounded pride. Lies. All of it. "I can't run again," she whispered. "You're not running." His voice was so soft now. "You're regrouping. Buying time." "For what?" "For me to fix this." She barked a laugh, watery and choked. "You? You're the one who got me into this. You're the one who made a deal with my father in the first place." "A deal," he said slowly, "that kept you safe for twenty-five years. A deal that put a wall between you and Avaros. A deal that's now crumbling because your father's new consort wants the half-human heir out of the picture." The revelation landed like a physical blow. "What?" "Did you think you were the only complication?" His smile was bitter. "I'm sorry to disappoint. This isn't about you, Rory. It's about succession. Politics. Your father's new bride wants her own children on the throne. You're a living, breathing reminder of his... human indulgences." The room tilted. She grabbed the counter edge. He was there instantly, his hands on her elbows, steadying her. The touch was electric, even through layers of fabric. Cold and warm at once. "I've spent seven months," he said, his mouth close to her ear, "trying to renegotiate. To find another way. But the Court is impatient. And now they're here." She looked up into his face. Saw the weariness etched there, beneath the impeccable veneer. The raw knuckles. The fresh cut. The shadows under his eyes that no amount of tailoring could hide. "You've been fighting." "Negotiating." "With your fists." "Sometimes the language of fists is more persuasive than the language of politics." His thumbs stroked the insides of her elbows, a gentle, rhythmic motion. "But it hasn't been enough. They want proof. So I'll give it to them. A body. A funeral. A closed file." "And then?" "And then," he said, "you live. Under a new name. In a new place. With resources, protection." "Your protection." He didn't look away. "If you'll have it." The words were a precipice. She stood on the edge, the wind of her own fear buffeting her. Seven months ago, she would have thrown his offer back in his face. Would have stormed out, pride intact, and faced whatever came alone. But seven months ago, she hadn't lain awake night after night, staring at the water-stained ceiling of her flat above Silas' bar, wondering if the knock at the door would be a drunken patron or something with too many teeth. She hadn't jumped at shadows in the Chinese restaurant's delivery alley. Hadn't started carrying the boot knife not as a precaution, but as a necessity. She was tired. So, so tired. "What about Eva?" she asked quietly. "She'll be told you're in hiding. She can visit. Once it's safe." "And my mum? Dad?" "Your mother believes you're studying abroad. Your father..." Lucien's mouth tightened. "Your father has made his choice." The words were a dull ache, not a surprise. Her barrister father, who'd always looked at her with a faint unease, as if she were a complex case he couldn't quite crack. Her kind, gentle mother, who'd tried so hard to pretend their family was normal, was human. Aurora closed her eyes. When she opened them, Lucien was still there. Still watching her with that unnerving dual-colour gaze. "Say yes," he murmured. It wasn't a command. It was a plea. She thought of Marseille. Sun on water. A safe place. His mother's house. A life without looking over her shoulder. A life in his debt. A life with him in it. Her hand rose, almost of its own volition, to touch the fresh cut on his jaw. His breath caught. Her fingers were warmer than his skin. "You'll get blood on your rug," she whispered. "I'll buy Eva a new one." "Ptolemy will hate you." "He already does." A smile touched her lips. Faint, but real. His hand came up to cover hers, pressing her palm against his jaw. The cut was shallow, clean. A blade's work. "Say yes, Rory." Outside, the rain picked up, hammering against the windowpane like fists. Inside, the steam from their forgotten tea curled towards the ceiling, writing ghostly, temporary letters in the air. She took a breath. Held his gaze. The first deadbolt snapped open under her fingers.
created_at"2026-02-19T03:28:09.571Z" 2/19/2026, 3:28:09 AM
model"microsoft/wizardlm-2-8x22b"
app_id182717
external_user(null)
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cancelledfalse
latency1132
moderation_latency(null)
generation_time227680
tokens_prompt4559
tokens_completion4238
native_tokens_prompt4157
native_tokens_completion3759
native_tokens_completion_images(null)
native_tokens_reasoning0
native_tokens_cached4096
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num_input_audio_prompt(null)
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latency1132
model_permaslug"microsoft/wizardlm-2-8x22b"
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status200
api_type"completions"
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Evaluation details

Result Evaluator Details Meta Data
94.74% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags29
adverbTagCount6
adverbTags
0"Aurora said finally [finally]"
1"he agreed softly [softly]"
2"she said slowly [slowly]"
3"She turned away [away]"
4"he said slowly [slowly]"
5"she asked quietly [quietly]"
dialogueSentences114
tagDensity0.254
leniency0.509
rawRatio0.207
effectiveRatio0.105
80.10% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2764
totalAiIsmAdverbs11
found
0
adverb"lightly"
count1
1
adverb"suddenly"
count1
2
adverb"softly"
count2
3
adverb"slowly"
count3
4
adverb"quickly"
count1
5
adverb"very"
count1
6
adverb"gently"
count1
7
adverb"perfectly"
count1
highlights
0"lightly"
1"suddenly"
2"softly"
3"slowly"
4"quickly"
5"very"
6"gently"
7"perfectly"
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
49.35% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2764
totalAiIsms28
found
0
word"gleaming"
count1
1
word"stark"
count1
2
word"traced"
count2
3
word"flicked"
count2
4
word"silence"
count2
5
word"tension"
count1
6
word"flicker"
count1
7
word"weight"
count1
8
word"desire"
count1
9
word"stomach"
count2
10
word"unreadable"
count1
11
word"pulse"
count2
12
word"profound"
count1
13
word"efficient"
count1
14
word"trembled"
count1
15
word"could feel"
count1
16
word"chill"
count1
17
word"whisper"
count1
18
word"reminder"
count1
19
word"electric"
count1
20
word"etched"
count1
21
word"rhythmic"
count1
22
word"complex"
count1
highlights
0"gleaming"
1"stark"
2"traced"
3"flicked"
4"silence"
5"tension"
6"flicker"
7"weight"
8"desire"
9"stomach"
10"unreadable"
11"pulse"
12"profound"
13"efficient"
14"trembled"
15"could feel"
16"chill"
17"whisper"
18"reminder"
19"electric"
20"etched"
21"rhythmic"
22"complex"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches0
maxInWindow0
found(empty)
highlights(empty)
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells2
narrationSentences208
matches
0"t with surprise"
1"was bitter"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount3
hedgeCount2
narrationSentences208
filterMatches
0"feel"
1"see"
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences291
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen46
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans1
markdownWords1
totalWords2761
ratio0
matches
0"protected"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions29
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions33
wordCount1848
uniqueNames14
maxNameDensity0.43
worstName"Aurora"
maxWindowNameDensity1.5
worstWindowName"Lucien"
discoveredNames
Eva5
Moreau1
French2
Aurora8
Lucien8
Threadneedle1
Street1
Cardiff1
London1
Persian1
Brick1
Lane1
Chinese1
Marseille1
persons
0"Eva"
1"Moreau"
2"Aurora"
3"Lucien"
places
0"Threadneedle"
1"Street"
2"Cardiff"
3"London"
4"Brick"
5"Lane"
6"Chinese"
7"Marseille"
globalScore1
windowScore1
89.02% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences123
glossingSentenceCount3
matches
0"felt like a key turning in a lock she k"
1"not quite human, not quite something else"
2"not quite something else"
3"quite crack"
55.12% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches4
per1kWords1.449
wordCount2761
matches
0"Not with those words, but with the cool dismissal in his tone, the way he'd turned his"
1"Not quickly, but with purpose"
2"not with surprise, but with a quiet, fierce pride"
3"not as a precaution, but as a necessity"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences291
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs144
mean19.17
std19.4
cv1.012
sampleLengths
01
147
279
333
42
52
627
74
89
916
106
11103
1243
1310
1419
154
1658
1733
1826
1940
2019
2120
2219
2340
2429
2552
263
272
281
2937
3033
318
3227
3315
343
3552
3611
3715
384
398
4018
4127
4277
436
4434
457
463
474
487
4913
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences208
matches
0"been seven"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs301
matches
0"was surveying"
54.49% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount11
semicolonCount0
flaggedSentences9
totalSentences291
ratio0.031
matches
0"Rain slicked his platinum blond hair back from his face, emphasizing the stark contrast of his eyes — one amber, one black as a well-bottom."
1"As if the late nights translating cursed scrolls, the shared pot of bitter coffee, the moment his fingers had brushed hers when passing a witch-blade — as if none of it had carved grooves into something that felt dangerously like trust."
2"The fabric of her jumper — one of Eva's old university hoodies — was soft and worn thin at the elbows."
3"The cut on his jaw was fresh — a thin, precise line along the bone, almost surgical."
4"Lucien crossed the threshold with that unnatural grace he possessed — not quite human, not quite something else."
5"Books and scrolls covered every surface — the coffee table, the two mismatched armchairs, the floor."
6"He didn't enter — he never invaded without permission, that was part of his maddening code — but he stood close enough that she could see the fine lines at the corners of his eyes, the faint pulse at his temple."
7"\"No, it makes sense.\" She pulled two mugs from the cupboard — one with a faded pun about archaeology, one chipped along the rim."
8"The way he'd looked at her when she'd deciphered a particularly nasty curse — not with surprise, but with a quiet, fierce pride that had made her chest ache."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount968
adjectiveStacks0
stackExamples(empty)
adverbCount32
adverbRatio0.03305785123966942
lyAdverbCount8
lyAdverbRatio0.008264462809917356
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences291
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences291
mean9.49
std8.57
cv0.904
sampleLengths
01
112
215
316
44
515
616
711
825
912
1011
113
122
1317
142
152
162
1725
184
199
207
216
223
234
242
254
262
2727
2829
2941
3012
3131
324
331
341
354
365
377
387
394
407
4116
4221
4314
4433
457
4615
474
485
4917
41.75% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats24
diversityRatio0.2920962199312715
totalSentences291
uniqueOpeners85
35.46% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences188
matches
0"Then she stepped back, pulling"
1"Still watching her with that"
ratio0.011
30.64% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount89
totalSentences188
matches
0"She didn't move aside."
1"His charcoal suit was perfection,"
2"His gaze flicked over the"
3"It didn't reach his mismatched"
4"She almost smiled back."
5"It'd been seven months."
6"She'd left Cardiff to escape"
7"She hadn't come to London"
8"Her arm ached from holding"
9"She lowered it, but didn't"
10"Her heart performed a stupid,"
11"She leaned her hip against"
12"She felt suddenly, acutely aware"
13"He inclined his head, conceding"
14"She studied him"
15"His knuckles, wrapped around the"
16"He caught her looking."
17"His thumb stroked the smooth"
18"He used the nickname rarely."
19"She closed the door, engaging"
ratio0.473
39.79% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount158
totalSentences188
matches
0"The word hung between them"
1"Aurora stood framed in Eva's"
2"A stubborn lock of black"
3"She didn't move aside."
4"Lucien Moreau stood on the"
5"His charcoal suit was perfection,"
6"The ivory-handled cane rested lightly"
7"Rain slicked his platinum blond"
8"A single drop of water"
9"Lucien said, his French accent"
10"His gaze flicked over the"
11"Ptolemy the tabby wound himself"
12"The third broken lock?"
13"That wasn't just rust.\"The lease"
14"A faint smile touched his"
15"It didn't reach his mismatched"
16"She almost smiled back."
17"It'd been seven months."
18"She'd left Cardiff to escape"
19"She hadn't come to London"
ratio0.84
26.60% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences188
matches
0"As if the late nights"
ratio0.005
74.83% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences63
technicalSentenceCount6
matches
0"Not with those words, but with the cool dismissal in his tone, the way he'd turned his back to examine a fifteenth-century map as if she'd ceased to exist."
1"As if the late nights translating cursed scrolls, the shared pot of bitter coffee, the moment his fingers had brushed hers when passing a witch-blade — as if no…"
2"The movement sent another droplet of rain sliding down his neck, disappearing beneath his collar."
3"He didn't enter — he never invaded without permission, that was part of his maddening code — but he stood close enough that she could see the fine lines at the …"
4"The way he'd looked at her when she'd deciphered a particularly nasty curse — not with surprise, but with a quiet, fierce pride that had made her chest ache."
5"Her kind, gentle mother, who'd tried so hard to pretend their family was normal, was human."
56.03% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags29
uselessAdditionCount4
matches
0"Lucien said, his French accent softening the consonants"
1"She faced, her blue eyes blazing"
2"His voice sharpened, the French accent thickening"
3"he said, his mouth close to her ear,"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags14
fancyCount5
fancyTags
0"he agreed softly (agree)"
1"he murmured (murmur)"
2"she whispered (whisper)"
3"he murmured (murmur)"
4"she whispered (whisper)"
dialogueSentences114
tagDensity0.123
leniency0.246
rawRatio0.357
effectiveRatio0.088
80.9309%