Run: 2026-02-19-01KHSZ7N69QG2BB3SNC14T9MYG

Run Details

Duration:
19.2s
Cost:
$0.000737

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
--- The door swung open with a groan of rusted hinges, splintering the quiet of the flat above Silas’ bar. A gust of cold air—mixed with the faint, acrid tang of rain-slicked pavement—whipped through the threshold, carrying with it the scent of something sharp and unfamiliar. A man stood there, his silhouette stark against the dim glow of the streetlamp outside. Tall, unnervingly still, his platinum blond hair slicked back like he’d just stepped out of a tailor’s shop instead of a night that had gone sideways. Aurora’s breath hitched. She didn’t turn around. She couldn’t. Not yet. “You’re late,” she said, her voice steady, but her fingers tightened around the knife she’d been sharpening on the counter. The blade caught the light, reflecting back at her like a challenge. The man—*Lucien*—didn’t move. Didn’t smile. Just tilted his head, amber eye catching the dim light first, then black, like a predator sizing up prey. “I’m never late for a job.” The words hung between them, heavy with something unsaid. A job. Right. Like this was business. Like she wasn’t standing here with her pulse hammering in her throat, her skin prickling with the memory of his touch—his *teeth*—the last time she’d seen him. She exhaled through her nose, a sound that was almost a laugh. “You’re not here for the delivery.” “No.” His cane tapped once against the floor, the ivory handle gleaming under the flickering bulb. “I’m here for you.” Aurora’s grip on the knife loosened just enough to make her wince. She set it down on the counter with a *clink*, the sound too loud in the sudden silence. “Then you’ve come to the wrong place.” His lips quirked, just once, but it was enough. Enough to make her stomach twist. “Have I?” She turned then, slow, deliberate. The flat was smaller than she remembered, the air thick with the scent of takeaway containers and the faint metallic tang of blood—*her* blood, from the last time she’d cut herself here, trying to forget. Lucien’s gaze flicked to the scar on her wrist, the crescent-shaped mark from the accident she’d never told anyone about. Not even Eva. “You look like hell,” he said. “And you look like you’ve been sleeping in a coffin,” she shot back, though her voice lacked its usual bite. The words tasted bitter on her tongue. Lucien stepped inside, his coat brushing against the doorframe. The scent of him—leather and something darker, something like old books and gunpowder—filled the space between them. “I’ve been busy.” “So have I.” A beat. Then, from the hallway, the unmistakable *thump* of Ptolemy’s tail against the wall. The tabby cat’s green eyes narrowed as he slinked into the room, tail flicking. He didn’t like Lucien. No one did. “Your cat has a thing for me,” Lucien observed, crouching to scratch behind Ptolemy’s ears. The cat hissed, but didn’t retreat. “Or maybe it’s just your scent on him.” Aurora’s jaw tightened. “He’s not mine.” “No?” Lucien stood, straightening with a slow, deliberate grace. “Then whose is he?” “Eva’s.” Lucien’s gaze snapped to her. “Eva’s?” Aurora crossed her arms, her fingers digging into her sleeves. “She’s been keeping him.” Lucien’s expression didn’t change, but something flickered in his eyes—amusement? Irritation? “Eva’s flat’s a warzone. That cat wouldn’t survive.” “She’s got a greenhouse. He’s got a name.” “Ptolemy, huh?” Lucien hummed, rubbing his chin. “Fitting.” Aurora ignored the way her pulse jumped at the sound of his voice, low and smooth as whiskey. “Why are you here, Lucien?” He didn’t answer immediately. Instead, he walked to the window, pulling back the curtain just enough to let in a sliver of light. The rain had stopped, but the streets below were slick, the neon signs of Brick Lane flickering like dying stars. “I need your help.” “With what?” His shoulders tensed. “A job.” Aurora laughed, sharp and humorless. “You’re not the kind of man who does jobs.” Lucien turned, his black eye locked onto hers. “I’m the kind of man who gets things done.” “And I’m the kind of woman who doesn’t get mixed up in other people’s messes.” He stepped closer, close enough that she could see the faint scar along his jawline, the one she’d given him. “This isn’t about messes.” Aurora’s breath caught. She knew that scar. Knew the story behind it—how he’d laughed when she’d done it, how he’d kissed it better later, his lips warm against her skin. “Then what is it about?” “A woman.” Lucien’s voice dropped, rough with something she didn’t recognize—something like respect, maybe. “She’s in trouble. And I need someone who knows how to get into places I can’t.” Aurora’s stomach twisted. “And why me?” “Because you’re the only one who can do it.” She wanted to argue. Wanted to tell him to go to hell, that she didn’t owe him anything, that she’d moved on—*she had*. But the way he looked at her, like he was seeing her for the first time in years, made her knees weak. “What’s her name?” “Malphora.” Aurora’s breath hitched. *Malphora.* That was her name. The one she’d used when she’d been running, when she’d needed to disappear. The one she’d buried deep, the one she’d never told Lucien. Lucien’s gaze flicked to her scar again, then back to her eyes. “You remember.” She swallowed. “I remember.” A silence stretched between them, thick and suffocating. Then, from the hallway, Eva’s voice—sharp, urgent—cut through the tension. “Rory? You decent?” Aurora’s head snapped toward the door. “Shit.” Lucien’s lips twitched. “She’s here.” Aurora didn’t answer. She didn’t have to. The way Lucien’s eyes crinkled at the corners, the way his cane tapped against the floor—he knew exactly what she was thinking. Eva’s voice came again, louder this time. “Rory? Open up.” Aurora turned, grabbing a jacket from the back of the chair. “You’re not leaving.” Lucien’s voice was smooth, unhurried. “I’ll wait.” She didn’t look back. She didn’t have to. She could feel him watching her, could feel the weight of his presence like a shadow on her skin. The door swung open before she could reach it, and Eva stood there, her dark hair wild, her eyes wide with concern. “What the hell are you doing back here? I’ve been trying to call you for *hours*.” Aurora stepped aside, letting Eva rush into the flat. “Long story.” Eva’s gaze flicked to Lucien, then back to Aurora’s face. “Who’s this?” Aurora exhaled, rubbing her temples. “A friend.” Eva’s eyebrows shot up. “A *friend*?” Aurora didn’t meet her eyes. “He’s here about Malphora.” Eva’s breath caught. “Oh.” Lucien stepped forward, extending a hand. “Lucien Moreau.” Eva took it, her grip firm. “Eva Carter.” Aurora watched them, her stomach twisting. She knew this wasn’t over. Not by a long shot. Eva pulled her hand back, her expression unreadable. “So. Malphora.” Aurora turned, her voice low. “We need to talk.” Eva nodded, but her gaze was still on Lucien. “After.” Aurora didn’t argue. She didn’t have to. She knew Eva well enough to know when she was being dismissed. Lucien watched them go, his cane tapping against the floor. Then, when the door had closed behind them, he turned back to Aurora, his voice low and dangerous. “You’re still wearing that scar.” Aurora’s fingers twitched. “It’s not a scar.” “It’s a brand.” She didn’t answer. She couldn’t. Lucien stepped closer, his voice dropping to a whisper. “You should’ve told me.” Aurora’s breath hitched. “I didn’t know.” “You should’ve known.” She looked away, her heart pounding in her chest. “I did.” Lucien’s hand shot out, gripping her wrist, his fingers warm against her skin. “Liar.” Aurora’s breath caught. She wanted to pull away. She wanted to scream. But she didn’t. She just stood there, her pulse hammering in her throat, her body betraying her with a shiver. Lucien’s thumb traced the scar, his touch gentle, almost reverent. “You were always the best liar I’ve ever known.” Aurora’s eyes burned. She wanted to tell him to stop. She wanted to tell him she was sorry. But the words stuck in her throat, tangled up in the past and the present and everything in between. Lucien’s gaze lifted to hers, his eyes dark and intense. “We need to talk.” Aurora swallowed. “About what?” “About Malphora.” Aurora’s breath hitched. “And about us.” Lucien’s lips curved into a slow, dangerous smile. “Always about us.” Aurora’s heart pounded in her chest. She wanted to run. She wanted to stay. She wanted to scream and cry and never look back. But she didn’t move. She just stood there, her body trembling, her heart racing, her soul aching with the weight of everything unsaid. Lucien’s hand fell away, his voice dropping to a whisper. “You should’ve told me.” Aurora’s breath caught. “I did.” Lucien’s gaze locked onto hers, his eyes dark and intense. “No, you didn’t.” Aurora’s eyes burned. She wanted to tell him to stop. She wanted to tell him she was sorry. But the words stuck in her throat, tangled up in the past and the present and everything in between. Lucien’s hand shot out, gripping her wrist, his fingers warm against her skin. “You were always the best liar I’ve ever known.” Aurora’s breath hitched. She wanted to pull away. She wanted to scream. But she didn’t. She just stood there, her pulse hammering in her throat, her body betraying her with a shiver. Lucien’s thumb traced the scar, his touch gentle, almost reverent. “You were always the best liar I’ve ever known.” Aurora’s eyes burned. She wanted to tell him to stop. She wanted to tell him she was sorry. But the words stuck in her throat, tangled up in the past and the present and everything in between. Lucien’s gaze lifted to hers, his eyes dark and intense. “We need to talk.” Aurora’s breath hitched. “About what?” “About Malphora.” Aurora’s heart pounded in her chest. “And about us.” Lucien’s lips curved into a slow, dangerous smile. “Always about us.” Aurora’s fingers trembled. She wanted to run. She wanted to stay. She wanted to scream and cry and never look back. But she didn’t move. She just stood there, her body trembling, her heart racing, her soul aching with the weight of everything unsaid. Lucien’s hand fell away, his voice dropping to a whisper. “You should’ve told me.” Aurora’s breath caught. “I did.” Lucien’s gaze locked onto hers, his eyes dark and intense. “No, you didn’t.” Aurora’s eyes burned. She wanted to tell him to stop. She wanted to tell him she was sorry. But the words stuck in her throat, tangled up in the past and the present and everything in between. The door swung open again, and Eva stood there, her expression unreadable. “Rory? You decent?” Aurora exhaled, rubbing her temples. “A friend.” Eva’s eyebrows shot up. “A *friend*?” Aurora didn’t meet her eyes. “He’s here about Malphora.” Eva’s breath caught. “Oh.” Lucien stepped forward, extending a hand. “Lucien Moreau.” Eva took it, her grip firm. “Eva Carter.” Aurora watched them, her stomach twisting. She knew this wasn’t over. Not by a long shot. Eva pulled her hand back, her expression unreadable. “So. Malphora.” Aurora turned, her voice low. “We need to talk.” Eva nodded, but her gaze was still on Lucien. “After.” Aurora didn’t argue. She didn’t have to. She knew Eva well enough to know when she was being dismissed. Lucien watched them go, his cane tapping against the floor. Then, when the door had closed behind them, he turned back to Aurora, his voice low and dangerous. “You’re still wearing that scar.” Aurora’s fingers twitched. “It’s not a scar.” “It’s a brand.” She didn’t answer. She couldn’t. Lucien stepped closer, his voice dropping to a whisper. “You should’ve told me.” Aurora’s breath hitched. “I didn’t know.” “You should’ve known.” She looked away, her heart pounding in her chest. “I did.” Lucien’s hand shot out, gripping her wrist, his fingers warm against her skin. “Liar.” Aurora’s breath caught. She wanted to pull away. She wanted to scream. But she didn’t. She just stood there, her pulse hammering in her throat, her body betraying her with a shiver. Lucien’s thumb traced the scar, his touch gentle, almost reverent. “You were always the best liar I’ve ever known.” Aurora’s eyes burned. She wanted to tell him to stop. She wanted to tell him she was sorry. But the words stuck in her throat, tangled up in the past and the present and everything in between. Lucien’s gaze lifted to hers, his eyes dark and intense. “We need to talk.” Aurora’s breath hitched. “About what?” “About Malphora.” Aurora’s heart pounded in her chest. “And about us.” Lucien’s lips curved into a slow, dangerous smile. “Always about us.”
total_cost0.0007368

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags9
adverbTagCount1
adverbTags
0"His cane tapped once [once]"
dialogueSentences109
tagDensity0.083
leniency0.165
rawRatio0.111
effectiveRatio0.018
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2134
totalAiIsmAdverbs0
found(empty)
highlights(empty)
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)
8.62% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2134
totalAiIsms39
found
0
word"stark"
count1
1
word"predator"
count1
2
word"pulse"
count5
3
word"gleaming"
count1
4
word"silence"
count2
5
word"stomach"
count4
6
word"flicked"
count3
7
word"flickered"
count1
8
word"tension"
count1
9
word"could feel"
count2
10
word"weight"
count3
11
word"unreadable"
count3
12
word"whisper"
count4
13
word"pounding"
count2
14
word"traced"
count3
15
word"racing"
count2
16
word"trembled"
count1
highlights
0"stark"
1"predator"
2"pulse"
3"gleaming"
4"silence"
5"stomach"
6"flicked"
7"flickered"
8"tension"
9"could feel"
10"weight"
11"unreadable"
12"whisper"
13"pounding"
14"traced"
15"racing"
16"trembled"
33.33% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches4
maxInWindow3
found
0
label"heart pounded in chest"
count3
1
label"eyes widened/narrowed"
count1
highlights
0"heart pounded in her chest"
1"eyes narrowed"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences203
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount0
narrationSentences203
filterMatches(empty)
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences304
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen35
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans10
markdownWords11
totalWords2121
ratio0.005
matches
0"Lucien"
1"teeth"
2"clink"
3"her"
4"thump"
5"she had"
6"Malphora."
7"hours"
8"friend"
9"friend"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions21
unquotedAttributions0
matches(empty)
0.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions112
wordCount1706
uniqueNames6
maxNameDensity2.81
worstName"Aurora"
maxWindowNameDensity5.5
worstWindowName"Aurora"
discoveredNames
Aurora48
Eva19
Ptolemy2
Lucien41
Brick1
Lane1
persons
0"Aurora"
1"Eva"
2"Ptolemy"
3"Lucien"
places
0"Brick"
1"Lane"
globalScore0.093
windowScore0
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences112
glossingSentenceCount2
matches
0"something like old books and gunpowder—fille"
1"something like respect, maybe"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount2121
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences304
matches
0"knew that scar"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs132
mean16.07
std13.41
cv0.834
sampleLengths
01
186
211
332
430
543
618
720
837
917
1063
116
1227
1329
143
1536
1629
176
1813
191
206
2114
2219
238
248
2523
2647
272
285
2914
3017
3115
3224
3335
3430
356
369
3748
381
3932
4014
414
4218
433
447
455
4629
4710
4814
497
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences203
matches
0"being dismissed"
1"being dismissed"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount3
totalVerbs352
matches
0"wasn’t standing"
1"was seeing"
2"was thinking"
39.47% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount16
semicolonCount0
flaggedSentences11
totalSentences304
ratio0.036
matches
0"A gust of cold air—mixed with the faint, acrid tang of rain-slicked pavement—whipped through the threshold, carrying with it the scent of something sharp and unfamiliar."
1"The man—*Lucien*—didn’t move."
2"Like she wasn’t standing here with her pulse hammering in her throat, her skin prickling with the memory of his touch—his *teeth*—the last time she’d seen him."
3"The flat was smaller than she remembered, the air thick with the scent of takeaway containers and the faint metallic tang of blood—*her* blood, from the last time she’d cut herself here, trying to forget."
4"The scent of him—leather and something darker, something like old books and gunpowder—filled the space between them."
5"Lucien’s expression didn’t change, but something flickered in his eyes—amusement?"
6"Knew the story behind it—how he’d laughed when she’d done it, how he’d kissed it better later, his lips warm against her skin."
7"“A woman.” Lucien’s voice dropped, rough with something she didn’t recognize—something like respect, maybe."
8"Wanted to tell him to go to hell, that she didn’t owe him anything, that she’d moved on—*she had*."
9"Then, from the hallway, Eva’s voice—sharp, urgent—cut through the tension."
10"The way Lucien’s eyes crinkled at the corners, the way his cane tapped against the floor—he knew exactly what she was thinking."
72.78% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount225
adjectiveStacks0
stackExamples(empty)
adverbCount16
adverbRatio0.07111111111111111
lyAdverbCount1
lyAdverbRatio0.0044444444444444444
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences304
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences304
mean6.97
std5.83
cv0.835
sampleLengths
019
126
215
326
43
54
62
72
820
912
103
112
1219
136
149
152
161
174
1827
1912
206
2116
224
2312
2418
257
269
276
282
295
3035
3120
323
336
3420
357
369
3717
383
393
402
4113
4214
434
443
4515
466
478
483
493
39.47% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats32
diversityRatio0.15789473684210525
totalSentences304
uniqueOpeners48
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount6
totalSentences191
matches
0"Just tilted his head, amber"
1"Then, from the hallway, the"
2"Instead, he walked to the"
3"Then, from the hallway, Eva’s"
4"Then, when the door had"
5"Then, when the door had"
ratio0.031
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount55
totalSentences191
matches
0"She didn’t turn around."
1"she said, her voice steady,"
2"She exhaled through her nose,"
3"His cane tapped once against"
4"She set it down on"
5"His lips quirked, just once,"
6"She turned then, slow, deliberate."
7"she shot back, though her"
8"He didn’t like Lucien."
9"He didn’t answer immediately."
10"His shoulders tensed."
11"He stepped closer, close enough"
12"She knew that scar."
13"She wanted to argue."
14"She didn’t have to."
15"She didn’t look back."
16"She didn’t have to."
17"She could feel him watching"
18"She knew this wasn’t over."
19"She didn’t have to."
ratio0.288
30.68% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount164
totalSentences191
matches
0"The door swung open with"
1"A gust of cold air—mixed"
2"A man stood there, his"
3"Aurora’s breath hitched."
4"She didn’t turn around."
5"she said, her voice steady,"
6"The blade caught the light,"
7"The man—*Lucien*—didn’t move."
8"The words hung between them,"
9"She exhaled through her nose,"
10"His cane tapped once against"
11"Aurora’s grip on the knife"
12"She set it down on"
13"His lips quirked, just once,"
14"She turned then, slow, deliberate."
15"The flat was smaller than"
16"Lucien’s gaze flicked to the"
17"she shot back, though her"
18"The words tasted bitter on"
19"Lucien stepped inside, his coat"
ratio0.859
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences191
matches(empty)
ratio0
64.73% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences64
technicalSentenceCount7
matches
0"Tall, unnervingly still, his platinum blond hair slicked back like he’d just stepped out of a tailor’s shop instead of a night that had gone sideways."
1"Like she wasn’t standing here with her pulse hammering in her throat, her skin prickling with the memory of his touch—his *teeth*—the last time she’d seen him."
2"She just stood there, her pulse hammering in her throat, her body betraying her with a shiver."
3"She just stood there, her body trembling, her heart racing, her soul aching with the weight of everything unsaid."
4"She just stood there, her pulse hammering in her throat, her body betraying her with a shiver."
5"She just stood there, her body trembling, her heart racing, her soul aching with the weight of everything unsaid."
6"She just stood there, her pulse hammering in her throat, her body betraying her with a shiver."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags9
uselessAdditionCount3
matches
0"His cane tapped once, the ivory handle gleaming under the flickering bulb"
1"she shot back, though her voice lacked its usual bite"
2"Lucien observed, crouching to scratch behind Ptolemy’s ears"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags3
fancyCount1
fancyTags
0"Lucien observed (observe)"
dialogueSentences109
tagDensity0.028
leniency0.055
rawRatio0.333
effectiveRatio0.018
76.3031%