Run: 2026-02-19-01KHT02XZVBN1ANZ4FT4A8NT0D

Run Details

Duration:
3m 52s
Cost:
$0.551715

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
Three knocks. Measured. Deliberate. Aurora froze, chopsticks halfway to her mouth. Nobody knocked like that at Eva's flat. The delivery drivers hammered. Mrs. Patel from downstairs did her signature rat-tat-tat. This was something else entirely. "You expecting someone?" She set down the takeaway container. Eva glanced up from her Sanskrit translations, ink smudging her left temple. "At nine on a Tuesday? Unless the council's started evening demon registration..." The knocks came again. Same pattern. Same patience. Aurora's stomach twisted. She knew that knock. Had heard it against her own door too many times, usually at three in the morning when he'd appear with bruised knuckles and cryptic warnings about keeping her curtains drawn. "I'll get it." Eva started to rise. "No." The word came out sharper than intended. "Stay there." Ptolemy leapt from his perch on the bookshelf, weaving between Aurora's legs as she navigated the obstacle course of research materials. The tabby had good instincts. Always disappeared when trouble arrived. She checked the peephole first. Habit. The hallway light had been broken for weeks, leaving only shadows and the faint red glow from the curry house's neon sign. But she could make out the silhouette. Tailored coat. One hand resting on something at hip height. That damned cane. The deadbolts took forever. Eva had installed them after the incident with the possessed postman, and they stuck in humid weather. Each click echoed like a countdown. Aurora pulled the door open six inches. The chain caught. "Bonsoir, ma chère." Lucien Moreau stood in the narrow hallway like he'd been carved from shadow and expensive wool. His platinum hair caught what little light filtered up from the street, and those impossible eyes — one amber, one black — found hers immediately. The ivory handle of his cane gleamed between his fingers. "You're bleeding." The observation escaped before she could stop it. "Am I?" He glanced down at his left sleeve. A dark stain spread across the charcoal fabric near his wrist. "How careless. May I come in?" "That depends. Is whatever did that following you?" "Not anymore." "Lucien—" "Three minutes, Aurora. Then I'll leave if you wish." She hated how he said her full name. Rolled the R just enough to make it sound foreign, dangerous. Everyone called her Rory. He never had. The chain rattled as she slid it free. He entered with his usual economy of movement, cataloguing the flat in one sweep. His gaze lingered on the protection symbols chalked above the windows, the iron filings Eva had started leaving in strategic corners. "Prudent." He approved. "Though the Sumerian ward is upside down." "We're working on it." Aurora shut the door, reset two of the three locks. Left the third undone. Just in case. "You said three minutes." "I did." He hadn't moved from the entryway, respecting the invisible boundary. Water dripped from his coat onto Eva's Turkish runner. "I need a favor." "Of course you do." "Specifically, I need something hidden. Tonight." Aurora crossed her arms. "Hidden from whom?" "The kind of people who leave scars." The crescent mark on her wrist pulsed. Phantom pain, nothing more, but she still tugged her sleeve down. "You have an entire network for this sort of thing. Safe houses. Deposit boxes. That banker in Shoreditch who owes you his firstborn." "All compromised." He shifted his weight slightly. First sign of weakness. "There was an incident in Whitechapel. My usual channels are... unavailable." "Rory?" Eva appeared in the doorway, clutching a bronze dagger she'd been using as a letter opener. "Everything alright?" "Eva Blackwood." Lucien inclined his head. "Your research on pre-Hellenic burial rites was fascinating. Particularly the footnotes on soul anchors." Eva's grip on the dagger tightened. "You read my dissertation?" "I read everything." His attention returned to Aurora. "Two minutes remaining." "What needs hiding?" He reached into his coat with his right hand — the left arm hung too still — and produced a silk pouch the size of a child's fist. Whatever it contained clinked softly against itself. Metal, but not coins. Something else. "Best you don't know specifics." "That's not how this works anymore." Aurora didn't reach for the pouch. "You don't get to appear after eight months of silence and expect—" "Seven months, three weeks." He corrected quietly. "But who counts?" The words hung between them like an accusation. Eva retreated into the living room, muttering something about tea. Ptolemy remained hidden. "Why here?" Aurora kept her voice level. "Why me?" "Because you're the only person in London they won't think to check." He set the pouch on the narrow table by the door, next to Eva's collection of takeaway menus. "Because your wards are competent, your flatmate is genuinely terrifying when provoked, and because..." "Because what?" His mismatched eyes held hers. "Because I trust you." "You don't trust anyone." "C'est vrai." True. "Yet here I stand, bleeding on a rather expensive rug, asking for shelter I don't deserve." Aurora picked up the pouch. Heavier than expected. Through the silk, she felt irregular shapes. Keys? No. Too delicate. Too warm. "One night." She tucked it into her jacket pocket. "You can stay until morning. Then you leave, and you take whatever this is with you." "Agreed." "And you explain what happened to your arm." "If you insist." He shrugged out of his coat, movements careful but practiced. The shirt beneath was ruined. Three parallel tears ran from elbow to wrist, too precise to be accidental. Claw marks. "Though it's hardly dinner conversation." "Good thing we already ate." She led him into the flat proper, hyperaware of his presence behind her. Seven months and three weeks. She'd tried not to count, told herself it didn't matter. They'd made no promises that night in Southwark, when he'd kissed her against the bridge support while sirens wailed overhead. When he'd whispered her name like a prayer before disappearing into the crowd. Eva had relocated to the kitchen, giving them the illusion of privacy. The electric kettle shrieked. "Sit." Aurora pointed to the least cluttered corner of the sofa. "I'll get the first aid kit." "I can manage." "Sit, Lucien." He sat. Even wounded, even here among Eva's chaos of books and protective charms, he looked like something from another century. The amber eye tracked her movements as she retrieved supplies from the bathroom. The black one stayed fixed on the window. "They'll come looking." He said when she returned. "Not tonight — they need to regroup. But soon." "Who are 'they'?" "The Chantry Group." He rolled up his ruined sleeve with practiced efficiency. The wounds beneath were already beginning to close, pink skin knitting together at the edges. Half-demon healing. Still needed cleaning though. "They've decided I know too much about their expansion into Bermondsey." "Do you?" "Naturellement." Of course. Aurora knelt beside the sofa, opened the antiseptic. "This will sting." "I've had worse." "I remember." His hand found her shoulder as she worked, fingers light but present. "That night wasn't supposed to happen." "Which part? The kiss or the leaving?" "Both." He winced as she cleaned the deepest gash. "Neither. Je suis désolé, Aurora." "Don't." She focused on the wounds, on the practical task of preventing infection even though his demon blood probably made it unnecessary. "We agreed. No promises. No expectations." "We agreed to many things." His thumb traced a small circle against her collarbone. "I've broken most of them simply by being here." "Then why come?" "You know why." She did. The same reason she'd left the third lock undone. The same reason her heart had stuttered when she'd seen him through the peephole. Some patterns were too deep to break, even with seven months and three weeks of silence between them. "The scars will be gone by morning." She taped the last bandage in place. "You heal fast." "Most wounds, yes." He caught her hand as she moved to stand. "Others persist." "Lucien—" "I checked on you." The admission came quiet, rushed. "After Southwark. Made sure the Chantry didn't connect you to that business with the Thames tokens. Kept my distance, but I... checked." "I know." His eyes widened slightly. "You know?" "Mrs. Chen at the Golden Empress mentioned a well-dressed Frenchman had been asking about my delivery routes. Mr. Patel downstairs said someone matching your description inquired about flat security." She pulled her hand free, stood. "You're not as subtle as you think." "Apparently not." Eva emerged from the kitchen carrying three mugs of something that smelled like herbs and defiance. "Right then. Someone want to explain why half of Whitechapel's underground is hunting Rory's ex?" "We weren't—" Aurora started. "Technically—" Lucien began. "Save it." Eva handed them each a mug. "I've got supernatural entities trying to claw their way through my wards, a demon-blooded fixer bleeding on my sofa, and my flatmate looking like someone kicked her puppy. Talk." Lucien accepted the tea with surprising grace. "The Chantry Group wants to expand their territory. I've been... discouraging this expansion." "By stealing from them?" Aurora touched the pouch in her pocket. "By returning what they stole first." He took a careful sip. "These items belong to the old families. Pre-Conquest bloodlines. The Chantry sells them to collectors, strips them of power." "And you're what, the supernatural Robin Hood?" Eva perched on a stack of encyclopedias. "Hardly. I'm well-compensated for my retrievals." He set down the mug. "Usually." "So what went wrong tonight?" Aurora found herself sitting beside him. Not touching. Carefully not touching. "Someone talked. They knew I was coming." His left hand flexed, testing the bandages. "Had a welcoming committee. Silver claws. Celtic binding circles. The works." "But you escaped." "With assistance." He glanced toward the window again. "There are still those in Whitechapel who remember the old accords. They won't shelter Chantry hunters, but they can't protect me directly either." "Hence showing up here." Eva's eyes narrowed. "Where they won't think to look because Rory's not part of your world. Officially." "C'est ça." That's it. "Except now she is." Eva continued. "The moment you walked through that door, you painted a target on her back." "Which is why I leave at dawn." Lucien's voice carried an edge. "They won't move before then. Too exposed. Too many witnesses." "And the items?" He looked at Aurora. "Your choice. Keep them hidden until I can arrange collection, or..." "Or?" "Return them yourself. The original owners would pay well. Enough to leave London if needed." "I'm not leaving London." "Even if staying becomes dangerous?" "Especially then." She met his mismatched gaze. "I don't run anymore. From anyone." Something shifted in his expression. Pride? Regret? Both? "The wards will hold tonight." Eva announced. "I'll strengthen them, add some Norse bindings for good measure. But come morning, you're gone. Both the items and you." "Agreed." "Good." She gathered her mug and headed for her bedroom. "Try not to bleed on anything else. That's a deposit we're not getting back." Her door clicked shut with pointed finality. Silence settled over the living room, broken only by distant traffic and Ptolemy's sudden reappearance. The cat leaped onto the sofa between them, a furry chaperone. "She's protective of you." Lucien observed. "We protect each other." Aurora scratched Ptolemy's ears. "That's how it works when you don't shut people out." "Ah. We're doing this now?" "You're the one who showed up bleeding and cryptic." She turned to face him properly. "Seven months, Lucien. Not a word. Not a sign. Then you appear needing help and tracking exact days like they mattered?" "They did matter." His right hand rested on his cane, knuckles white. "Every one of them." "Then why—" "Because the morning after Southwark, Marcus Chantry had your photo on his desk." The words came fast, clipped. "Because he asked questions. Because I realized what I'd risked by letting myself..." He stopped. Started again. "I've survived this long by having no weaknesses. No leverage. No one they could use against me." "I'm not a weakness." "No." He agreed. "You're far more dangerous than that." The weight of what he wasn't saying pressed between them. Ptolemy purring. Traffic humming. The silk pouch burning in her pocket like a promise or a threat. "The items." She pulled out the pouch. "What are they really?" "Open it." Inside lay three objects. A brass key, teeth worn smooth by centuries. A child's ring, too small for any adult finger, engraved with symbols that hurt to look at directly. And a glass vial no longer than her thumb, filled with something that moved like mercury but gleamed like blood. "The key opens a vault beneath Christchurch Spitalfields. The ring belongs to the last descendant of Boudicca's line — she's eleven, living in foster care in Brixton. The vial..." He paused. "That's mine." "Yours?" "My mother's, technically. She gave it to me before she died. Said it would protect me when I chose to be more human than demon." His laugh was bitter. "Haven't found the right moment to test that theory." Aurora closed the pouch carefully. "The Chantry stole these?" "Acquired them through various means. The key from an estate sale. The ring from a pawn shop. The vial..." His jaw tightened. "They took that twenty years ago, when they burned down my mother's shop in Marseille." "Lucien—" "She died getting me out." Matter-of-fact. Wounds that wouldn't heal. "I've been tracking it ever since." She reached for his hand without thinking. His fingers interlaced with hers immediately, desperately. "So this isn't about money." "The others, yes. This was... what do you call it? Personal business." "You could have told me. Before, I mean. In Southwark." "Could I?" He studied their joined hands. "Would you have understood then? When we were just—" "We were never just anything." She squeezed his fingers. "That was the problem." "Is. Present tense." He corrected softly. "Unless you've moved on? Found someone sensible who doesn't appear bleeding at inappropriate hours?" "Would it matter if I had?" "You haven't." "Cocky." "Observant." He nodded toward the kitchen. "One mug in the sink when I arrived. Single portion takeaway container. No men's clothing on the drying rack." "Maybe I've taken up dating women." "Have you?" "No." She admitted. "Turns out I have a type. Dangerous men with impossible eyes who speak four languages and never stay until morning." "Five languages." He brought her hand to his lips, a gesture so achingly familiar her breath caught. "And I would have stayed. Every morning. If I could have." "But you couldn't." "I couldn't." He released her hand. "I still can't. After tonight, it will be worse. They'll know I've been here. They'll watch." "So we're back to the beginning. You disappearing for my own good." "Unless..." He stopped. "Unless what?" "Unless you come with me." The words hung between them like a challenge. Ptolemy stopped purring. "Where?" "Paris, initially. I have contacts there, people who owe me favors. We could disappear for a few months. Let this situation resolve itself." "Let someone else die for those artifacts, you mean." "Let someone else take the risk." He leaned back, studying her. "You don't owe these people anything, Aurora." "An eleven-year-old girl in Brixton?" "Will never know what she's lost." "That's not the point." She stood, paced to the window. The protection symbols glowed faintly in the dark. "I'm not built for running, Lucien. Not anymore. I did that already, with Evan. Came to London to hide, to be someone else. It didn't work." "This is different—" "Is it?" She turned back to him. "You're asking me to leave everything. Eva, my job, the life I've built here. For what? A few months of looking over our shoulders in Paris? Then what?" "Then we improvise." "You mean you disappear again. When it gets too dangerous or too real or too—" "Too what?" He was on his feet now, the cane forgotten. "Too much like happiness? Too much like the life I can't give you?" "Who asked you to give me anything?" The words came out fierce, angry. "Who made you the arbiter of what I can handle?" "You think I wanted this?" He gestured between them. "Think I planned to care what happened to a delivery girl with terrible taste in flatmates and excellent taste in restaurants?" "Eva's not terrible—" "She put wolfsbane in my tea." "That's just her being welcoming." Despite everything, he smiled. "This is why." "Why what?" "Why I counted the days." He moved closer, careful, like she might spook. "Why I checked with Mrs. Chen and Mr. Patel. Why I brought the vial here instead of throwing it in the Thames like I planned." "You were going to destroy it?" "Twenty years of searching for three ounces of demon blood and mercury." His hands framed her face, thumbs gentle against her cheekbones. "Seemed like a fair trade for one more night of pretending this could work." "We're not good at pretending." "No." He agreed. "We're terrible at it." She kissed him. It was nothing like Southwark — no adrenaline, no chase, no sirens. Just the two of them in Eva's cluttered flat with protective wards humming and Ptolemy judging from the sofa. His hands tangled in her hair, and she could taste copper on his lips. Blood or magic or both. "Aurora." Against her mouth, a prayer and a plea. "Dawn." She pulled back enough to see both eyes, amber and black. "You stay until dawn. We figure out the rest then." "The Chantry—" "Will still be hunting you tomorrow. And the day after. And next week." Her hands fisted in his ruined shirt. "So either we do this terrified and apart, or we do it together. Your choice." "You make it sound simple." "It is simple. It's the execution that's complicated." He laughed, low and real. "Speaking of execution, your flatmate might actually kill me if I stay." "She likes you. The wolfsbane was a test." "Did I pass?" "You're still breathing." "Barely." But he was smiling now, that rare, unguarded expression she'd seen exactly twice before. "Where would I sleep? Hypothetically." "Hypothetically?" She stepped back, decision made. "The sofa pulls out. Extra blankets in the cupboard. Bathroom's down the hall, but knock first. Eva sometimes summons things in the tub." "And you?" "I'll be in Eva's room. With the door locked. And probably listening to an hour-long lecture about boundaries and dangerous men." "Sensible." "Liar." He caught her hand as she turned to go. "The items. What will you do with them?" "Return them. Tomorrow. You can draw me a map, give me the contacts." She met his gaze. "But I do it alone. They're looking for you, not me. Not yet." "It's dangerous—" "Everything's dangerous. Dating you is dangerous. Living above a curry house is dangerous. Eva's cooking is extremely dangerous." She squeezed his fingers. "But that's my choice to make." "When did you become this person?" Wonder in his voice. "Sometime between you leaving and you coming back." She pulled free. "Get some rest. You heal better when you sleep." "How do you know that?" "Observation." She moved toward Eva's door. "You slept for three hours in Southwark. After. Your bruises were gone by the time you left." "You were awake?" "I'm always awake when it matters." She knocked on Eva's door, didn't wait for an answer before slipping inside. Eva sat cross-legged on her bed, surrounded by notebooks and looking entirely too pleased with herself. "So." "Don't." "Staying until dawn?" "It's practical. The wards are stronger here." "Mmm-hmm." Eva shifted notebooks to make room. "And the fact that you've been moping for seven months has nothing to do with it." "I haven't been moping." "You alphabetized my grimoire collection." "That was helpful." "You color-coded my herbs." "Also helpful." "You cried during that werewolf movie last week." Aurora flopped onto the bed. "The dog died. Anyone would cry." "The dog turned into a man and went to live in Scotland." "Details." Eva poked her with a pencil. "He's trouble, you know." "I know." "The kind of trouble that gets people killed." "I know." "And you're keeping him anyway?" "Just until dawn." Aurora stared at the ceiling, where Eva had painted constellations in glow-in-the-dark paint. "Then he leaves, I return the artifacts, and we go back to normal." "Rory." Gentle now. "There's no normal after this. The Chantry knows he came here. They'll be watching." "Then we'll be careful." "We?" "You're not involved. This is my choice—" "Shut up." Eva lay down beside her. "Of course I'm involved. You're my best friend. I didn't let you face Evan alone, and I'm not letting you face this alone either." "This is different. Evan was human. The Chantry—" "Are thugs with delusions of grandeur." Eva interrupted. "They deal in stolen power because they can't generate their own. I've faced worse." "When?" "Cardiff. Second year. But that's not important right now." She turned on her side, studying Aurora. "You love him." "I—" "It wasn't a question." Eva continued. "And he clearly loves you, showing up here bleeding and dramatic. The question is what you're going to do about it." "Nothing. There's nothing to do. He has his world, I have mine." "Except his world just bled all over our sofa." Aurora grabbed a pillow, held it over her face. "Why is this so complicated?" "Because you're making it complicated." Eva tugged the pillow away. "He counted the days, Rory. Down to the week. That's not a man who wants to stay away." "He has to. For my safety—" "Bollocks. He tells himself that so he doesn't have to risk being happy." She sat up, decision made. "Right. Here's what we're doing. Tomorrow, you return those artifacts. I'll go with you for backup." "Eva—" "Then we're going to research this Chantry Group properly. Find out who they are, what they want, how to make them go away." "You can't just research away a criminal organization." "Watch me." Eva's grin was sharp. "I've got connections too. That professor at King's College owes me for translating those demonic contracts. And there's a hedge witch in Soho who loves gossip more than breathing." "This isn't your fight." "You made it my fight when you let him through our door." Eva squeezed her shoulder. "Besides, I'm bored. All these protection spells and nothing to protect against. At least now I have a project." "You're terrifying sometimes." "Thank you." Eva glanced at her door. "Think he's actually sleeping?" "Doubt it. He's probably memorizing our escape routes and cataloging threats." "Romantic." "That's one word for it." They lay in silence, listening to the flat settle around them. Somewhere in the walls, pipes groaned. Outside, London hummed its midnight song of sirens and possibilities. "For what it's worth," Eva said eventually, "I think you should go to Paris." "What?" "When this is over. When we've dealt with the Chantry and returned the artifacts and made it safe." She rolled onto her back. "Go to Paris. See what happens when you're not running or hiding or being protected. Just... see." "It's not that simple." "Love's not supposed to be simple." Eva yawned. "It's supposed to be worth it." Aurora didn't answer. Couldn't. Because in the living room, she could hear Lucien moving around, probably checking ward angles and exit strategies. Being who he was. Who she'd fallen for despite every warning, every instinct, every shred of common sense. "Get some sleep," Eva mumbled. "Big day tomorrow. Artifacts to return, criminals to thwart." "Normal Tuesday then." "Exactly." But Aurora lay awake, counting heartbeats instead of days. In a few hours, dawn would come. He would leave. She would take three precious objects back to their rightful owners and hope the Chantry didn't notice a delivery girl playing at heroics. And then? Then maybe, just maybe, she'd stop pretending she didn't want the impossible. The door creaked. Soft footsteps in the hallway. The bathroom tap running. More footsteps, pausing outside Eva's door. She held her breath. "Je sais que tu es éveillée." I know you're awake. Barely audible through the wood. She didn't respond. Couldn't. If she opened that door now, dawn would never come. "À bientôt, ma chère." See you soon, my dear. "Not goodbye. Not this time." His footsteps retreated. The sofa springs protested gently. Eva snored, genuine or feigned. Aurora closed her eyes and started counting.
total_cost0.551715

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags94
adverbTagCount8
adverbTags
0"He corrected quietly [quietly]"
1"The words came fast [fast]"
2"He corrected softly [softly]"
3"He leaned back [back]"
4"She turned back [back]"
5"She pulled back [back]"
6"She stepped back [back]"
7"Eva said eventually [eventually]"
dialogueSentences326
tagDensity0.288
leniency0.577
rawRatio0.085
effectiveRatio0.049
90.15% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount4062
totalAiIsmAdverbs8
found
0
adverb"slightly"
count2
1
adverb"softly"
count2
2
adverb"carefully"
count2
3
adverb"really"
count1
4
adverb"gently"
count1
highlights
0"slightly"
1"softly"
2"carefully"
3"really"
4"gently"
20.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found
0"Blackwood"
1"Chen"
2"Marcus"
3"Patel"
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
70.46% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount4062
totalAiIsms24
found
0
word"measured"
count1
1
word"stomach"
count1
2
word"navigated"
count1
3
word"echoed"
count1
4
word"pulsed"
count1
5
word"weight"
count2
6
word"fascinating"
count1
7
word"silk"
count3
8
word"silence"
count4
9
word"electric"
count1
10
word"traced"
count1
11
word"pawn"
count1
12
word"familiar"
count1
13
word"resolve"
count1
14
word"coded"
count1
15
word"footsteps"
count3
highlights
0"measured"
1"stomach"
2"navigated"
3"echoed"
4"pulsed"
5"weight"
6"fascinating"
7"silk"
8"silence"
9"electric"
10"traced"
11"pawn"
12"familiar"
13"resolve"
14"coded"
15"footsteps"
66.67% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches2
maxInWindow2
found
0
label"eyes widened/narrowed"
count2
highlights
0"eyes widened"
1"eyes narrowed"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells1
narrationSentences261
matches
0"was bitter"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount1
narrationSentences261
filterMatches
0"know"
hedgeMatches
0"started to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences483
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen36
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords4052
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions42
unquotedAttributions0
matches(empty)
0.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions94
wordCount1792
uniqueNames21
maxNameDensity2.06
worstName"Eva"
maxWindowNameDensity8
worstWindowName"Eva"
discoveredNames
Eva37
Sanskrit1
Ptolemy7
Aurora25
Moreau1
Rory1
Left1
Water1
Turkish1
First1
Lucien7
Southwark2
Started1
Matter-of-fact1
Wounds1
Despite1
Wonder1
Gentle1
London1
Chantry1
Barely1
persons
0"Eva"
1"Ptolemy"
2"Aurora"
3"Moreau"
4"Rory"
5"Water"
6"Lucien"
7"Started"
8"Chantry"
places
0"Southwark"
1"London"
globalScore0.468
windowScore0
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences120
glossingSentenceCount2
matches
0"looked like something from another centur"
1"smelled like herbs and defiance"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount4052
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount2
totalSentences483
matches
0"knew that knock"
1"opened that door"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs277
mean14.63
std12.91
cv0.883
sampleLengths
04
131
29
324
48
537
67
710
831
948
1027
1110
123
1351
1410
1526
168
172
181
199
2026
218
2235
2310
2425
2525
264
276
287
297
3041
3122
3219
3320
3410
3511
363
3741
385
3924
4010
4121
429
4344
442
459
464
4719
4821
4925
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences261
matches
0"been broken"
1"been carved"
2"was ruined"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs348
matches
0"wasn't saying"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount5
semicolonCount0
flaggedSentences3
totalSentences483
ratio0.006
matches
0"His platinum hair caught what little light filtered up from the street, and those impossible eyes — one amber, one black — found hers immediately."
1"He reached into his coat with his right hand — the left arm hung too still — and produced a silk pouch the size of a child's fist."
2"It was nothing like Southwark — no adrenaline, no chase, no sirens."
98.95% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1796
adjectiveStacks0
stackExamples(empty)
adverbCount74
adverbRatio0.04120267260579064
lyAdverbCount25
lyAdverbRatio0.013919821826280624
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences483
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences483
mean8.39
std6.43
cv0.767
sampleLengths
02
11
21
37
47
54
61
77
85
99
1012
1112
124
132
142
153
164
1730
187
198
202
2121
225
235
245
251
2622
277
282
298
303
314
3217
336
347
353
363
3716
3825
3910
4010
419
4211
436
448
452
461
479
488
4911
57.35% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats28
diversityRatio0.37888198757763975
totalSentences483
uniqueOpeners183
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount9
totalSentences213
matches
0"Always disappeared when trouble arrived."
1"Just in case."
2"Still needed cleaning though."
3"Carefully not touching."
4"Just the two of them"
5"Somewhere in the walls, pipes"
6"Then maybe, just maybe, she'd"
7"More footsteps, pausing outside Eva's"
8"Barely audible through the wood."
ratio0.042
66.01% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount82
totalSentences213
matches
0"She set down the takeaway"
1"She knew that knock."
2"She checked the peephole first."
3"His platinum hair caught what"
4"He glanced down at his"
5"She hated how he said"
6"He never had."
7"He entered with his usual"
8"His gaze lingered on the"
9"He hadn't moved from the"
10"He shifted his weight slightly"
11"His attention returned to Aurora"
12"He reached into his coat"
13"He corrected quietly"
14"He set the pouch on"
15"His mismatched eyes held hers."
16"She tucked it into her"
17"He shrugged out of his"
18"She led him into the"
19"She'd tried not to count,"
ratio0.385
46.85% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount176
totalSentences213
matches
0"Aurora froze, chopsticks halfway to"
1"Nobody knocked like that at"
2"The delivery drivers hammered."
3"Patel from downstairs did her"
4"This was something else entirely."
5"She set down the takeaway"
6"Eva glanced up from her"
7"The knocks came again."
8"Aurora's stomach twisted."
9"She knew that knock."
10"Eva started to rise"
11"The word came out sharper"
12"Ptolemy leapt from his perch"
13"The tabby had good instincts."
14"She checked the peephole first."
15"The hallway light had been"
16"That damned cane."
17"The deadbolts took forever."
18"Eva had installed them after"
19"Each click echoed like a"
ratio0.826
70.42% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount3
totalSentences213
matches
0"Even wounded, even here among"
1"Because in the living room,"
2"If she opened that door"
ratio0.014
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences46
technicalSentenceCount0
matches(empty)
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags94
uselessAdditionCount2
matches
0"He brought, a gesture so achingly familiar her breath caught"
1"The words came out, angry"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags14
fancyCount12
fancyTags
0"He corrected quietly (correct)"
1"Eva continued (continue)"
2"Eva announced (announce)"
3"Lucien observed (observe)"
4"He agreed (agree)"
5"He corrected softly (correct)"
6"She admitted (admit)"
7"He agreed (agree)"
8"Eva interrupted (interrupt)"
9"Eva continued (continue)"
10"Eva yawned (yawn)"
11"Eva mumbled (mumble)"
dialogueSentences326
tagDensity0.043
leniency0.086
rawRatio0.857
effectiveRatio0.074
86.2287%