Run: 2026-02-19-01KHTQYQQ0W1WEBRSDZ4HQ9RRM

Run Details

Duration:
10.2s
Cost:
$0.000286

Model input

System
You are an expert and award-winning novel writer in the dark Literary Fiction 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="4413" name="Silas Blackwood" aliases="Silas, Si, the Spymaster" pronouns="he/him" species="Human" storyRole="Mentor"> <eyeColor>hazel</eyeColor> <hair>grey-streaked auburn</hair> <height>6'1"</height> <age>58</age> <beard>neatly trimmed, matching his grey-streaked auburn hair</beard> <limp>slight limp in his left leg from an old knee injury</limp> <signetRing>silver signet ring, always worn on his right hand</signetRing> <description>Silas is a retired intelligence operative turned bar owner. He carries himself with quiet authority.</description> <backstory>Former MI6 field agent who retired after a botched operation in Prague left him with a permanent knee injury. He opened "The Raven's Nest" bar in Soho as a front for his network of contacts.</backstory> </character> <location id="854" name="The Raven's Nest" aliases="the Nest, Raven, Silas' bar" realm="Earth"> <signColor>distinctive green neon sign above the entrance</signColor> <secretRoom>hidden back room accessible through a bookshelf, used for clandestine meetings</secretRoom> <description>A dimly lit bar in Soho, London. The walls are covered with old maps and black-and-white photographs.</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 literary fiction genre. Two old friends who haven't seen each other in years run into each other unexpectedly at a bar. One of them has changed significantly. Through their conversation and the tension between who they were and who they've become, reveal the weight of time and unspoken regret. 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 neon sign of *The Raven’s Nest* flickered like a dying ember, casting jagged shadows across the damp pavement. Aurora Carter—Rory, to those who knew her—stepped inside, her boots crunching on the broken glass of a discarded bottle. The air smelled of stale ale and something older, something like old paper and damp wool. She hadn’t come here for the usual: the usual was the kitchen of Golden Empress, the usual was the hum of delivery orders and the quiet exhaustion of a night shift. Tonight, the weight of the past pressed against her ribs like a second skin. Silas Blackwood was already there, his back to the door, a glass of something amber in his hand. He didn’t look up when she entered, but the way his fingers tightened around the stem told her he’d been watching. The bar was half-empty, the usual crowd of Londoners who came for the quiet, the secrets, the way the walls seemed to hold breath. She moved toward the bar stool by the window, where the light was brighter, but Silas didn’t turn. Not yet. “You’re late,” he said, voice low, the kind of voice that made you lean in. Aurora exhaled, slow and sharp. “I had a delivery.” “A delivery,” he repeated, as if the word itself was a question. His gaze flicked to her wrist—the crescent scar from the childhood accident, the one she’d never told anyone about. “You look different.” She didn’t answer. The scar was still there, but the rest of her felt like it had been carved out. The Rory she’d been was gone, swallowed by the weight of leaving Cardiff, of the life she’d built in London, of the man who’d called her his. Evan. The name still tasted like ash. Silas didn’t wait for her to speak. “You’re not the same person who walked in here last time we met.” Aurora’s fingers twitched toward the scar, but she stopped them. “I’m not.” He set his glass down with a clink. “You’re not the girl who thought she could outrun everything.” The words hit like a punch. She’d thought she could. She’d thought she could outrun the way Evan’s hands had left their marks, the way the voices in her head had whispered that she wasn’t enough. But London had been a cage, too. A cage of her own making. Silas leaned forward, his voice dropping to a murmur. “You ever think about going back?” The question hung between them, thick and suffocating. “I don’t know what that would mean.” “You’d be home in Cardiff,” he said, as if it were obvious. “Your father would still be there. Your mother—” “She’s not there anymore,” Rory said, sharp as a blade. “She left years ago.” Silas didn’t flinch. “She still loves you.” “She doesn’t know me anymore,” Rory snapped. “She doesn’t know the woman I’ve become.” Silas studied her for a long moment, his hazel eyes unreadable. Then he reached into his pocket and pulled out a folded piece of paper. He slid it across the bar toward her. “This was in your coat when you left.” Aurora’s breath caught. It was a letter—handwritten, the kind of letter that had been folded and slipped into a pocket without a second thought. She unfolded it carefully, her fingers trembling. *Rory,* *I know you’re gone, but I still hear your voice in the wind. I still see you in the way the light hits the river at dusk. You were always too clever for your own good, but I loved you anyway. Don’t let them take you from me.* *Your mother.* She looked up at Silas, her eyes burning. “That’s from my mother.” Silas nodded. “She wrote it years ago. Sent it to you in Cardiff. You never opened it.” Rory’s throat tightened. “I didn’t want to.” Silas exhaled, slow and weary. “You were a kid. She was scared.” “She was scared of me,” Rory said, voice breaking. “Of what I might become.” Silas reached across the bar and took her hand. His grip was firm, steady. “You’re not what she feared.” She pulled away, her fingers cold against his. “I don’t know anymore.” The bar door creaked open behind them, the sound of footsteps heavy with the weight of someone who knew they weren’t welcome. Silas didn’t look away. “You ever think about what you’re running from?” Rory’s gaze flicked to the door, then back to him. “I’m running from nothing.” Silas smiled faintly, but it didn’t reach his eyes. “That’s the problem.” The door swung shut behind them, leaving the quiet again, but this time it felt heavier, like the air had been sucked out of the room. Rory stood, her breath coming faster. “I should go.” Silas didn’t let her go. “You’re not leaving.” She turned to him, her blue eyes sharp. “I am.” “No.” His voice was firm. “You’re not.” The words hung between them, unspoken. Then, from the shadows behind the bar, a voice cut through the silence. “You’re late.” Aurora’s blood turned to ice. The voice belonged to Eva—her childhood friend, the one who’d helped her escape Evan. She’d been in London for months, but she’d never actually met Silas. Not properly. Not like this. Silas didn’t move. “Eva.” Eva stepped into the light, her dark hair pulled back into a tight bun, her eyes sharp with something like recognition. “You look like hell.” Silas smirked. “And you look like you’ve been running from something.” Eva’s smile was brittle. “I’ve been running from everything.” Rory’s pulse hammered in her throat. Eva had changed—she’d always been different, but now it was worse. The girl she’d known was gone, swallowed by the same darkness that had taken Rory’s mother. And Silas knew. “You two know each other?” Rory asked, voice barely above a whisper. Silas didn’t answer. Instead, he reached into his pocket and pulled out another envelope. He slid it across the bar to Eva. “This was in your coat when you left.” Eva’s fingers hovered over the letter, then she unfolded it. Her face paled. “Aurora.” Rory’s stomach twisted. “What is it?” Eva’s voice was raw. “She’s gone.” Silas didn’t say anything. He just watched, his expression unreadable. Eva looked up at him, her eyes burning. “You knew.” Silas didn’t deny it. “She was in trouble.” Rory’s hands clenched into fists. “Who?” Silas’s gaze flicked to her, then away. “Someone who shouldn’t have been looking.” Eva’s voice was a rasp. “And now?” Silas exhaled, slow and heavy. “Now, we find out who.” The bar door swung open again, the sound of footsteps heavy and urgent. Rory’s blood turned to ice. “You’re late,” someone said. Silas didn’t turn around. “We’re not leaving.” The footsteps stopped. Then, a voice—familiar, but not Eva’s—asked, “Who’s with you?” Silas didn’t answer. The room seemed to hold its breath, waiting. Then, from the shadows, a figure stepped forward. “You’re not supposed to be here,” the voice said. Silas turned slowly, his expression unreadable. “You’re late.” The figure stepped closer, their voice low and dangerous. “You know what happens to people who don’t follow the rules.” Silas’s smile was cold. “We’ll see.” The air between them crackled with tension, thick and suffocating. Rory’s heart pounded in her chest, her fingers digging into the bar. She wanted to run. She wanted to scream. But she was trapped, just like she always had been. Silas reached into his pocket and pulled out a cigarette. He lit it with a match, the flame flickering in the dim light. “You ever think about what you’re running from?” Rory’s breath hitched. “I don’t know anymore.” Silas exhaled smoke, watching it curl into the air. “That’s the problem.” The figure stepped closer, their voice a low growl. “You’re not leaving.” Silas didn’t look away. “We’re not.” The air between them was thick with something darker than fear. Something that had been waiting for them, just waiting. And then, the door swung open again, the sound of footsteps heavy and urgent. Rory’s blood turned to ice. “You’re late,” someone said. Silas didn’t turn around. “We’re not leaving.” The footsteps stopped. Then, from the shadows, a voice—familiar, but not Eva’s—asked, “Who’s with you?” Silas’s gaze flicked to Rory. “This one’s mine.” The figure stepped closer, their voice low and dangerous. “You’re not supposed to be here.” Silas’s smile was cold. “We’re not.” The tension in the room was unbearable. Rory’s fingers dug into the bar, her breath coming in sharp gasps. She wanted to run. She wanted to scream. But she was trapped, just like she always had been. Silas reached into his pocket and pulled out another cigarette. He lit it with a match, the flame flickering in the dim light. “You ever think about what you’re running from?” Rory’s chest tightened. “I don’t know anymore.” Silas exhaled smoke, watching it curl into the air. “That’s the problem.” The figure stepped closer, their voice a low growl. “You’re not leaving.” Silas didn’t look away. “We’re not.” And then, the door swung open again, the sound of footsteps heavy and urgent. “You’re late,” someone said. Silas turned slowly, his expression unreadable. “We’re not leaving.” The footsteps stopped. The figure stepped into the light, their face a mask of fury. “You’re not supposed to be here.” Silas’s voice was quiet, deadly. “We are.” The air between them was a storm, thick with the weight of secrets and lies. Rory’s pulse roared in her ears, her fingers twitching toward the scar on her wrist. She wanted to run. She wanted to scream. But she was trapped, just like she always had been. Silas reached into his pocket and pulled out a cigarette. He lit it with a match, the flame flickering in the dim light. “You ever think about what you’re running from?” Rory’s breath came in sharp, ragged gasps. “I don’t know anymore.” Silas exhaled smoke, watching it curl into the air. “That’s the problem.” And then, the figure’s voice cut through the tension, low and dangerous. “You’re not leaving.” Silas didn’t look away. “We’re not.” The bar door swung open again, the footsteps heavy and urgent, the weight of something unseen pressing down on them all. Silas’s gaze locked onto Rory’s. “You’re not running anymore.” She wanted to argue. She wanted to scream. But the words caught in her throat, stuck like stone. Silas exhaled smoke, watching it curl into the air. “That’s the problem.” And then, the figure stepped forward, their voice a low growl. “You’re not leaving.” Silas didn’t move. “We’re not.” The air between them was a storm, and Rory knew, with a certainty that had nothing to do with fear, that this was the end of something she’d never been able to name. Silas lit another cigarette, the flame dancing in the shadows. “You ever think about what you’re running from?” Rory’s fingers dug into the bar, her breath coming in sharp, shallow gasps. “I don’t know anymore.” Silas exhaled smoke, watching it drift into the air like a ghost. “That’s the problem.” The figure stepped closer, their voice a low, menacing whisper. “You’re not leaving.” Silas’s gaze never wavered. “We’re not.” The bar door swung open, the footsteps heavy and urgent, the weight of something unseen pressing down on them all. Silas turned slowly, his expression unreadable. “We’re not leaving.” And then, the figure stepped into the light, their face a mask of fury. “You’re not supposed to be here.” Silas’s voice was quiet, deadly. “We are.” The air between them was a storm, thick with secrets and lies. Rory’s pulse roared in her ears, her fingers digging into the scar on her wrist. Silas’s cigarette glowed in the dim light. “You ever think about what you’re running from?” Rory’s breath came in ragged bursts. “I don’t know anymore.” Silas exhaled smoke, watching it curl into the air like a promise. “That’s the problem.” And then the footsteps retreated, the door closing with a finality that left the room silent. Silas reached for Rory’s hand, his grip firm and sure. “We’re not leaving.” She looked at him, her eyes burning with something she couldn’t name. “What happens now?” Silas’s smile was slow, knowing. “Now, we find out.”
total_cost0.00028588

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags11
adverbTagCount0
adverbTags(empty)
dialogueSentences99
tagDensity0.111
leniency0.222
rawRatio0
effectiveRatio0
87.76% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2042
totalAiIsmAdverbs5
found
0
adverb"carefully"
count1
1
adverb"barely above a whisper"
count1
2
adverb"slowly"
count3
highlights
0"carefully"
1"barely above a whisper"
2"slowly"
100.00% AI-ism character names
Target: 0 AI-default names (16 tracked, −20% each)
codexExemptions
0"Blackwood"
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
0.00% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2042
totalAiIsms41
found
0
word"flickered"
count1
1
word"weight"
count6
2
word"flicked"
count4
3
word"unreadable"
count5
4
word"footsteps"
count10
5
word"unspoken"
count1
6
word"silence"
count1
7
word"pulse"
count3
8
word"whisper"
count2
9
word"stomach"
count1
10
word"familiar"
count2
11
word"tension"
count3
12
word"dancing"
count1
13
word"wavered"
count1
highlights
0"flickered"
1"weight"
2"flicked"
3"unreadable"
4"footsteps"
5"unspoken"
6"silence"
7"pulse"
8"whisper"
9"stomach"
10"familiar"
11"tension"
12"dancing"
13"wavered"
33.33% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches3
maxInWindow3
found
0
label"heart pounded in chest"
count1
1
label"clenched jaw/fists"
count1
2
label"without second thought"
count1
highlights
0"heart pounded in her chest"
1"clenched into fists"
2"without a second thought"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells1
narrationSentences183
matches
0"o with fear"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount2
narrationSentences183
filterMatches
0"know"
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences268
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen33
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans4
markdownWords54
totalWords2033
ratio0.027
matches
0"The Raven’s Nest"
1"Rory,"
2"I know you’re gone, but I still hear your voice in the wind. I still see you in the way the light hits the river at dusk. You were always too clever for your own good, but I loved you anyway. Don’t let them take you from me."
3"Your mother."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions22
unquotedAttributions0
matches(empty)
0.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions110
wordCount1615
uniqueNames13
maxNameDensity3.22
worstName"Silas"
maxWindowNameDensity5.5
worstWindowName"Silas"
discoveredNames
Raven1
Carter1
Rory29
Golden1
Empress1
Blackwood1
Londoners1
Silas52
Aurora5
Cardiff1
London3
Evan3
Eva11
persons
0"Raven"
1"Carter"
2"Rory"
3"Blackwood"
4"Silas"
5"Aurora"
6"Evan"
7"Eva"
places
0"Cardiff"
1"London"
globalScore0
windowScore0
63.04% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences115
glossingSentenceCount4
matches
0"something like old paper and damp wool"
1"felt like it had been carved out"
2"tasted like ash"
3"something like recognition"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount2033
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences268
matches
0"whispered that she"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs120
mean16.94
std14.52
cv0.857
sampleLengths
099
183
215
39
434
554
620
712
818
949
1015
1115
1220
1314
147
1514
1641
1731
181
1948
202
2112
2217
237
2412
2514
2619
2712
2834
2914
3012
3135
328
3310
347
3519
362
3736
384
3925
4011
419
4236
4312
4430
4514
466
476
4810
4910
88.01% Passive voice overuse
Target: ≤2% passive sentences
passiveCount9
totalSentences183
matches
0"been carved"
1"was gone"
2"been folded"
3"gone"
4"been sucked"
5"was gone"
6"was trapped"
7"was trapped"
8"was trapped"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs304
matches(empty)
68.23% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount10
semicolonCount0
flaggedSentences7
totalSentences268
ratio0.026
matches
0"Aurora Carter—Rory, to those who knew her—stepped inside, her boots crunching on the broken glass of a discarded bottle."
1"His gaze flicked to her wrist—the crescent scar from the childhood accident, the one she’d never told anyone about."
2"It was a letter—handwritten, the kind of letter that had been folded and slipped into a pocket without a second thought."
3"The voice belonged to Eva—her childhood friend, the one who’d helped her escape Evan."
4"Eva had changed—she’d always been different, but now it was worse."
5"Then, a voice—familiar, but not Eva’s—asked, “Who’s with you?”"
6"Then, from the shadows, a voice—familiar, but not Eva’s—asked, “Who’s with you?”"
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1624
adjectiveStacks0
stackExamples(empty)
adverbCount60
adverbRatio0.03694581280788178
lyAdverbCount10
lyAdverbRatio0.006157635467980296
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences268
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences268
mean7.59
std5.55
cv0.731
sampleLengths
019
119
216
331
414
518
621
724
818
92
1015
115
124
1312
1419
153
163
1717
1827
191
206
217
2213
2310
242
258
2610
276
284
2926
307
316
329
336
348
357
3612
378
3810
394
403
414
427
437
4411
4514
468
478
483
4921
45.15% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats13
diversityRatio0.11940298507462686
totalSentences268
uniqueOpeners32
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount6
totalSentences172
matches
0"Then he reached into his"
1"Then, from the shadows behind"
2"Instead, he reached into his"
3"Then, a voice—familiar, but not"
4"Then, from the shadows, a"
5"Then, from the shadows, a"
ratio0.035
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount38
totalSentences172
matches
0"She hadn’t come here for"
1"He didn’t look up when"
2"She moved toward the bar"
3"he said, voice low, the"
4"he repeated, as if the"
5"His gaze flicked to her"
6"She didn’t answer."
7"He set his glass down"
8"She’d thought she could."
9"She’d thought she could outrun"
10"he said, as if it"
11"He slid it across the"
12"It was a letter—handwritten, the"
13"She unfolded it carefully, her"
14"*I know you’re gone, but"
15"I still see you in"
16"You were always too clever"
17"She looked up at Silas,"
18"His grip was firm, steady."
19"She pulled away, her fingers"
ratio0.221
18.14% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount152
totalSentences172
matches
0"The neon sign of *The"
1"Aurora Carter—Rory, to those who"
2"The air smelled of stale"
3"She hadn’t come here for"
4"Tonight, the weight of the"
5"Silas Blackwood was already there,"
6"He didn’t look up when"
7"The bar was half-empty, the"
8"She moved toward the bar"
9"he said, voice low, the"
10"Aurora exhaled, slow and sharp."
11"he repeated, as if the"
12"His gaze flicked to her"
13"She didn’t answer."
14"The scar was still there,"
15"The Rory she’d been was"
16"The name still tasted like"
17"Silas didn’t wait for her"
18"Aurora’s fingers twitched toward the"
19"He set his glass down"
ratio0.884
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences172
matches(empty)
ratio0
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences67
technicalSentenceCount3
matches
0"The bar was half-empty, the usual crowd of Londoners who came for the quiet, the secrets, the way the walls seemed to hold breath."
1"The bar door creaked open behind them, the sound of footsteps heavy with the weight of someone who knew they weren’t welcome."
2"And then the footsteps retreated, the door closing with a finality that left the room silent."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags11
uselessAdditionCount4
matches
0"he repeated, as if the word itself was a question"
1"he said, as if it were obvious"
2"Rory said, voice breaking"
3"Rory asked, voice barely above a whisper"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags11
fancyCount2
fancyTags
0"he repeated (repeat)"
1"Rory snapped (snap)"
dialogueSentences99
tagDensity0.111
leniency0.222
rawRatio0.182
effectiveRatio0.04
76.7887%