Run: 2026-02-19-01KHTR94Y2C6JP5WHAVBZADHD7

Run Details

Duration:
42.4s
Cost:
$0.006671
Provider:
DeepInfra

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
**Chapter 1: A Shot of Regret** Rory's eyes met Silas' in the mirror behind the bar, a fleeting glance before she turned back to the whiskey-soaked conversation with a stranger. The Raven's Nest was never this lively on a Tuesday. She had just begun to enjoy the anonymity when a voice, once as familiar as her own, sliced through the din. "Aurora, lovely to see you're still alive." Rory's gaze drifted to the entrance, where a man stood, shedding the London drizzle like a spectral presence. His eyes, an unsettling shade of hazel, sparkled with a knowing glint, and for a moment, she was 19 again, sharing late-night laughter and dreams with this very person. But the man before her now was a stranger, carved from the same marble as her childhood friend, Evan. "Evan?" The name felt like a betrayal on her lips, given the man she'd fled from just a few years ago shared the same name. This, however, was Finnley Walker, her confidant from Cardiff days, now draped in a tailored suit that seemed to swallow his lean frame whole. Finnley slid onto the stool beside her, his presence commanding the bartender's immediate attention. "Whiskey. Neat. And whatever the lady's having, another round, please." The bartender, accustomed to Silas' discerning clientele, raised an eyebrow but poured the drinks without a word. Rory turned to Finnley, a mixture of curiosity and wariness swirling in her chest. "Finnley Walker. As I live and breathe. Or perhaps not, considering the... makeover." She gestured vaguely towards his attire, the polished shoes, and the haircut that framed his face with precision. Finnley chuckled, a deep, resonant sound that was new, like the rest of him. "Life's been good, Rory. Very good." He sipped his whiskey, his eyes never leaving hers. "And you? Still delivering food and casting dreams aside?" The jab, thinly veiled as a question, landed with the precision of a slap. Rory's smile, a defense mechanism honed over years, faltered for a moment before she regained composure. "Delivering food, yes. Casting dreams? I've just become more... focused on immediate gratification." Silas, who had been observing the exchange with interest, now intervened, his voice smooth as the whiskey he poured. "Finnley, been a while. What brings you to our humble abode tonight?" Finnley's gaze lingered on Rory before shifting to Silas, a hint of a smiles playing on his lips. "Just passing through, Silas. Old haunts, new faces. Although, some faces are remarkably consistent." He turned back to Rory, his expression softening. "We have a lot to catch up on, don't we, Rory? Years to fill in." The tension between them was palpable, a living, breathing entity that fed on unspoken words and unresolved sentiments. Rory felt the weight of those years, each one a brick added to the wall she'd constructed around her heart. "I'm not sure where to begin," Rory admitted, her voice barely above a whisper, as if the noise of the bar might drown out the vulnerability. Finnley leaned in, his voice taking on a conspiratorial tone. "Begin with why you ran, Rory. From everything and everyone. Including me, without so much as a goodbye." The accusation, cloaked in gentle curiosity, stung. Rory's defenses flared, but before she could muster a retort, Silas inserted himself into the conversation once more. "Perhaps this isn't the best place for such... nuanced discussions. My office?" He stood, his slight limp a reminder of stories untold, and gestured towards the hidden room behind the bookshelf. Without waiting for their response, Silas led the way, the green neon sign of The Raven's Nest casting an eerie glow on the damp pavement outside as they stepped into the narrower, more sinister shadows of the past. --- **Inside Silas' Office** The room was dimly lit, the only sound the soft hum of the computer and the creak of old leather as they settled into the chairs. Finnley, with an air of familiarity, poured himself a glass of whiskey from the decanter on Silas' desk, offering none to the others. "Continue, Finnley," Silas prompted, his eyes fixed intently on the man across from him, a silent warning to tread carefully. "Where were we, Rory? Ah yes, your abrupt departure. One day, you were talking about changing the world with your art; the next, you were gone. No explanation. Just a void." Rory fidgeted, the crescent-shaped scar on her wrist aching with a phantom pain. "It was complicated, Finnley. I needed a fresh start." "Complicated?" Finnley echoed, his voice laced with skepticism. "You were running from Evan, from the pressure of your parents' expectations, from the fear of not making it as an artist. But from me? From our friendship?" The room seemed to shrink, the walls pressing in with the weight of unspoken regret. Rory's eyes met Finnley's, and for a fleeting moment, they were back in Cardiff, two youths with the world at their feet. "I was running from myself, Finnley. From the fear of not being enough, no matter where I turned. And in the chaos, I lost grip of everything that truly mattered," Rory confessed, the words tearing free from the vault she'd sealed years ago. Finnley's face, a mask of composure, betrayed him for a moment, a flicker of pain crossing his features before he looked away, towards the window, where the city pulsed with a life of its own. Silas, ever the silent observer, leaned back in his chair, his eyes never leaving the pair, as the night wore on, unraveling threads of a tapestry thought to be forever frayed. And then, just as it seemed the night couldn't grow any thicker with tension, a knock at the door sliced through the heavy air. "Enter," Silas called out, his voice even. The door creaked open, and a figure, drenched from the rain, stood at the threshold, eyes locking onto Rory with a mix of urgency and fear. "Rory, I've been looking everywhere for you. It's Eva. She's gone missing."
created_at"2026-02-19T10:49:08.81Z" 2/19/2026, 10:49:08 AM
model"nvidia/llama-3.1-nemotron-70b-instruct"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency182
moderation_latency(null)
generation_time42317
tokens_prompt4663
tokens_completion1528
native_tokens_prompt4207
native_tokens_completion1352
native_tokens_completion_images(null)
native_tokens_reasoning0
native_tokens_cached0
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"stop"
usage0.0066708
router(null)
provider_responses
0
endpoint_id"d2a33d30-5d41-47d3-a816-1cc067b5a7dd"
id"cmpl-589bcd44ae7f47acbfb4ffba652245eb"
is_byokfalse
latency74
model_permaslug"nvidia/llama-3.1-nemotron-70b-instruct"
provider_name"DeepInfra"
status200
api_type"completions"
id"gen-1771498148-Q6VdfaLX74KKEzl5ffaI"
upstream_id"cmpl-589bcd44ae7f47acbfb4ffba652245eb"
total_cost0.0066708
cache_discount(null)
upstream_inference_cost0
provider_name"DeepInfra"

Evaluation details

Result Evaluator Details Meta Data
0.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags13
adverbTagCount3
adverbTags
0"The name felt like [like]"
1"She gestured vaguely [vaguely]"
2"He turned back [back]"
dialogueSentences21
tagDensity0.619
leniency1
rawRatio0.231
effectiveRatio0.231
75.05% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1002
totalAiIsmAdverbs5
found
0
adverb"very"
count2
1
adverb"barely above a whisper"
count1
2
adverb"carefully"
count1
3
adverb"truly"
count1
highlights
0"very"
1"barely above a whisper"
2"carefully"
3"truly"
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)
wordCount1002
totalAiIsms23
found
0
word"fleeting"
count2
1
word"familiar"
count1
2
word"spectral"
count1
3
word"glint"
count1
4
word"marble"
count1
5
word"eyebrow"
count1
6
word"tension"
count2
7
word"palpable"
count1
8
word"unspoken"
count2
9
word"weight"
count2
10
word"constructed"
count1
11
word"whisper"
count1
12
word"reminder"
count1
13
word"sinister"
count1
14
word"echoed"
count1
15
word"flicker"
count1
16
word"pulsed"
count1
17
word"unraveling"
count1
18
word"tapestry"
count1
highlights
0"fleeting"
1"familiar"
2"spectral"
3"glint"
4"marble"
5"eyebrow"
6"tension"
7"palpable"
8"unspoken"
9"weight"
10"constructed"
11"whisper"
12"reminder"
13"sinister"
14"echoed"
15"flicker"
16"pulsed"
17"unraveling"
18"tapestry"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches0
maxInWindow0
found(empty)
highlights(empty)
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences42
matches(empty)
74.83% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount2
narrationSentences42
filterMatches(empty)
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences53
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen43
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans2
markdownWords9
totalWords999
ratio0.009
matches
0"Chapter 1: A Shot of Regret"
1"Inside Silas' Office"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions7
unquotedAttributions0
matches(empty)
57.80% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions41
wordCount705
uniqueNames11
maxNameDensity1.84
worstName"Rory"
maxWindowNameDensity3
worstWindowName"Rory"
discoveredNames
Shot1
Rory13
Raven2
Nest2
Tuesday1
London1
Evan1
Finnley10
Walker1
Cardiff2
Silas7
persons
0"Rory"
1"Raven"
2"Evan"
3"Finnley"
4"Walker"
5"Silas"
places
0"London"
1"Cardiff"
globalScore0.578
windowScore0.667
21.79% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences39
glossingSentenceCount2
matches
0"felt like a betrayal on her lips, given"
1"suit that seemed to swallow his lean frame whole"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount999
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences53
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs33
mean30.27
std15.69
cv0.518
sampleLengths
06
155
27
366
449
524
617
745
838
943
1031
1155
1238
1326
1428
1525
1631
1738
181
193
2049
2120
2231
2322
2436
2537
2643
2735
2831
2924
307
3126
3212
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences42
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs99
matches(empty)
88.95% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount1
flaggedSentences1
totalSentences53
ratio0.019
matches
0"\"Where were we, Rory? Ah yes, your abrupt departure. One day, you were talking about changing the world with your art; the next, you were gone. No explanation. Just a void.\""
98.65% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount337
adjectiveStacks0
stackExamples(empty)
adverbCount14
adverbRatio0.04154302670623145
lyAdverbCount2
lyAdverbRatio0.005934718100890208
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences53
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences53
mean18.83
std8.69
cv0.462
sampleLengths
06
124
210
321
47
518
629
719
825
924
1014
1110
1217
1314
1431
1514
1615
179
1814
1916
2013
2119
2212
2318
2422
2515
2618
2720
2826
2910
3018
317
3218
3331
3438
353
3626
3723
3820
3931
4013
419
428
4328
4415
4522
4643
4735
4831
4924
84.28% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats2
diversityRatio0.5283018867924528
totalSentences53
uniqueOpeners28
0.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount0
totalSentences41
matches(empty)
ratio0
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount6
totalSentences41
matches
0"She had just begun to"
1"His eyes, an unsettling shade"
2"She gestured vaguely towards his"
3"He sipped his whiskey, his"
4"He turned back to Rory,"
5"He stood, his slight limp"
ratio0.146
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount38
totalSentences41
matches
0"**Chapter 1: A Shot of"
1"Rory's eyes met"
2"The Raven's Nest was never"
3"She had just begun to"
4"Rory's gaze drifted to the"
5"His eyes, an unsettling shade"
6"The name felt like a"
7"This, however, was Finnley Walker,"
8"Finnley slid onto the stool"
9"The bartender, accustomed to"
10"Rory turned to Finnley, a"
11"She gestured vaguely towards his"
12"Finnley chuckled, a deep, resonant"
13"He sipped his whiskey, his"
14"The jab, thinly veiled as"
15"Rory's smile, a defense mechanism"
16"Silas, who had been observing"
17"Finnley's gaze lingered on Rory"
18"He turned back to Rory,"
19"The tension between them was"
ratio0.927
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences41
matches(empty)
ratio0
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences26
technicalSentenceCount1
matches
0"Silas, who had been observing the exchange with interest, now intervened, his voice smooth as the whiskey he poured."
86.54% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags13
uselessAdditionCount1
matches
0"He turned back, his expression softening"
7.14% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags3
fancyCount3
fancyTags
0"Rory admitted (admit)"
1"Rory confessed (confess)"
2"Silas called out (call out)"
dialogueSentences21
tagDensity0.143
leniency0.286
rawRatio1
effectiveRatio0.286
73.1678%