Run: 2026-02-19-01KHTXR9X9SC7J894AJ0RDJCRB

Run Details

Duration:
1m 16s
Cost:
$0.092860
Provider:
Amazon Bedrock

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 deadbolts. Rory remembered when Eva had installed them, laughing about overkill. Now she turned all three before bed like breathing. The knock came at half ten, two sharp raps followed by a pause, then a third. Not Eva's rhythm. Not the landlord's either, who hammered like he wanted the door off its hinges. She pressed her eye to the peephole. Lucien Moreau stood on the landing in a tailored charcoal suit, his ivory-handled cane hooked over one forearm, his platinum blond hair slicked back with the kind of precision that suggested he'd come from somewhere important. Or wanted her to think so. His mismatched eyes, one amber, one black, caught the hallway's fluorescent light and threw it back wrong. She hadn't seen him in six weeks. Not since the night at the Rotherhithe warehouse, when he'd pulled her out of a collapsing ward circle with one hand and straightened his tie with the other, then vanished into the back of a black car without a word. No call. No message through the usual channels. Nothing. Rory slid back the first bolt. Then the second. She left the chain on and cracked the door four inches. "No." "Bonsoir to you as well." "Whatever it is, no." "You haven't heard what it is." "Don't need to. Last time I heard you out, I spent three days pulling glass out of my hair." His mouth twitched. Not quite a smile. The scar that ran along his jaw, the one he never explained, caught shadow and disappeared again. "I brought wine." He lifted a bottle into view. Something French, dark glass, no label she recognised. Rory stared at it, then at him, then at the bottle again. "It's half ten on a Tuesday." "The wine doesn't know that." Ptolemy threaded between her ankles, pressing his warm tabby weight against her shins, and let out a low chirp directed at the gap in the door. Traitor. The cat had always liked Lucien, which Rory considered a serious character flaw in an otherwise decent animal. She closed the door. Undid the chain. Opened it again. Lucien stepped inside with the careful economy of someone used to navigating spaces that weren't his own. His gaze swept the flat in a single pass, cataloguing exits, changes, threats. Old habit. The cane's ferrule clicked once against the threshold, then went silent on the carpet. Eva's flat hadn't improved since his last visit. Books colonised every horizontal surface, some stacked in towers that defied physics, others splayed open and pinned with coffee mugs. Scrolls in languages Rory couldn't read, and a few she could, spilled from a milk crate by the sofa. Research notes papered one wall in overlapping layers, connected by red string and drawing pins that left the plaster looking like it had survived a shotgun blast. The smell of turmeric from the curry house below seeped through the floorboards, thick and permanent, mixing with old paper and cat. Lucien set the wine on the kitchen counter, beside a stack of Eva's photocopied manuscripts and a bowl of Ptolemy's biscuits. "Where's the sommelier?" "Eva's in Edinburgh. Conference." Rory folded her arms. "How'd you know she wasn't here?" "I didn't." "Liar." He turned to face her, and the full weight of his attention landed like a hand pressed to her sternum. That was the trouble with Lucien. He rationed his focus, doled it out in glances and half-looks, so that when he gave it all at once it felt like standing too close to a fire. "I came because I need your help. Anything beyond that is incidental." "Incidental." She tasted the word. Bitter. "Right." Rory pulled two mismatched glasses from the drying rack, a proper wine glass and a Simpsons mug with a chipped handle. She set the mug in front of him. "Guest of honour." His lip twitched again. He uncorked the wine with a penknife he produced from somewhere inside his jacket, poured both servings with the steady hand of a surgeon, and slid the glass toward her. Red. Something earthy that smelled like rain-soaked stone and black cherry. Neither of them drank. "Six weeks," Rory said. "I'm aware." "You pulled me out of that circle. My ribs cracked. I couldn't breathe for two days. And you just, what, got in your little car and drove into the night like bloody Batman?" "I don't drive. Matthias drives." "That's what you're going with." He set both hands on the counter, the cane leaning against his hip. Without its support his posture shifted, something human leaking through the armour of his suit. He looked tired. Not the kind of tired that sleep fixed. "I left because staying would have been worse." "For who?" "Both of us." Ptolemy jumped onto the counter between them, sat on a stack of Eva's notes about Sumerian binding rites, and began cleaning his paw with aggressive indifference. Rory scratched behind his ear without looking at him. "You said you needed help." "I do." "Then talk. You've got until I finish this glass." She picked it up. Took a sip. The wine was obscene, layers of flavour folding over each other, the kind of bottle that cost more than her monthly delivery wages at the Golden Empress. Lucien watched her drink with an expression she couldn't quite decode. Satisfaction, maybe. Or hunger. With him, those lived in the same neighbourhood. "There's a ledger," he said. "Cambion trade records from the early 1800s. It surfaced at a private auction in Mayfair three days ago. Someone bought it before my bid cleared." "And you want it back." "It was never theirs to sell." "Whose was it?" "My father's." The word sat between them like a stone dropped in still water. Lucien never mentioned his father. Not once in the eight months Rory had known him, not through all the late-night debriefs and back-alley negotiations and that one terrible evening in a Hackney safe house when they'd shared a bottle worse than this one and he'd almost, almost told her something real before pulling back behind his smile like a door clicking shut. "Your father. From Avaros." "The same." "And you're telling me this because..." "Because the person who bought it knows what it contains. Names. Lineages. Every half-blood born to a demon of that realm for two centuries." He paused. "Including mine." Rory set her glass down. The wine's aftertaste turned sour on her tongue. "Someone's building a list." "Someone has a list. The question is what they intend to do with it." "And you came to me, not your network of very scary fixers and informants, because..." "Because the buyer's name is Hargrove. Philippa Hargrove." The name landed. Rory felt her spine go rigid. "Eva's Hargrove? The one who funded her department?" "The one who tried to recruit you last spring, if memory serves." It served. Philippa Hargrove, sharp-boned and silver-haired, with a handshake like a trap closing. She'd cornered Rory after a talk at SOAS, offered her a research position that paid four times the Golden Empress gig. Rory had said no because the woman's smile never reached her eyes and because Eva had gone pale at the mention of her name. "You need someone she already knows." "I need someone she underestimated." Rory picked up her glass again. Drank. Set it down. "And the six weeks of silence? Where does that fit?" Lucien lifted the Simpsons mug. Turned it in his hands. Homer's faded face grinned up at him from the ceramic. "I stayed away because the last time we were in a room together, I wanted to do something unwise." "Unwise." "Deeply." "Could you be more specific, or is vague innuendo your love language?" He set the mug down and stepped around the counter. One step. Two. Close enough that she could smell his cologne under the wine, something sharp and resinous, like juniper burned over coals. Close enough that the black eye and the amber eye resolved into their own separate gravities, each pulling a different direction. "I wanted to stay," he said. "That night. I wanted to carry you to the car and take you somewhere safe and sit beside you until you could breathe again. And then I wanted to do things that had nothing to do with safety." Rory's pulse kicked against the scar on her left wrist. The crescent moon shape, small and pale and stupid, from a childhood fall that shouldn't have left a mark but did. "So you left." "So I left." "Because that's what you do. You assess the risk, you run the numbers, and you remove yourself from the equation." "Yes." "And now you're back. Standing in my kitchen. At half ten on a Tuesday. With wine." "Yes." "Because you need me." "Because I need you." Something shifted in his voice. A crack in the lacquer. "In every sense that phrase can hold." Ptolemy meowed, bored by the lack of attention, and knocked a scroll off the counter. It hit the floor and unrolled across the carpet, revealing a dense lattice of Aramaic script. Neither of them looked at it. "Here's what's going to happen," Rory said. "You're going to sit on that sofa. You're going to tell me everything about Philippa Hargrove and this ledger. Names, dates, locations, the works. And when you're done, I'm going to decide if I help you." "And the other matter?" "What other matter?" His gaze dropped to her mouth. Held. Lifted. "Unwise things," he said. "Table them." "Indefinitely?" "Until I've finished the bottle." She grabbed the wine and walked to the sofa, sweeping a stack of Eva's notes onto the floor. Ptolemy pounced on them. Rory sat, tucked one leg beneath her, and poured herself a second glass with a hand that didn't shake, not quite. Lucien followed. He lowered himself onto the opposite end of the sofa with the careful grace of a man whose body cost him something, unhooked his cane and laid it across his knees. The hidden blade inside made the faintest sound against the ivory handle, metal kissing bone. "Start from the beginning," she said. "Which beginning?" "The one where you tell me the truth." His mismatched eyes found hers, and for half a second the mask slipped entirely. Underneath was something raw, unfinished, afraid. Then he blinked and it smoothed over, not gone but tucked away, the way he tucked the blade inside the cane. "Three months ago," he said, "a man walked into a pub in Marseille and asked the barman about my mother." Rory's hand tightened on the glass. Ptolemy settled between them on the sofa, a warm rumbling barrier, and Lucien began to talk. He got four sentences in before the lights went out. Not the flat's lights. Not the landing. Every light on Brick Lane, above and below, extinguished at once, plunging the curry house, the street, the stairwell, and the flat into a darkness so complete Rory couldn't see the wine in her hand. Ptolemy hissed. Something scratched at the window.
created_at"2026-02-19T12:24:48.304Z" 2/19/2026, 12:24:48 PM
model"anthropic/claude-4.6-opus-20260205"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1448
moderation_latency111
generation_time75891
tokens_prompt4556
tokens_completion2833
native_tokens_prompt4657
native_tokens_completion2783
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"
usage0.09286
router(null)
provider_responses
0
endpoint_id"a8708fb9-08ea-43bb-a3b1-165c87ef09df"
id"61430aad-b12c-44fc-9a89-c0c2ddc0ee18"
is_byokfalse
latency1440
model_permaslug"anthropic/claude-4.6-opus-20260205"
provider_name"Amazon Bedrock"
status200
api_type"completions"
id"gen-1771503888-AMaS2ym5t4Gp8xjVJyvM"
upstream_id"61430aad-b12c-44fc-9a89-c0c2ddc0ee18"
total_cost0.09286
cache_discount(null)
upstream_inference_cost0
provider_name"Amazon Bedrock"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags11
adverbTagCount0
adverbTags(empty)
dialogueSentences75
tagDensity0.147
leniency0.293
rawRatio0
effectiveRatio0
97.29% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1845
totalAiIsmAdverbs1
found
0
adverb"very"
count1
highlights
0"very"
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
83.74% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1845
totalAiIsms6
found
0
word"weight"
count2
1
word"navigating"
count1
2
word"silence"
count1
3
word"resolved"
count1
4
word"pulse"
count1
highlights
0"weight"
1"navigating"
2"silence"
3"resolved"
4"pulse"
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
narrationSentences123
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences123
filterMatches(empty)
hedgeMatches
0"began to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences187
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen59
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1837
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions16
unquotedAttributions0
matches(empty)
66.67% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions60
wordCount1291
uniqueNames17
maxNameDensity1.55
worstName"Rory"
maxWindowNameDensity3
worstWindowName"Rory"
discoveredNames
Eva7
Moreau1
Rotherhithe1
French1
Lucien10
Rory20
Ptolemy7
Bitter1
Simpsons2
Sumerian1
Golden2
Empress2
Hackney1
Hargrove1
Aramaic1
Brick1
Lane1
persons
0"Eva"
1"Moreau"
2"Lucien"
3"Rory"
4"Ptolemy"
places
0"Rotherhithe"
1"Golden"
2"Hackney"
3"Brick"
4"Lane"
globalScore0.725
windowScore0.667
11.11% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences72
glossingSentenceCount4
matches
0"felt like standing too close to a fire"
1"smelled like rain-soaked stone and black c"
2"quite decode"
3"not quite"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.544
wordCount1837
matches
0"not gone but tucked away, the way he tucked the blade inside the cane"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences187
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs107
mean17.17
std18.53
cv1.079
sampleLengths
021
133
27
359
456
520
61
75
84
96
1019
1124
123
1326
146
155
1645
1710
1846
1996
2021
213
2214
232
241
2555
2612
277
2829
293
3045
314
324
332
3433
355
365
3739
388
392
403
4135
425
432
449
4534
4623
4730
485
496
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences123
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs212
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences187
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1298
adjectiveStacks0
stackExamples(empty)
adverbCount45
adverbRatio0.03466872110939907
lyAdverbCount2
lyAdverbRatio0.0015408320493066256
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences187
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences187
mean9.82
std9.35
cv0.952
sampleLengths
02
110
29
316
43
514
67
736
86
917
107
1140
122
136
141
156
163
1711
181
195
204
216
2219
233
244
2517
263
276
288
2912
306
315
3226
331
3418
354
363
373
3817
3913
402
4114
428
4320
4419
4527
4622
4721
483
498
68.45% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats7
diversityRatio0.43315508021390375
totalSentences187
uniqueOpeners81
68.03% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences98
matches
0"Then the second."
1"Then he blinked and it"
ratio0.02
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount25
totalSentences98
matches
0"She pressed her eye to"
1"His mismatched eyes, one amber,"
2"She hadn't seen him in"
3"She left the chain on"
4"His mouth twitched."
5"He lifted a bottle into"
6"She closed the door."
7"His gaze swept the flat"
8"He turned to face her,"
9"He rationed his focus, doled"
10"She tasted the word"
11"She set the mug in"
12"His lip twitched again."
13"He uncorked the wine with"
14"He set both hands on"
15"He looked tired."
16"She picked it up."
17"She'd cornered Rory after a"
18"He set the mug down"
19"It hit the floor and"
ratio0.255
82.45% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount74
totalSentences98
matches
0"Rory remembered when Eva had"
1"The knock came at half"
2"She pressed her eye to"
3"Lucien Moreau stood on the"
4"His mismatched eyes, one amber,"
5"She hadn't seen him in"
6"Rory slid back the first"
7"She left the chain on"
8"His mouth twitched."
9"The scar that ran along"
10"He lifted a bottle into"
11"Something French, dark glass, no"
12"Rory stared at it, then"
13"Ptolemy threaded between her ankles,"
14"The cat had always liked"
15"She closed the door."
16"Lucien stepped inside with the"
17"His gaze swept the flat"
18"The cane's ferrule clicked once"
19"Eva's flat hadn't improved since"
ratio0.755
51.02% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences98
matches
0"Now she turned all three"
ratio0.01
44.82% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences51
technicalSentenceCount7
matches
0"Lucien Moreau stood on the landing in a tailored charcoal suit, his ivory-handled cane hooked over one forearm, his platinum blond hair slicked back with the ki…"
1"Lucien stepped inside with the careful economy of someone used to navigating spaces that weren't his own."
2"Books colonised every horizontal surface, some stacked in towers that defied physics, others splayed open and pinned with coffee mugs."
3"Research notes papered one wall in overlapping layers, connected by red string and drawing pins that left the plaster looking like it had survived a shotgun bla…"
4"The wine was obscene, layers of flavour folding over each other, the kind of bottle that cost more than her monthly delivery wages at the Golden Empress."
5"She'd cornered Rory after a talk at SOAS, offered her a research position that paid four times the Golden Empress gig."
6"The crescent moon shape, small and pale and stupid, from a childhood fall that shouldn't have left a mark but did."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags11
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags7
fancyCount0
fancyTags(empty)
dialogueSentences75
tagDensity0.093
leniency0.187
rawRatio0
effectiveRatio0
89.1190%