Run: 2026-02-19-01KHTY81S4XK6XFCX3JEAN6ZTE

Run Details

Model:
GPT-5.2
Duration:
1m 40s
Cost:
$0.062767
Provider:
OpenAI

Model input

System
You are an expert and award-winning novel writer in the dark Romance genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4412" name="Aurora Carter" aliases="Rory, Laila, Aurora, Carter, Malphora" pronouns="she/her" species="Human" storyRole="Protagonist"> <eyeColor>bright blue</eyeColor> <hair>straight shoulder-length black</hair> <height>5'6"</height> <age>25</age> <scar>small crescent-shaped scar on her left wrist from a childhood accident</scar> <description>Aurora, referred to by her friends as Rory, is cool-headed, intelligent, and known for quick out-of-the-box thinking.</description> <backstory>Born in Cardiff to an Irish barrister father (Brendan Carter) and Welsh teacher mother (Jennifer Carter née Ellis), Rory reluctantly pursued Pre-Law at Cardiff University. She fled to London at the behest of her childhood friend Eva after leaving an abusive ex named Evan. By day, Rory works part-time as a delivery person for Yu-Fei Cheung's Golden Empress restaurant. She lives in a flat above Silas' bar.</backstory> </character> <character id="4415" name="Lucien Moreau" aliases="Lucien, Luc, the Frenchman" pronouns="he/him" species="Half-Demon" storyRole="Ally"> <eyeColor>heterochromatic — one amber, one black</eyeColor> <hair>slicked-back platinum blond</hair> <height>5'11"</height> <age>32</age> <cane>ivory-handled cane that conceals a thin blade</cane> <dress>tailored charcoal suits</dress> <description>An impeccably dressed fixer and information broker in London's supernatural underworld. He speaks four languages fluently.</description> <backstory>Born in Marseille to a human mother and a demon father from the realm of Avaros.</backstory> </character> <location id="858" name="Eva's Flat" aliases="Eva's place, the flat on Brick Lane" realm="Earth"> <cat>tabby cat named Ptolemy</cat> <security>three deadbolts on the front door</security> <description>A cramped one-bedroom flat above a curry house on Brick Lane, East London. Every surface is covered with books, scrolls, and research notes.</description> </location> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the romance genre. Two people who parted on complicated terms are forced together again when one shows up unannounced at the other's flat. There's history between them — attraction, hurt, and things left unsaid. Write the scene from the moment the door opens. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The last deadbolt slid free under Aurora’s thumb and the door jerked open hard enough to rattle the chain. Lucien Moreau filled the doorway like an insult in a tailored charcoal suit, hair slicked back, one eye amber and the other black, his ivory-handled cane planted on the landing as if he owned the building. A dark stain spread beneath his left ribs where fabric clung too close. “Lock it.” Rory kept her hand on the chain. “You’ve got some nerve.” Lucien’s mouth twitched, not quite a smile, not quite a wince. “Oui. And you have three deadbolts. Use them.” Ptolemy, Eva’s tabby, slipped between Rory’s ankles and let out a low, offended sound that belonged on a much larger animal. Lucien glanced down at the cat. “Even your sentries have opinions.” Rory didn’t step aside. She angled her shoulder into the gap, the way she had learned to do when a man decided space belonged to him. “You don’t get to turn up here.” Lucien’s gaze flicked over her face, precise, almost intimate. It landed on her left wrist, on the small crescent scar that always felt like it carried a pulse of its own whenever she grew angry. His pupils tightened. “Apparently I do.” He leaned in. Not enough to touch, enough to make her lungs react as if he had. He smelled of expensive cologne with something metallic beneath it, copper and smoke. Rory tightened her grip on the chain. “Tell me why you’re here before I slam this into your pretty face.” Lucien’s breath brushed the gap. “Because someone wants to open you like a letter.” Rory’s throat went dry. She heard the hallway beyond him, a building that always seemed to hold its breath, neighbours who pretended they heard nothing. Lucien shifted his weight and his suit jacket pulled, revealing a darker spread at his side. “You’re bleeding.” “I noticed.” “I don’t care.” Lucien’s gaze lowered to her mouth, then rose again, calm as a blade. “That’s a lie you tell well.” The chain rattled when Ptolemy jumped up, planting his front paws against Rory’s shin as if he planned to climb her like a tree. The cat’s hackles lifted. Rory unclipped the chain and stepped back, just enough. Lucien moved the moment she yielded, sliding inside as if he had memorised the width of her reluctance. He didn’t limp. He didn’t hurry. He simply occupied the flat, and the narrow entryway shrank around him. “Shut it,” he said. Rory slammed the door and threw the deadbolts one after the other. The clicks sounded like punctuation to a sentence she didn’t want to finish. Lucien watched her hands work the locks. “You kept the habits.” “It’s Eva’s place.” “She taught you well.” Rory turned. The corridor of the flat opened into a cramped living room where every surface carried books and scrolls and curling notes held down with mugs and crystals and the odd, ridiculous ceremonial dagger Eva had bought from Camden and insisted “felt right”. A curry house smell seeped through the floorboards, cumin and fried onions that never quite left the air. Lucien’s eyes scanned the chaos. “You’re nesting.” “I’m minding the flat.” “You don’t live here.” Rory crossed her arms. “Don’t start.” Lucien’s cane tapped once, a soft, deliberate sound. He swayed for the first time, subtle enough that a stranger would miss it. Rory didn’t. She had spent enough of her life watching men pretend they didn’t hurt. He pressed a gloved hand to his side and the glove came away slick. Ptolemy hissed. Rory swallowed. “What did you do?” Lucien’s eyelids lowered. “What I always do, chérie. I solved a problem. It multiplied.” “Don’t call me that.” “You preferred it the last time.” Heat flared in Rory’s face, immediate and furious. A flash of his mouth at her throat, teeth grazing skin, his voice in French murmuring something that had sounded like worship and threat braided together. Then the memory snapped shut, like a book she refused to open in daylight. Rory stepped closer anyway, because her body betrayed her morals with tedious consistency. She looked at the stain again. “Sit down.” Lucien didn’t move. Rory pointed at the battered armchair by Eva’s overstuffed bookshelf. “Sit. Down.” Lucien’s smile sharpened at the edges, but he obeyed. He lowered himself with control that made the act feel obscene, the way he spread his legs slightly, cane resting across his knees like an extension of his spine. His breathing stayed even, but his jaw tightened. Rory grabbed a fistful of tissues off the coffee table, immediately realised how useless they looked, and tossed them back down. “You’re not dripping on Eva’s rug.” “You sound like a wife.” Rory’s eyes flashed. “You sound like someone who needs a tetanus shot.” Lucien leaned back. The amber eye held warmth like candlelight. The black eye held something deeper, a pit that didn’t reflect. “I don’t get tetanus.” “Fine. Stitches. Bandage. Whatever half-demons get when they insist on bleeding on other people’s furniture.” Lucien’s gaze stayed fixed on her, as if he watched her hands even when she stood still. “You’re angry.” Rory marched into the tiny kitchen nook, yanked open a drawer, and found what she needed by instinct, not thought. Eva’s place carried supplies the way other people carried spare candles. Rory found a first aid kit wedged behind a jar of turmeric. She grabbed it and a clean tea towel. “I’m not angry.” Lucien’s voice followed her, smooth as silk drawn over a bruise. “You’re furious. It’s prettier on you than fear.” Rory returned and dropped the kit on the coffee table with a thud. “You don’t get to know what suits me.” Lucien’s fingers moved to his jacket buttons. “Then don’t look at me like that.” Rory’s laugh came out sharp. “Like what, Lucien?” His hands paused. His gaze lifted again, and for a moment his expression slipped. Not soft. Not kind. Something old and hungry that made Rory’s pulse trip over itself. “Like you remember.” Rory knelt, because the kit sat on the low table and because she refused to loom. She refused to let him think he made her cautious. Her knee brushed his polished shoe. The air between them felt cramped, charged. She snapped open the kit. “Take it off.” Lucien arched a brow. “My suit?” “Your jacket. Don’t be dramatic.” “I excel at drama.” “You excel at being impossible.” Lucien stood with a fluid motion that made Rory’s stomach clench. He shrugged out of the jacket, then the waistcoat beneath, each movement unhurried, each layer revealing more of the stain. His white dress shirt clung to his torso, soaked through at the side. Rory’s mouth went dry. He watched her reaction and didn’t hide the satisfaction that crossed his face. “You always did appreciate good tailoring.” Rory leaned in and pinched the fabric at his ribs. The shirt stuck. Warmth pulsed under her fingers. “You’re going to ruin it.” Lucien’s low laugh rumbled. “I have several.” Rory grabbed the scissors from the kit. “I’m not stripping you for fun.” Lucien’s hand closed around her wrist before she could cut. His fingers wrapped just above the crescent scar. His touch made the old mark flare with heat as if it remembered him too. Rory froze. Lucien’s thumb slid once, slow, over the scar. “This,” he murmured, in a tone that sounded like he spoke to an altar, “still bothers you.” Rory yanked her hand back. “It’s a scar.” “It’s a door.” Rory stared at him, anger and something else tangling in her chest. “Don’t start talking in riddles. Not here.” Lucien’s gaze flicked past her shoulder to the stacks of Eva’s notes. “This place loves riddles.” Rory cut his shirt anyway, the blades biting through expensive cotton. Lucien hissed through his teeth, the first crack in his composure. It pleased Rory more than it should have. “Good. Feel that.” Lucien’s smile didn’t reach his eyes. “Cruelty looks natural on you, Rory.” She paused, scissors hovering. “Don’t call me Rory.” Lucien tilted his head. “You introduced yourself that way.” “I introduced myself as Aurora.” “You introduced yourself as Laila the second time.” Rory’s stomach tightened. Eva’s ridiculous aliases, the nights they had spent inventing new names to feel safer, to feel untouchable. Lucien had been part of that, too. He had made it feel like a game until it hadn’t. Rory pressed gauze to the wound. Blood slicked her fingers. It smelled sharp, but there was something else beneath it, a faint burnt scent like singed paper. “This isn’t normal.” Lucien’s hand caught hers again, gentler this time, his fingers warm. “It’s iron. Mixed with something older.” Rory’s eyes lifted to his. “What hit you?” Lucien’s lips parted, then closed. A refusal. Rory leaned closer, not quite nose to nose, close enough to feel his breath. “You don’t get to bleed on my hands and keep secrets.” Lucien’s gaze dropped to her mouth again. His voice softened, and that softness carried danger. “I didn’t come for your hands.” Rory’s pulse pounded. She pressed harder on the wound out of spite. Lucien’s breath caught. “Ah. There she is.” Rory reached for antiseptic. The sharp smell filled the space, cutting through curry spices and old paper. Ptolemy hopped onto the sofa and stared as if he planned to judge every choice Rory made. Rory poured antiseptic over the gash. Lucien’s fingers dug into the armrests. “You need stitches,” Rory said. Lucien watched her with a look that made her skin prickle. “You did well with your ex, yes? The one who liked to leave marks.” Rory’s hand stilled. Her eyes snapped up. “Don’t.” Lucien’s jaw tightened. “He’s in London.” Rory’s throat tightened, the name she didn’t want tasting like rust. “Evan doesn’t know where I am.” Lucien’s smile carried no humour. “He knows now.” Rory’s fingers curled around the needle packet hard enough to crinkle it. “Because of you.” Lucien didn’t blink. “Because of your friend’s research. Because of what you are adjacent to. Because you keep stepping close to fires and insisting you won’t burn.” Rory’s laugh came out as a breath. “What am I adjacent to, Lucien?” His gaze dropped again to her wrist scar. “A keyhole.” Rory shook her head once, sharp. “You talk like Eva after two espressos and a conspiracy thread.” Lucien leaned forward, slow despite the blood, bringing his face closer. The mismatched eyes held her like a grip. “Eva’s clever. She opens books. You open doors.” Rory’s hands moved again, because if she stopped she would listen, and if she listened she would feel. She threaded the needle with a steadiness that surprised her. “Hold still.” Lucien’s lips curved. “You always give orders when you’re afraid.” “I’m not afraid.” Lucien lowered his voice. “Your pulse says otherwise.” Rory pressed the needle into his skin. Lucien’s body went tense under her hands. She stitched with practised, angry care, each pull of thread a question she couldn’t ask. Why did you leave? Why did you kiss me like you meant it? Why did you vanish the next day as if I hadn’t tasted you? Lucien didn’t look away. He watched her the whole time, as if he wanted to see what her hands confessed when her mouth stayed shut. “You’re shaking,” he said. Rory tied off the last stitch and reached for the bandage. “I’m not.” Lucien’s fingers closed around her forearm, just below the elbow, steadying. It wasn’t gentle. It wasn’t rough. It felt like ownership dressed up as help. Rory’s breath caught. “Let go.” Lucien didn’t. “You patched me up. Good girl.” Rory’s eyes narrowed. “I’m not your anything.” Lucien’s thumb stroked once, an absent motion that made her skin lift in gooseflesh. “You could have left me outside.” “I should have.” Lucien leaned closer. His voice turned quieter, the French accent thickening as if it slid out when he stopped pretending. “But you didn’t.” Rory swallowed. She could feel the shape of his attention, heavy and intimate as a hand at the back of her neck. “Tell me why you’re here,” she demanded, and hated the tremor that wanted to creep into her voice. “Not your riddles. Not your seduction. The truth.” Lucien’s gaze sharpened. “I brought you something.” He reached for his cane. Rory’s muscles tensed, ready to snatch it, ready to run. Lucien flicked his wrist and a thin blade slid free with a soft, vicious whisper of metal. Ptolemy yowled and leapt off the sofa. Rory surged to her feet, her heart slamming against her ribs. “What the hell are you doing?” Lucien didn’t raise the blade. He used it like a scalpel, slicing open the inner lining of his discarded waistcoat with careful precision. He reached inside and withdrew a small object wrapped in black cloth. Rory’s mouth tightened. “You smuggled contraband into my friend’s flat. Wonderful.” Lucien unwrapped it. A ring sat in his palm, old gold scored with tiny symbols that made Rory’s eyes ache to focus on. It looked wrong in a way her body recognised before her brain did, like a word she had heard in a nightmare. Lucien held it out. “Take it.” Rory didn’t move. “What is that?” Lucien’s smile vanished. “A claim.” Rory stared at the ring. Her stomach rolled. “No.” Lucien’s gaze hardened. “You don’t understand. They used your name in a contract.” Rory’s laugh broke, brittle. “My name isn’t on anything.” Lucien’s voice turned flat. “Malphora.” The word struck the air like a slap. Rory’s skin tightened across her arms. “That’s not my name,” she snapped. Lucien’s black eye seemed to swallow light. “It will be, if they finish the ritual.” Rory’s fingers curled around the edge of the table. “Who are they?” Lucien opened his mouth. A heavy knock slammed into the front door, hard enough to make the deadbolts shudder in their sockets. Rory’s blood chilled. Another удар, slower, deliberate, as if whoever stood outside enjoyed the sound of her defences failing one by one. Lucien’s head turned towards the door. His body went still, predatory, pain forgotten. “Too late,” he said. The lock plate glowed red, then white, metal heating from the outside in. The smell hit Rory a beat later, burning and bitter, like incense fed to a furnace. A voice seeped through the door, not loud, not strained, intimate as a whisper pressed into her ear. “Aurora Carter,” it called. “Open up, love, you’ve got something that belongs to Avaros.” The first deadbolt snapped with a sharp metallic crack, and the door lurched inward against the remaining locks.
created_at"2026-02-19T12:33:24.271Z" 2/19/2026, 12:33:24 PM
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id"gen-1771504404-fkPbDlbjHFVArayfvke5"
upstream_id"resp_0c9d657fbac81f9f0169970314620c81908511ae77564d5329"
total_cost0.06276725
cache_discount(null)
upstream_inference_cost0
provider_name"OpenAI"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags9
adverbTagCount0
adverbTags(empty)
dialogueSentences107
tagDensity0.084
leniency0.168
rawRatio0
effectiveRatio0
97.95% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount2434
totalAiIsmAdverbs1
found
0
adverb"slightly"
count1
highlights
0"slightly"
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)
54.81% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount2434
totalAiIsms22
found
0
word"flicked"
count3
1
word"pulse"
count4
2
word"weight"
count1
3
word"scanned"
count1
4
word"warmth"
count2
5
word"silk"
count1
6
word"charged"
count1
7
word"stomach"
count3
8
word"pulsed"
count1
9
word"could feel"
count1
10
word"whisper"
count2
11
word"chilled"
count1
12
word"lurched"
count1
highlights
0"flicked"
1"pulse"
2"weight"
3"scanned"
4"warmth"
5"silk"
6"charged"
7"stomach"
8"pulsed"
9"could feel"
10"whisper"
11"chilled"
12"lurched"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"eyes widened/narrowed"
count1
highlights
0"eyes narrowed"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences206
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount3
hedgeCount2
narrationSentences206
filterMatches
0"feel"
1"think"
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences304
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen42
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords2432
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions17
unquotedAttributions0
matches(empty)
0.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions136
wordCount1903
uniqueNames8
maxNameDensity3.31
worstName"Rory"
maxWindowNameDensity6.5
worstWindowName"Rory"
discoveredNames
Aurora1
Moreau1
Eva6
Rory63
Ptolemy5
Camden1
French2
Lucien57
persons
0"Aurora"
1"Moreau"
2"Eva"
3"Rory"
4"Ptolemy"
5"Lucien"
places
0"Camden"
globalScore0
windowScore0
14.34% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences129
glossingSentenceCount7
matches
0"not quite a smile, not quite a wince"
1"not quite a wince"
2"felt like it carried a pulse of its own"
3"sounded like punctuation to a sentence she"
4"sounded like worship and threat braided to"
5"sounded like he spoke to an altar"
6"not quite nose to nose, close enough to feel his breath"
7"felt like ownership dressed up as help"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount2432
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences304
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs229
mean10.62
std11.11
cv1.046
sampleLengths
019
149
22
37
44
511
68
721
86
95
1026
117
1238
133
1430
157
1613
175
189
1941
202
212
223
2313
246
2528
269
2736
284
2925
307
314
323
334
3462
355
362
374
384
394
402
4137
4214
432
442
454
463
4711
484
496
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences206
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs381
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences304
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1904
adjectiveStacks1
stackExamples
0"odd, ridiculous ceremonial dagger"
adverbCount62
adverbRatio0.032563025210084036
lyAdverbCount3
lyAdverbRatio0.0015756302521008404
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences304
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences304
mean8
std6.09
cv0.761
sampleLengths
019
136
213
32
47
54
611
78
821
96
105
114
1222
137
149
1526
163
173
183
1914
2013
217
2213
235
249
254
2621
2716
282
292
303
3113
326
3324
344
359
3618
373
383
3912
404
4112
4213
437
444
453
464
472
4842
4918
44.74% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats16
diversityRatio0.16776315789473684
totalSentences304
uniqueOpeners51
17.54% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences190
matches
0"Then the memory snapped shut,"
ratio0.005
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount50
totalSentences190
matches
0"She angled her shoulder into"
1"It landed on her left"
2"His pupils tightened."
3"He leaned in."
4"He smelled of expensive cologne"
5"She heard the hallway beyond"
6"He didn’t limp."
7"He didn’t hurry."
8"He simply occupied the flat,"
9"He swayed for the first"
10"She had spent enough of"
11"He pressed a gloved hand"
12"She looked at the stain"
13"He lowered himself with control"
14"His breathing stayed even, but"
15"She grabbed it and a"
16"His hands paused."
17"His gaze lifted again, and"
18"She refused to let him"
19"Her knee brushed his polished"
ratio0.263
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount185
totalSentences190
matches
0"The last deadbolt slid free"
1"Lucien Moreau filled the doorway"
2"A dark stain spread beneath"
3"Rory kept her hand on"
4"Lucien’s mouth twitched, not quite"
5"Ptolemy, Eva’s tabby, slipped between"
6"Lucien glanced down at the"
7"Rory didn’t step aside."
8"She angled her shoulder into"
9"Lucien’s gaze flicked over her"
10"It landed on her left"
11"His pupils tightened."
12"He leaned in."
13"He smelled of expensive cologne"
14"Rory tightened her grip on"
15"Lucien’s breath brushed the gap."
16"Rory’s throat went dry."
17"She heard the hallway beyond"
18"Lucien shifted his weight and"
19"Lucien’s gaze lowered to her"
ratio0.974
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences190
matches(empty)
ratio0
30.98% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences83
technicalSentenceCount13
matches
0"Lucien Moreau filled the doorway like an insult in a tailored charcoal suit, hair slicked back, one eye amber and the other black, his ivory-handled cane plante…"
1"Ptolemy, Eva’s tabby, slipped between Rory’s ankles and let out a low, offended sound that belonged on a much larger animal."
2"She heard the hallway beyond him, a building that always seemed to hold its breath, neighbours who pretended they heard nothing."
3"Lucien moved the moment she yielded, sliding inside as if he had memorised the width of her reluctance."
4"A flash of his mouth at her throat, teeth grazing skin, his voice in French murmuring something that had sounded like worship and threat braided together."
5"He lowered himself with control that made the act feel obscene, the way he spread his legs slightly, cane resting across his knees like an extension of his spin…"
6"Lucien stood with a fluid motion that made Rory’s stomach clench."
7"He watched her reaction and didn’t hide the satisfaction that crossed his face."
8"His touch made the old mark flare with heat as if it remembered him too."
9"Lucien watched her with a look that made her skin prickle."
10"Lucien’s thumb stroked once, an absent motion that made her skin lift in gooseflesh."
11"His voice turned quieter, the French accent thickening as if it slid out when he stopped pretending."
12"Another удар, slower, deliberate, as if whoever stood outside enjoyed the sound of her defences failing one by one."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags9
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags8
fancyCount3
fancyTags
0"he murmured (murmur)"
1"she demanded (demand)"
2"she snapped (snap)"
dialogueSentences107
tagDensity0.075
leniency0.15
rawRatio0.375
effectiveRatio0.056
78.4785%