Run: 2026-02-19-01KHTYE9EHQRCD444RZPKJ39M2

Run Details

Duration:
2m 6s
Cost:
$0.002598
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
The glass slipped from her fingers, shattering on the worn oak floor. The sharp crack cut through the low hum of conversation, silencing the small cluster of regulars at the far end of the bar. Rory stared, her hand still outstretched, the ghost of the tumbler’s weight lingering in her palm. Across the room, leaning against the jukebox as if he owned the very air around it, was Evan. Not the Evan she’d fled. This man wore the ghost of that boy’s face like an ill-fitting mask. His shoulders, once narrow and perpetually hunched over a textbook, now strained the seams of a tailored charcoal suit. The nervous energy that used to vibrate off him had been distilled into a cold, unnerving stillness. He was watching her, a faint, knowing smile playing on his lips, as if her shock was the most predictable thing in the world. Silas moved first, materialising from the shadows behind the bar with a dustpan and brush. He didn’t look at her, his focus on the broken glass. “Easy there, Rory. Slippery things.” His voice was a low, calming rumble, a stark contrast to the sudden frantic thumping of her heart. “My fault,” she managed, the words tight in her throat. She forced her gaze away, down to Silas’s hands as he swept. The silver signet ring on his right hand caught the dim green glow from the neon sign outside. *The Raven’s Nest*. Her sanctuary. Now breached. “Rory.” The voice was deeper, smoother. It had lost its Cardiff lilt, sanded down into something polished and metropolitan. She had to look up. He was closer, having crossed the room without a sound. He smelled of expensive sandalwood and something metallic, like cold coins. “Evan.” Her own voice sounded thin, reedy. “It’s been a while.” He gestured to the stool next to hers. “May I?” What could she say? No? This was a public place. Silas’s place. She gave a curt, stiff nod. He sat, the movement fluid and controlled. He placed a heavy, silver cigarette case on the bar. A new habit. Or an old one she’d never seen. He didn’t open it. “I thought you were in London,” he said, his eyes scanning the bar, taking in the maps on the walls, the black-and-white photos of a city long gone. “Cardiff seemed too small for you. Always did. But this…” He turned those eyes back on her. They were the same shade of brown, but the warmth was gone, replaced by a flat, assessing quality. “This is a surprise. I heard you were delivering noodles.” The casual cruelty was a vintage Evan move, but the delivery was new. Clinical. A statement of fact, not a jab. “Pays the rent,” she said, her fingers finding the small crescent-shaped scar on her left wrist, a nervous habit she thought she’d broken. “I’m sure it does.” He signalled to Silas, who approached with a neutral expression. “Macallan 18. Neat. And whatever the lady is having.” He glanced at the sticky ring on the bar where her gin and tonic had been. “Another of the same?” “I’m fine, thanks.” “Nonsense. My treat. For old times.” He didn’t look at Silas, but his meaning was clear. Silas’s hazel eyes flicked to hers, a silent question. She gave a tiny, almost imperceptible shake of her head. He moved away. “You look well,” Evan said, turning fully on the stool to face her. His gaze was a physical weight, travelling from her straight black hair, over her delivery-service hoodie, down to her scuffed trainers. “Different.” “So do you.” “The city changes you. If you let it.” He accepted the glass of amber liquid from Silas without acknowledgement. “I did. You… seem to be resisting.” “I’m just living my life, Evan.” “Are you?” He took a slow sip of the whisky, his eyes never leaving hers. “Living it here, above a pub, running meals for Yu-Fei Cheung. I remember you arguing constitutional law with professors. I remember the fire. This seems… quiet.” The old shame, the one she’d packed away in a cardboard box along with her law textbooks, flared hot and bright. He knew how to find the cracks. He always had. “It’s peaceful,” she said, her voice harder now. “Peaceful.” He tasted the word, found it lacking. “Is that what we’re calling it?” He leaned in slightly, the sandalwood scent intensifying. “I heard about your father. I’m sorry.” The shift was so sudden it left her reeling. Brendan Carter’s heart attack was a fresh wound, a private grief. “How did you…” “People talk. The old crowd. You’ve rather fallen off the grid, but they still ask about you.” He swirled the whisky in his glass. “He was a good man. A brilliant barrister. He had such hopes for you.” The unspoken accusation hung in the air between them: *Look what you did with them.* “What do you want, Evan?” The question came out weary. She was tired of this dance, this performance of a reunion. “I was in the neighbourhood. A client meeting. Saw the sign.” He gestured vaguely toward the door. “The distinctive green neon. Thought I’d pop in for a drink. And then I saw you.” His smile returned, not quite reaching his eyes. “Fate, maybe.” “There’s no such thing.” “No? What would you call it, then? Dumb luck?” He set his glass down with a soft, definitive click. “I have a proposition for you.” Here it was. The reason for the suit, the confidence, the casual invasion of her peace. “I’m not interested.” “You haven’t heard it.” He wasn’t asking. “The firm I work for… we have a problem. A discreet problem. It requires a certain kind of mind. A person who sees around corners. Someone who doesn’t… register on the usual grids.” His eyes did another slow, deliberate sweep of her, the hoodie, the tired eyes. “You’d be perfect.” “You’re offering me a job.” “I’m offering you a way out of this.” He finally gestured to the bar, to her life. “It pays significantly more than carting sweet and sour pork around Soho. You’d be using that brain of yours again.” The arrogance was breathtaking. The assumption that her life was something to be escaped, that his path was the only one of value. The old Evan had been possessive, needy. This one was proprietary, as if he’d simply been waiting to reclaim what he considered his. “I have a job.” “This isn’t a job, Rory. It’s an opportunity. The kind of opportunity people like us kill for.” “People like us?” He leaned in closer, his voice dropping to a near whisper. “The ones who are smarter than our circumstances. The ones who had to run.” The air went out of her. He’d never acknowledged it before, not really. The reason she’d left. The late-night arguments, the broken phone, the way he’d stand blocking the doorway. It was always her fault, her sensitivity, her inability to handle his ‘passion’. Now he was framing it as a shared experience, a bonding trauma. “I ran from you, Evan.” “Semantics.” He waved a dismissive hand. “You ran. I evolved. Now we’re here. And I’m throwing you a ladder. All you have to do is take it.” He reached into his inside jacket pocket. She flinched, a tiny, involuntary spasm she hoped he didn’t see. He noticed. Of course he did. His smile tightened. He pulled out a single, thick, cream business card and placed it on the bar between them. There was no name, just a phone number embossed in stark black numerals. “Think about it.” “I won’t.” “You will.” He stood up, straightening his suit jacket. He left the whisky, half-finished. He’d gotten what he came for. “It was good to see you, Rory. Really. You look… resilient.” He turned and walked out, the door swinging shut behind him with a soft sigh. The green neon light from the sign outside bled across the empty space where he’d been. Rory stared at the card. It sat there like a challenge. Like a verdict. Silas reappeared, wiping a glass with a clean white cloth. He looked from her face to the card and back again. “Trouble from the past has a way of finding you,” he said, his voice low. “Especially when it’s wearing a new suit.” She reached for the card, her fingers hovering just above it. The embossed numbers felt like raised scars. The door to the pub burst open again, but it wasn’t Evan. It was a young courier, breathless, holding a large, flat cardboard box from the Golden Empress. He scanned the near-empty bar, his eyes landing on her. “Rory? Thank god. Mr. Cheung said you’d be here. This needs to go to the address on the box. Now. He said it’s for the… for the Spymaster.” The boy’s eyes darted toward Silas, wide with a mixture of fear and awe. “He said not to be late.” Silas stopped polishing the glass. His entire posture shifted, the relaxed bar owner vanishing, replaced by the retired field agent. His gaze locked onto the box. Rory’s fingers closed around the business card, crumpling it in her fist. She looked from the anxious courier to Silas’s suddenly grim face, the forgotten proposition in her hand, the delivery that was clearly anything but Chinese food. The past wasn’t just knocking. It was kicking the door down.
created_at"2026-02-19T12:36:48.728Z" 2/19/2026, 12:36:48 PM
model"deepseek/deepseek-chat-v3.1"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency1902
moderation_latency(null)
generation_time126386
tokens_prompt4634
tokens_completion2437
native_tokens_prompt4209
native_tokens_completion2170
native_tokens_completion_images(null)
native_tokens_reasoning0
native_tokens_cached5
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"
usage0.00259779
router(null)
provider_responses
0
endpoint_id"012f7d1f-23d4-4d03-9aa3-432d8ad82757"
id"cmpl-e91e0b87109c4b9989f95779a46b1ea2"
is_byokfalse
latency98
model_permaslug"deepseek/deepseek-chat-v3.1"
provider_name"DeepInfra"
status200
api_type"completions"
id"gen-1771504608-CPZlk35C84gN0P0uPPNN"
upstream_id"cmpl-e91e0b87109c4b9989f95779a46b1ea2"
total_cost0.00259779
cache_discount3.99e-7
upstream_inference_cost0
provider_name"DeepInfra"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags25
adverbTagCount1
adverbTags
0"He gestured vaguely [vaguely]"
dialogueSentences59
tagDensity0.424
leniency0.847
rawRatio0.04
effectiveRatio0.034
84.14% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1576
totalAiIsmAdverbs5
found
0
adverb"very"
count1
1
adverb"slightly"
count1
2
adverb"really"
count2
3
adverb"suddenly"
count1
highlights
0"very"
1"slightly"
2"really"
3"suddenly"
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)
52.41% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1576
totalAiIsms15
found
0
word"weight"
count2
1
word"predictable"
count1
2
word"stark"
count2
3
word"sanctuary"
count1
4
word"lilt"
count1
5
word"scanning"
count1
6
word"warmth"
count1
7
word"flicked"
count1
8
word"unspoken"
count1
9
word"dance"
count1
10
word"perfect"
count1
11
word"whisper"
count1
12
word"scanned"
count1
highlights
0"weight"
1"predictable"
2"stark"
3"sanctuary"
4"lilt"
5"scanning"
6"warmth"
7"flicked"
8"unspoken"
9"dance"
10"perfect"
11"whisper"
12"scanned"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"hung in the air"
count1
highlights
0"hung in the air"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences115
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount0
narrationSentences115
filterMatches
0"Look"
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences146
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen48
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans2
markdownWords9
totalWords1567
ratio0.006
matches
0"The Raven’s Nest"
1"Look what you did with them."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions13
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions26
wordCount1127
uniqueNames9
maxNameDensity0.98
worstName"Silas"
maxWindowNameDensity2
worstWindowName"Silas"
discoveredNames
Evan6
Silas11
Raven1
Cardiff1
Carter1
Golden1
Empress1
Chinese1
Rory3
persons
0"Evan"
1"Raven"
2"Carter"
3"Rory"
places
0"Silas"
1"Cardiff"
2"Golden"
globalScore1
windowScore1
91.18% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences85
glossingSentenceCount2
matches
0"not quite reaching his eyes"
1"felt like raised scars"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1567
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences146
matches
0"escaped, that his"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs59
mean26.56
std18.43
cv0.694
sampleLengths
051
118
278
349
447
51
644
77
814
918
1031
1173
1221
1323
1443
153
1638
1735
183
1926
206
2141
2231
238
2429
2523
2638
2715
2821
2943
304
3125
3216
333
3457
355
3637
3746
384
3917
403
4125
4255
435
4427
4557
463
472
4831
4931
99.16% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences115
matches
0"been distilled"
1"was gone"
51.85% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount4
totalVerbs180
matches
0"was watching"
1"wasn’t asking"
2"was framing"
3"was kicking"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences146
ratio0
matches(empty)
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount900
adjectiveStacks1
stackExamples
0"small crescent-shaped scar"
adverbCount23
adverbRatio0.025555555555555557
lyAdverbCount9
lyAdverbRatio0.01
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences146
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences146
mean10.73
std7.64
cv0.712
sampleLengths
012
123
216
318
45
513
619
717
824
915
1011
1123
1210
1312
1418
153
162
172
181
195
2013
215
2210
2311
247
2512
262
274
281
295
302
316
327
3310
343
357
364
3728
3817
3918
4010
4113
421
437
4423
4514
4625
474
483
4916
44.06% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats14
diversityRatio0.3219178082191781
totalSentences146
uniqueOpeners47
30.58% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences109
matches
0"Of course he did."
ratio0.009
0.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount63
totalSentences109
matches
0"His shoulders, once narrow and"
1"He was watching her, a"
2"He didn’t look at her,"
3"His voice was a low,"
4"she managed, the words tight"
5"She forced her gaze away,"
6"It had lost its Cardiff"
7"She had to look up."
8"He was closer, having crossed"
9"He smelled of expensive sandalwood"
10"Her own voice sounded thin,"
11"He gestured to the stool"
12"She gave a curt, stiff"
13"He sat, the movement fluid"
14"He placed a heavy, silver"
15"He didn’t open it."
16"he said, his eyes scanning"
17"He turned those eyes back"
18"They were the same shade"
19"she said, her fingers finding"
ratio0.578
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount101
totalSentences109
matches
0"The glass slipped from her"
1"The sharp crack cut through"
2"Rory stared, her hand still"
3"This man wore the ghost"
4"His shoulders, once narrow and"
5"The nervous energy that used"
6"He was watching her, a"
7"Silas moved first, materialising from"
8"He didn’t look at her,"
9"His voice was a low,"
10"she managed, the words tight"
11"She forced her gaze away,"
12"The silver signet ring on"
13"*The Raven’s Nest*."
14"The voice was deeper, smoother."
15"It had lost its Cardiff"
16"She had to look up."
17"He was closer, having crossed"
18"He smelled of expensive sandalwood"
19"Her own voice sounded thin,"
ratio0.927
45.87% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences109
matches
0"Now he was framing it"
ratio0.009
77.92% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences44
technicalSentenceCount4
matches
0"The nervous energy that used to vibrate off him had been distilled into a cold, unnerving stillness."
1"He was watching her, a faint, knowing smile playing on his lips, as if her shock was the most predictable thing in the world."
2"This one was proprietary, as if he’d simply been waiting to reclaim what he considered his."
3"She looked from the anxious courier to Silas’s suddenly grim face, the forgotten proposition in her hand, the delivery that was clearly anything but Chinese foo…"
25.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags25
uselessAdditionCount5
matches
0"He didn’t, but his meaning was clear"
1"she said, her voice harder now"
2"He leaned, the sandalwood scent intensifying"
3"His smile returned, not quite reaching his eyes"
4"he said, his voice low"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags5
fancyCount0
fancyTags(empty)
dialogueSentences59
tagDensity0.085
leniency0.169
rawRatio0
effectiveRatio0
79.8725%