Run: 2026-02-19-01KHTYRNW7WV7X7NJ4Y9WYC3R2

Run Details

Duration:
2m 6s
Cost:
$0.002360
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 shattered before the first word left his mouth. Crystal shards skittered across the worn mahogany bar, ice cubes melting into a puddle of expensive Scotch. A stunned silence fell over The Raven’s Nest, broken only by the low hum of the green neon sign outside. Silas didn’t flinch. He merely lifted a thick, grey-streaked eyebrow from behind the bar, his gaze shifting from the mess to the man who’d made it. “That’ll be forty-two quid off your tab, Evan. And my floor could use a mopping.” Rory’s hand, which had been reaching for her own half-finished pint, froze mid-air. The voice was a ghost, a relic from a life she’d bricked over and left to rot in Cardiff. She didn’t need to turn. The air in the room changed, growing thick and heavy, tasting of copper and regret. “Christ, Si. I’m… I’m sorry.” The voice was softer now, frayed at the edges, lacking the sharp, entitled bark she remembered. It was the apology that made her look. The Evan she knew never apologised. He assigned blame. He was hunched on a stool, his broad shoulders slumped forward. The expensive cut of his jacket couldn’t hide how it hung on him, as if he’d shrunk inside his own skin. His knuckles were white where he gripped the edge of the bar. He looked… diminished. Silas tossed a bar towel onto the spill. “See to it.” His hazel eyes flickered to Rory, a silent question. *You alright?* She gave a minute, almost imperceptible nod. She was. She had to be. Evan followed Silas’s glance. His eyes, once a bright, arrogant blue, now looked washed out and tired. They landed on her, scanned her face with a blank lack of recognition, then snapped back. A slow, dawning horror widened them. The colour drained from his face. “Laila?” The old name was a slap. No one called her that anymore. It belonged to a different girl, a girl who believed in grand gestures and empty promises. “Rory,” she corrected, her voice steady, a flat calm she’d practised in the mirror for a year. “It’s Rory now.” He stared, his mouth slightly agape. He looked her up and down, taking in the practical leather jacket, the worn jeans, the straight black hair she now kept ruthlessly out of her face. The girl he’d known favoured floral prints and spent hours curling her hair. That girl was gone. “I… God. I didn’t… What are you doing in London?” “Breathing the air. Mostly.” She took a deliberate sip of her beer. “You?” “Work. Conference.” He gestured vaguely towards the door, towards the world outside Silas’s domain. “Staying round the corner.” Silas had busied himself at the other end of the bar, polishing a glass with a intensity that suggested he could hear every word. The bar was his church, and this was a profane interruption. Evan’s eyes dropped to her left hand, resting on the bar. They fixed on the small, pale crescent moon on her wrist. A childhood scar from a fall out of an apple tree. He used to trace it with his thumb, call it her lucky mark. His gaze lingered there, and for a moment, the ghost of the man she knew flickered behind his eyes. Then it was gone, replaced by a hollowed-out shame. “You look…” he started, then faltered, clearly thinking better of whatever trite compliment he’d been about to offer. “Different.” “So do you.” It was an understatement. The boy who’d been all swagger and future was a man weighed down by his past. Lines etched the corners of his eyes that hadn’t been there three years ago. He held himself with a new caution, as if the world had hurt him and he was still surprised by the pain. “I heard you left Cardiff,” he said, the words careful, probing. “I did.” “Pre-Law. You were top of your class. Your dad…” “My dad got over it.” She cut him off. Brendan Carter’s disappointment was a private matter, not a topic for this fractured reunion. He nodded, swallowing hard. He couldn’t meet her eyes anymore, choosing instead to study the label on his new bottle of beer as if it held the secrets of the universe. “I looked for you. For a while.” The admission hung between them, raw and uncomfortable. “You shouldn’t have.” “I know.” He finally looked up, his gaze pleading for something she couldn’t, wouldn’t, give. “I just… I needed to know you were okay.” “I’m okay, Evan.” The words were flat, final. A door closing. He flinched as if she’d struck him. The silence stretched, filled with the thousand things unsaid. The accusations, the apologies, the shattered phone, the locked bathroom door, the sound of her own heartbeat thudding in her ears as she packed a single bag in the dead of night. The weight of it all pressed down on the space between them. He cleared his throat, a rough, nervous sound. “I’m… seeing someone. A therapist.” Rory said nothing. She took another drink. “It’s… it’s good. Helps. She says… she says the anger is a secondary emotion. A mask.” He was talking to his bottle again, the words tumbling out in a confessional rush. “It covers the shame. The fear. I’m… I’m learning to sit with that instead.” She watched him, this stranger unspooling his recovery at a bar in Soho. This was the significant change. Not the new lines on his face, but this desperate, clumsy vulnerability. The old Evan would have rather chewed glass than admit to fear. “Good for you,” she said, and meant it. She hoped he got better. She truly did. For the next girl. For himself. It just had nothing to do with her anymore. He seemed to realise it too, that his catharsis was falling on barren ground. His shoulders slumped further. “You hate me.” Rory considered the word. Hate was a fire. It required fuel, attention. It meant he still occupied a active, emotional space in her life. “I don’t,” she said, and it was the truest thing she’d said all night. “I just don’t think about you.” The finality of it landed like a guillotine. His face crumpled for a fraction of a second before he mastered it, rebuilding the mask of the chastened man. He nodded, accepting the sentence. The pub door swung open, letting in a burst of cool night air and the distant wail of a siren. A group of laughing academics spilled in, heading for a booth in the back, their conversation a wave of noise that broke the terrible stillness between them. Evan seized the interruption. He fumbled in his wallet, pulled out a fifty, and slid it across the bar towards Silas. “For the glass. The… everything.” Silas gave a single, slow nod, pocketing the note without a word. Evan stood up, the movement awkward, uncoordinated. He looked at Rory one last time, a look of profound, bewildered loss. He opened his mouth to speak, but no sound came out. He just gave another jerky nod and turned, walking out of The Raven’s Nest without a backward glance. The door sighed shut behind him. The low murmur of the pub returned. Silas came over and picked up her empty glass. “Another?” Rory shook her head, the motion feeling stiff. “I’m good, Si. Thanks.” She stood, pulling her jacket tight. She could still feel the ghost of his stare, the weight of his unspoken regret clinging to her like a chill. She needed air that didn’t taste of his failure. She pushed through the door, the neon green light washing over her, and stepped out into the damp London night. The pavement was slick from an earlier rain, reflecting the streetlights in long, distorted streaks. She took a deep breath, filling her lungs with the city’s familiar grime. A movement caught her eye from across the street. A shadow detaching itself from a doorway. It was Evan. He wasn’t leaving. He was just standing there, watching the entrance to the bar, watching her. And in his hand, glinting under the orange glow of a streetlamp, was not his phone or his keys, but a small, familiar flick-knife she’d last seen three years ago, pressed against her throat.
created_at"2026-02-19T12:42:29.136Z" 2/19/2026, 12:42:29 PM
model"deepseek/deepseek-chat-v3.1"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency6490
moderation_latency(null)
generation_time125997
tokens_prompt4634
tokens_completion2108
native_tokens_prompt4209
native_tokens_completion1869
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"
usage0.00236
router(null)
provider_responses
0
endpoint_id"012f7d1f-23d4-4d03-9aa3-432d8ad82757"
id"cmpl-77ac019fa02d44499f56d29c193a773b"
is_byokfalse
latency107
model_permaslug"deepseek/deepseek-chat-v3.1"
provider_name"DeepInfra"
status200
api_type"completions"
id"gen-1771504949-QHyDp9IAYWSzuJksPgUi"
upstream_id"cmpl-77ac019fa02d44499f56d29c193a773b"
total_cost0.00236
cache_discount3.99e-7
upstream_inference_cost0
provider_name"DeepInfra"

Evaluation details

Result Evaluator Details Meta Data
78.79% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags12
adverbTagCount2
adverbTags
0"He gestured vaguely [vaguely]"
1"he started then [then]"
dialogueSentences33
tagDensity0.364
leniency0.727
rawRatio0.167
effectiveRatio0.121
92.78% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1385
totalAiIsmAdverbs2
found
0
adverb"slightly"
count1
1
adverb"truly"
count1
highlights
0"slightly"
1"truly"
100.00% AI-ism character names
Target: 0 AI-default names (16 tracked, −20% each)
codexExemptions
0"Blackwood"
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
27.80% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1385
totalAiIsms20
found
0
word"shattered"
count2
1
word"crystal"
count1
2
word"silence"
count2
3
word"eyebrow"
count1
4
word"flickered"
count2
5
word"scanned"
count1
6
word"intensity"
count1
7
word"etched"
count1
8
word"fractured"
count1
9
word"weight"
count2
10
word"profound"
count1
11
word"unspoken"
count1
12
word"chill"
count1
13
word"familiar"
count2
14
word"glinting"
count1
highlights
0"shattered"
1"crystal"
2"silence"
3"eyebrow"
4"flickered"
5"scanned"
6"intensity"
7"etched"
8"fractured"
9"weight"
10"profound"
11"unspoken"
12"chill"
13"familiar"
14"glinting"
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
narrationSentences113
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount1
hedgeCount1
narrationSentences113
filterMatches
0"look"
hedgeMatches
0"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences133
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen35
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans1
markdownWords2
totalWords1379
ratio0.001
matches
0"You alright?"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions8
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions31
wordCount1220
uniqueNames11
maxNameDensity0.66
worstName"Silas"
maxWindowNameDensity2
worstWindowName"Silas"
discoveredNames
Scotch1
Raven2
Nest2
Cardiff1
Evan7
Rory6
Silas8
Brendan1
Carter1
Soho1
London1
persons
0"Raven"
1"Nest"
2"Evan"
3"Rory"
4"Silas"
5"Brendan"
6"Carter"
places
0"Cardiff"
1"Soho"
2"London"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences83
glossingSentenceCount0
matches(empty)
54.97% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.45
wordCount1379
matches
0"Not the new lines on his face, but this desperate, clumsy vulnerability"
1"not his phone or his keys, but a small, familiar flick-knife she’d last seen three years ag"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences133
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs49
mean28.14
std18.02
cv0.64
sampleLengths
047
141
252
338
447
535
645
71
828
920
1050
1110
1213
1318
1435
1574
1619
173
1856
1911
202
219
2223
2338
248
253
2624
2711
2860
2913
307
3145
3242
3331
3421
3524
3620
3733
3847
3926
4012
4149
4222
431
4412
4536
4648
4716
4853
95.95% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences113
matches
0"was hunched"
1"was gone"
2"was gone"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount3
totalVerbs205
matches
0"was talking"
1"was falling"
2"wasn’t leaving"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences133
ratio0
matches(empty)
88.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1225
adjectiveStacks2
stackExamples
0"thick, grey-streaked eyebrow"
1"own half-finished pint,"
adverbCount36
adverbRatio0.029387755102040815
lyAdverbCount8
lyAdverbRatio0.006530612244897959
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences133
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences133
mean10.37
std7.02
cv0.677
sampleLengths
010
117
220
33
423
515
613
719
85
915
1021
118
126
133
1411
1521
1612
172
181
198
2012
219
222
234
244
2513
2616
276
286
291
306
316
3216
3317
343
356
3627
3713
384
3910
4012
411
4214
434
4424
4511
4611
4711
4811
4913
33.46% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats22
diversityRatio0.2706766917293233
totalSentences133
uniqueOpeners36
30.58% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences109
matches
0"Then it was gone, replaced"
ratio0.009
14.50% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount56
totalSentences109
matches
0"He merely lifted a thick,"
1"She didn’t need to turn."
2"It was the apology that"
3"He assigned blame."
4"He was hunched on a"
5"His knuckles were white where"
6"His hazel eyes flickered to"
7"*You alright?* She gave a"
8"She had to be."
9"His eyes, once a bright,"
10"They landed on her, scanned"
11"It belonged to a different"
12"she corrected, her voice steady,"
13"He stared, his mouth slightly"
14"He looked her up and"
15"She took a deliberate sip"
16"He gestured vaguely towards the"
17"They fixed on the small,"
18"He used to trace it"
19"His gaze lingered there, and"
ratio0.514
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount104
totalSentences109
matches
0"The glass shattered before the"
1"Crystal shards skittered across the"
2"A stunned silence fell over"
3"Silas didn’t flinch."
4"He merely lifted a thick,"
5"Rory’s hand, which had been"
6"The voice was a ghost,"
7"She didn’t need to turn."
8"The air in the room"
9"The voice was softer now,"
10"It was the apology that"
11"The Evan she knew never"
12"He assigned blame."
13"He was hunched on a"
14"The expensive cut of his"
15"His knuckles were white where"
16"Silas tossed a bar towel"
17"His hazel eyes flickered to"
18"*You alright?* She gave a"
19"She had to be."
ratio0.954
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences109
matches(empty)
ratio0
55.39% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences49
technicalSentenceCount6
matches
0"He merely lifted a thick, grey-streaked eyebrow from behind the bar, his gaze shifting from the mess to the man who’d made it."
1"Rory’s hand, which had been reaching for her own half-finished pint, froze mid-air."
2"The expensive cut of his jacket couldn’t hide how it hung on him, as if he’d shrunk inside his own skin."
3"It belonged to a different girl, a girl who believed in grand gestures and empty promises."
4"Lines etched the corners of his eyes that hadn’t been there three years ago."
5"A group of laughing academics spilled in, heading for a booth in the back, their conversation a wave of noise that broke the terrible stillness between them."
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags12
uselessAdditionCount0
matches(empty)
89.39% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags5
fancyCount2
fancyTags
0"she corrected (correct)"
1"his gaze pleading (plead)"
dialogueSentences33
tagDensity0.152
leniency0.303
rawRatio0.4
effectiveRatio0.121
78.7201%