Run: 2026-02-20-01KHY7NWYGS0K7QJQGTDPB3RHA

Run Details

Duration:
25.5s
Cost:
$0.002107
Provider:
xAI

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
Rory slammed the delivery bag onto the scarred oak counter, the zipper's rasp cutting through the low hum of conversation. Spilled sauce from the last order—sweet and sour chicken, no doubt—stained the leather like a fresh bruise. She wiped her hands on her jeans, ignoring the sticky residue, and scanned the bar for Silas. The Raven's Nest pulsed with its usual Friday crowd: suits loosening ties, laughter sharp as broken glass. He wasn't behind the bar. That was odd. Usually, his grey-streaked head bobbed like a lighthouse amid the chaos, pouring pints with that deliberate twist of his wrist. Rory signalled to the temp bartender—a kid with tattoos snaking up his neck—and ordered a gin and tonic. The ice cracked as it hit the glass, a sound that always made her flinch. She carried her drink to a corner booth, the one tucked under the faded map of Istanbul on the wall. Maps everywhere in this place, like Silas couldn't let go of borders he'd crossed and burned. Rory sank into the vinyl seat, the springs groaning under her weight. Her shift had dragged; Yu-Fei's kitchen had been a furnace, woks hissing steam that clung to her skin like regret. She sipped the gin, the juniper bite chasing away the day's grease. Footsteps approached, uneven. A slight hitch on the left. Rory looked up. Silas. But not the Silas she remembered from those grainy photos her father had shown her, the ones from his "consulting" days. This man stood taller somehow, shoulders squared against the years, but his hazel eyes held a shadow she'd never seen. He leaned on the edge of the table, silver signet ring glinting under the low lamp. His beard, neatly trimmed, framed a smile that didn't reach those eyes. "Rory Carter," he said, voice low, like gravel under boots. "Fancy finding you haunting my doorstep." She froze, glass halfway to her lips. Last time they'd spoken—really spoken—had been what, five years? Her father’s funeral, Brendan Carter laid out in that Cardiff chapel, rain lashing the windows. Silas had shown up unannounced, clapped her on the shoulder with that ring pressing cold into her skin. "Your old man was a good bloke," he'd muttered, then vanished into the crowd. No calls after. No visits. Just this flat above his bar, offered through Eva like some distant favour. "Silas." She set the glass down, harder than intended. Ice shifted, clinking. "Didn't think you'd remember the name." He slid into the booth opposite, wincing as his left knee protested. The limp. She'd heard rumours—Prague, a knee shattered in some shadow op. MI6 whispers her father had let slip over late-night whiskies. Silas waved off the temp bartender's approach, then fixed her with that steady gaze. "Brendan’s daughter? Hard to forget. You were all knees and elbows back then, trailing him to those boring legal dos." Rory's fingers traced the crescent scar on her wrist, hidden under her sleeve. Childhood accident, climbing that oak in the garden while Dad argued cases on the phone. Silas had been there once, early days, before he went full ghost. "That was ages ago. You've... upgraded." She nodded at the bar, the green neon sign flickering outside like a faulty heartbeat. "Own the place now?" "Retired life." He signalled for two more drinks, his own a neat whisky. The bartender nodded, vanishing into the throng. "Keeps the hands busy. You? Eva mentioned you were crashing upstairs. Delivery gig?" She shrugged, but the motion felt tight, like wires pulling. Eva had played bridge-builder, phoning Silas on Rory's behalf after Evan’s fists turned her flat into a war zone. "Pays the rent. Beats law school." The words tasted bitter, like the dregs in her glass. Pre-Law at Cardiff, Dad's dream. She'd bolted after the last beating, Evan's ringed hand mirroring Silas's but without the silver polish. Silas's whisky arrived, amber liquid swirling as he lifted it. "Your father always said you'd make a barrister yet. Sharp as a tack, he reckoned." The mention hit like a slap. Rory's jaw clenched. Brendan, with his pipe smoke and endless briefs, pushing her towards courtrooms while Silas lurked in the background—friend of the family, shadowy ally from Ireland days. They'd bonded over her once, she remembered: Silas teaching her card tricks in the garden, his fingers deft, while Dad watched with approval. "He said a lot of things." She picked at the label on her glass, peeling it in strips. "Like how you two went way back. MI6 bollocks." A chuckle rumbled from him, dry as autumn leaves. "Bollocks, indeed. Brendan exaggerated." But his eyes flicked to the map on the wall, tracing old routes. Rory caught the tell— the slight tightening of his grip on the glass. Lies layered like varnish. The bar noise swelled: a group at the dartboard erupted in cheers, arrows thunking into cork. Rory leaned forward, elbows on the table. "Eva said you pulled strings for this flat. Why?" Silas swirled his whisky, ice whispering against crystal. "Owed your dad. Old debts." He paused, studying her. "You've changed, Rory. Harder edges." She met his stare, bright blue against hazel. "Life does that. You should know." The limp again, unspoken. Prague. Whispers of a partner left bleeding out, operation in flames. Dad had never confirmed, but the regret in Silas's letters after—brief, typed—had screamed it. He nodded, slow. "Fair point." The conversation lulled, bar hum filling the gap. A jazz record scratched to life on the old turntable behind the counter, trumpet wailing low and mournful. Rory's mind wandered to the flat upstairs: bare walls, her single bed pushed against the window overlooking Soho's bustle. Safe, but empty. Evan’s ghost still lingered in nightmares, his apologies turning to slaps. "You ever think about going back?" Silas asked, voice cutting the melody. "Cardiff. The family patch." Rory's laugh came sharp, unintended. "Back to what? Mum's lectures? Evan's parole hearing next month?" She hadn't meant to say that. The gin loosened tongues. Silas's brow furrowed, just a fraction. "Evan. The ex?" "Fiancé, once." She drained her glass, the lime's tang sour on her tongue. "Broke three ribs before I scarpered. Eva dragged me here." Dragged. Like luggage, heavy and unwanted. He set his whisky down, ring tapping wood. "Brendan would've sorted him. One call." "Yeah, well, Brendan's gone." The words hung, accusatory. Dad's heart attack, sudden as a blackout. No goodbyes, just Rory sorting his study, finding Silas's old letters tucked in a drawer. Coded, half-redacted. "You could've called. After the funeral." Silas shifted, knee creaking. "I did. Left messages." "With Eva. Not me." She folded her arms, leather jacket creaking. The scar itched under fabric, memory of falls and foolish climbs. He rubbed his beard, gaze distant. "Thought you needed space. After... everything." "Everything." Rory echoed, tasting the evasion. Prague's shadow loomed between them, unspoken. Dad had hinted once, drunk on stout: Silas lost a man, came back hollow. "You disappeared too, you know. After that op. Dad said you were a ghost." The trumpet solo peaked, then faded. Silas's face hardened, lines etching deeper. "Ghosts haunt, Rory. They don't vanish clean." A new round arrived unbidden, the temp sliding glasses across without a word. Rory ignored hers, heat rising in her chest. "Is that why the bar? Hiding in plain sight?" He leaned back, surveying the room: patrons nursing drinks, shadows pooling under photographs—black-and-white shots of Prague spires, Istanbul alleys. "Something like that." His voice dropped. "Your dad pulled me out once. Belfast, '98. Owed him my neck." Rory's pulse quickened. Dad, the barrister, tangled in spook games? "He never said." "Compartmentalised." Silas's eyes locked on hers, probing. "Like you, maybe. Keeping Evan close too long." The jab landed. Rory's fingers curled into fists under the table. "Don't psychoanalyse me. You weren't there." "Wasn't I?" He tapped the ring, a rhythmic click. "Heard stories. Eva's chatty." She shoved back from the table, vinyl squeaking. "Stories. Right." The bar spun a touch—gin, anger. Upstairs waited, but confrontation glued her boots to the floor. Silas, the mentor she'd half-invented from Dad's tales, now flesh and flawed, limp and all. He reached across, hand steadying her glass. "Sit. We haven't finished." Rory hovered, torn. The weight pressed: years of silence, regrets coiled like smoke. Dad's grave, Evan's threats in voicemails she deleted. Silas's secrets, mirroring her own. "Why now?" she demanded, sinking back but on edge. "Why show up after all this?" His smile returned, wry. "Because debts compound, Rory. And yours... it's time I settled." The door to the bar swung open then, admitting a gust of Soho chill and a figure Rory hadn't seen since Cardiff—Eva, breathless, coat askew. But her eyes darted, not to Rory, but to Silas. Panic flickered there, brief as a struck match. "Silas," Eva gasped, clutching her bag like a shield. "He's here. Evan's outside." The air thickened, jazz forgotten. Rory's heart hammered. Silas's hand went to his pocket, ring catching light. The booth felt smaller, the maps closing in.
created_at"2026-02-20T19:15:58.57Z" 2/20/2026, 7:15:58 PM
model"x-ai/grok-4-fast"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency4038
moderation_latency(null)
generation_time25353
tokens_prompt4618
tokens_completion2381
native_tokens_prompt4203
native_tokens_completion2579
native_tokens_completion_images0
native_tokens_reasoning496
native_tokens_cached151
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"completed"
usage0.00210745
router(null)
provider_responses
0
endpoint_id"c9586d9d-97ff-40ca-ae94-22504d6f9b7e"
id"a555856a-a888-ae0a-0ca8-b20299a5cdac"
is_byokfalse
latency428
model_permaslug"x-ai/grok-4-fast"
provider_name"xAI"
status200
api_type"completions"
id"gen-1771614958-epaTwg0jfDfTdXfLs9fF"
upstream_id"a555856a-a888-ae0a-0ca8-b20299a5cdac"
total_cost0.00210745
cache_discount0.00002265
upstream_inference_cost0
provider_name"xAI"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags23
adverbTagCount0
adverbTags(empty)
dialogueSentences52
tagDensity0.442
leniency0.885
rawRatio0
effectiveRatio0
96.71% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1521
totalAiIsmAdverbs1
found
0
adverb"really"
count1
highlights
0"really"
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)
14.53% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1521
totalAiIsms26
found
0
word"scanned"
count1
1
word"pulsed"
count1
2
word"weight"
count2
3
word"footsteps"
count1
4
word"glinting"
count1
5
word"shattered"
count1
6
word"traced"
count1
7
word"jaw clenched"
count1
8
word"flicked"
count1
9
word"tracing"
count1
10
word"crystal"
count1
11
word"unspoken"
count2
12
word"furrowed"
count1
13
word"coded"
count1
14
word"echoed"
count1
15
word"loomed"
count1
16
word"etching"
count1
17
word"pulse"
count1
18
word"quickened"
count1
19
word"rhythmic"
count1
20
word"silence"
count1
21
word"grave"
count1
22
word"chill"
count1
23
word"flickered"
count1
highlights
0"scanned"
1"pulsed"
2"weight"
3"footsteps"
4"glinting"
5"shattered"
6"traced"
7"jaw clenched"
8"flicked"
9"tracing"
10"crystal"
11"unspoken"
12"furrowed"
13"coded"
14"echoed"
15"loomed"
16"etching"
17"pulse"
18"quickened"
19"rhythmic"
20"silence"
21"grave"
22"chill"
23"flickered"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"jaw/fists clenched"
count1
highlights
0"jaw clenched"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences125
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount0
narrationSentences125
filterMatches(empty)
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences152
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen27
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1500
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions18
unquotedAttributions0
matches(empty)
45.92% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions86
wordCount1201
uniqueNames21
maxNameDensity2.08
worstName"Silas"
maxWindowNameDensity3.5
worstWindowName"Silas"
discoveredNames
Silas25
Raven1
Nest1
Friday1
Istanbul2
Yu-Fei1
Brendan2
Carter1
Cardiff3
Eva4
Ice1
Prague4
Dad9
Rory20
Evan4
Pre-Law1
Ireland1
Soho2
Dragged1
Like1
Upstairs1
persons
0"Silas"
1"Raven"
2"Yu-Fei"
3"Brendan"
4"Carter"
5"Eva"
6"Ice"
7"Dad"
8"Rory"
9"Evan"
10"Upstairs"
places
0"Istanbul"
1"Cardiff"
2"Prague"
3"Ireland"
4"Soho"
5"Like"
globalScore0.459
windowScore0.5
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences92
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.667
wordCount1500
matches
0"not to Rory, but to Silas"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences152
matches
0"climbing that oak"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs45
mean33.33
std22.81
cv0.684
sampleLengths
071
161
280
312
41
569
616
781
818
968
1065
1133
1266
1325
1485
1543
1632
1722
1843
1964
2016
2125
229
2329
2414
2538
268
2722
2812
2940
3019
3130
3237
3313
3415
3517
3613
3741
3811
3926
4015
4114
4243
4313
4425
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences125
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs228
matches(empty)
0.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount16
semicolonCount1
flaggedSentences11
totalSentences152
ratio0.072
matches
0"Spilled sauce from the last order—sweet and sour chicken, no doubt—stained the leather like a fresh bruise."
1"Rory signalled to the temp bartender—a kid with tattoos snaking up his neck—and ordered a gin and tonic."
2"Her shift had dragged; Yu-Fei's kitchen had been a furnace, woks hissing steam that clung to her skin like regret."
3"Last time they'd spoken—really spoken—had been what, five years?"
4"She'd heard rumours—Prague, a knee shattered in some shadow op."
5"Brendan, with his pipe smoke and endless briefs, pushing her towards courtrooms while Silas lurked in the background—friend of the family, shadowy ally from Ireland days."
6"Rory caught the tell— the slight tightening of his grip on the glass."
7"Dad had never confirmed, but the regret in Silas's letters after—brief, typed—had screamed it."
8"He leaned back, surveying the room: patrons nursing drinks, shadows pooling under photographs—black-and-white shots of Prague spires, Istanbul alleys."
9"\"Stories. Right.\" The bar spun a touch—gin, anger."
10"The door to the bar swung open then, admitting a gust of Soho chill and a figure Rory hadn't seen since Cardiff—Eva, breathless, coat askew."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1223
adjectiveStacks0
stackExamples(empty)
adverbCount27
adverbRatio0.022076860179885527
lyAdverbCount6
lyAdverbRatio0.004905968928863451
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences152
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences152
mean9.87
std5.55
cv0.563
sampleLengths
020
117
217
317
45
53
620
718
815
920
1016
1112
1220
1312
143
156
163
171
1821
1920
2016
2112
2210
236
247
259
2615
2718
2814
293
302
3113
329
333
346
3512
362
3710
3810
3914
4020
4113
4215
4312
4421
454
4613
477
4813
4910
72.15% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats2
diversityRatio0.4407894736842105
totalSentences152
uniqueOpeners67
56.02% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences119
matches
0"Usually, his grey-streaked head bobbed"
1"Just this flat above his"
ratio0.017
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount35
totalSentences119
matches
0"She wiped her hands on"
1"He wasn't behind the bar."
2"She carried her drink to"
3"Her shift had dragged; Yu-Fei's"
4"She sipped the gin, the"
5"He leaned on the edge"
6"His beard, neatly trimmed, framed"
7"he said, voice low, like"
8"She froze, glass halfway to"
9"Her father’s funeral, Brendan Carter"
10"he'd muttered, then vanished into"
11"She set the glass down,"
12"He slid into the booth"
13"She'd heard rumours—Prague, a knee"
14"She nodded at the bar,"
15"He signalled for two more"
16"She shrugged, but the motion"
17"She'd bolted after the last"
18"They'd bonded over her once,"
19"She picked at the label"
ratio0.294
6.22% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount108
totalSentences119
matches
0"Rory slammed the delivery bag"
1"She wiped her hands on"
2"The Raven's Nest pulsed with"
3"He wasn't behind the bar."
4"That was odd."
5"Rory signalled to the temp"
6"The ice cracked as it"
7"She carried her drink to"
8"Maps everywhere in this place,"
9"Rory sank into the vinyl"
10"Her shift had dragged; Yu-Fei's"
11"She sipped the gin, the"
12"Footsteps approached, uneven."
13"A slight hitch on the"
14"Rory looked up."
15"This man stood taller somehow,"
16"He leaned on the edge"
17"His beard, neatly trimmed, framed"
18"he said, voice low, like"
19"She froze, glass halfway to"
ratio0.908
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences119
matches(empty)
ratio0
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences49
technicalSentenceCount2
matches
0"Her shift had dragged; Yu-Fei's kitchen had been a furnace, woks hissing steam that clung to her skin like regret."
1"No goodbyes, just Rory sorting his study, finding Silas's old letters tucked in a drawer."
38.04% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags23
uselessAdditionCount4
matches
0"he said, voice low, like gravel under boots"
1"He signalled, his own a neat whisky"
2"Silas asked, voice cutting the melody"
3"The words hung, accusatory"
92.31% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags5
fancyCount3
fancyTags
0"he'd (would)"
1"she demanded (demand)"
2"Eva gasped (gasp)"
dialogueSentences52
tagDensity0.096
leniency0.192
rawRatio0.6
effectiveRatio0.115
80.7301%