Run: 2026-02-20-01KHY7PB3JQDFP1C6QQJERH064

Run Details

Duration:
20.9s
Cost:
$0.002017
Provider:
xAI

Model input

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

Model response

AI
Aurora twisted the third deadbolt with a sharp click, her fingers still greasy from Ptolemy's tin of pilchards. The cat wound between her ankles, oblivious to the late hour, his tail flicking like a metronome. She yanked the door open, expecting Eva's bleary face after another all-nighter poring over those dog-eared occult tomes. Lucien Moreau stood there instead, his platinum hair catching the dim glow from the stairwell bulb. One amber eye gleamed, the other swallowed the light whole. His charcoal suit hung impeccable, not a crease from the trek across London, ivory-handled cane hooked over his arm like an afterthought. She froze, the chain still half-undone in its slide. Ptolemy hissed low and bolted back into the flat's clutter of books and scrolls. "Laila," he said, voice smooth as oiled silk, the alias slipping out like it still belonged to her. No knock, no warning. Just him, filling the doorway. Aurora's pulse hammered in her throat. She gripped the doorframe, nails digging into the peeling paint. Three months since Marseille, since his world of shadows and deals had cracked open hers. Since she'd walked away from the hotel room with his blood on her shirt and promises she'd never meant to keep. "How did you find me?" He tilted his head, a ghost of a smile playing on his lips. "London's smaller than you think for those who know where to listen." His gaze flicked past her to the chaos inside, the tabby cat now perched on a stack of yellowed grimoires, eyes narrowed. "Eva's place. Charming. The curry scent lingers." She didn't invite him in. Instead, she stepped into the hall, pulling the door shut behind her with a thud that echoed down the narrow Brick Lane stairwell. The air out here carried the faint spice of vindaloo from the restaurant below, mixing with the metallic tang of rain on cobblestones outside. "What do you want, Luc? I left that life. Your life." His cane tapped once against the worn floorboards, a deliberate rhythm. He leaned closer, close enough she caught the subtle cologne, sandalwood laced with something sharper, infernal. "My life? We both know it chose you first." His black eye held hers, unblinking, pulling like a current. "The mark on your wrist. It's spreading." Aurora's hand shot to her left sleeve, covering the crescent scar that had itched lately, faint lines branching from it like veins of ink. Not from childhood anymore. Not since the deal in Marseille, when his demon blood had saved her from Evan's blade but bound her too. "That's not your concern. We ended it. Clean." "Clean." He chuckled, low and without humour, the sound vibrating through the cramped hall. "You fled with my secrets, Rory. Or should I say Aurora Carter, delivery girl by day, ghost by night." He straightened, cane now firm in his grip, the concealed blade's weight implied in his stance. "The underworld whispers. A half-demon's resources traced you here, to your friend's doorstep. But it's not me you should fear." She crossed her arms, the wool of her jumper rough against her skin, a barrier he seemed intent on breaching. Heat flushed her cheeks, that old pull warring with the ache in her chest. Attraction, raw and unbidden, like the first time in the Cardiff rain when he'd appeared as if conjured. But hurt followed, sharp as the scar's fresh burn. "Fear? From you? Or the mess you dragged me into?" Her voice dropped, edged with the Welsh lilt she'd tried to bury in London. "Evan's dead because of you. That wasn't a gift." Lucien's jaw tightened, the amber eye flashing like struck flint. He reached out, fingers brushing her arm, light as a promise, heavy as a chain. She didn't pull away. Not yet. "Evan was a parasite. I gave you freedom." His touch lingered, thumb tracing the sleeve over her scar, sending sparks up her arm. "And you gave me trust. Briefly." The hall felt smaller, the walls pressing in with the scent of aged wood and distant traffic. Aurora swallowed, tasting the salt of her own restraint. Ptolemy's muffled yowl filtered through the door, a reminder of the life she'd scraped together, far from his gilded underworld. Eva's flat, with its locks and lore, was sanctuary, not a stage for his games. "Trust? You lied about what your blood would do. About the bond." She shoved his hand away, but her palm lingered a beat too long on his chest, feeling the steady thrum beneath the crisp shirt. He caught her wrist, gentle but unyielding, his heterochromatic gaze locking her in place. "The bond saves you. From worse than Evan. From the things hunting hybrids like me, and now you." His voice softened, laced with that French inflection, each word deliberate, pulling her back to stolen nights in hidden Marseillais bistros, where whispers had turned to touches, touches to fire. Aurora's breath hitched. The scar pulsed under his fingers, a warm throb that mirrored the heat pooling low in her belly. Damn him. Damn the way his presence unravelled her cool-headed facade, exposing the girl who'd once dreamed of law degrees and quiet Cardiff evenings. "Let go." But she leaned in, their faces inches apart, the air thick with unspoken accusations. "Not until you listen." He released her, but stepped closer, his cane now propped against the wall, forgotten. "Avaros stirs. My father's realm. They sense the dilution in my blood, the human weakness. And you've tasted it." His hand cupped her jaw, tilting her face up, thumb grazing her lower lip. The touch ignited memories: his mouth on hers in the dim hotel, the silk sheets tangling as secrets spilled. She grabbed his lapel, knuckles whitening. "Tasted? You mean poisoned." Hurt surged, bitter as the aftertaste of his essence, the night Evan had cornered her with a knife, and Lucien's intervention had twisted everything. Attraction had bloomed then, fierce and forbidden, in the aftermath of blood and rescue. But she'd seen the cost—his world of deals with demons, information brokered in shadowed clubs. "I won't be your anchor, Luc. Or your regret." His black eye darkened, but the amber one softened, a fracture in his composure. "Regret? Mon dieu, Rory, you were the only honest thing in it." He pulled her against him, the door at her back, his body solid, unyielding. The kiss came fierce, claiming, his lips parting hers with the urgency of months apart. She responded despite herself, hands fisting his shirt, the fabric tearing slightly under her grip. Taste of him: smoke and spice, the underworld's kiss. Ptolemy scratched at the door from inside, insistent, but she ignored it. Lucien's free hand slid to her waist, bunching her jumper, fingers splaying over bare skin. Heat radiated from him, unnatural, drawing her in. She bit his lip, drawing a hiss, tasting the faint copper that wasn't quite human. "This changes nothing," she murmured against his mouth, even as her body arched into his. "Lies," he whispered, nipping her earlobe, voice roughened. "You feel it. The pull." His cane clattered to the floor as he pressed harder, the hall's chill forgotten in the blaze between them. Aurora's mind raced, fragments of their history colliding: the laughter in Marseille's ports, the arguments over his deceptions, the night she'd bandaged his wounds after a deal gone sour, their bodies entwining as trust frayed. She pushed him back, breaking the kiss, chest heaving. Strands of her black hair stuck to her flushed face. "Eva's due back any minute. And I don't want this. Not like before." But her eyes betrayed her, tracing the line of his throat, the pulse there matching hers. He straightened his suit, composure slipping back like a mask, though his breathing came uneven. "Eva knows more than you think. She's why I came." He retrieved his cane, the blade's hilt glinting briefly as he gripped it. "There's a summons. For you. In my world." Aurora's scar burned now, insistent, as if echoing his words. She glanced at the door, the safety of books and locks beyond it. "No. I'm done." But doubt crept in, the underworld's tendrils she'd tried to sever. Lucien stepped back, but his gaze held, intense, promising storms. "Deny it all you want. But they're coming. And this time, running won't save you." A floorboard creaked below, footsteps rising from the curry house stairs. Not Eva. Heavier. Multiple sets. Lucien's hand tightened on his cane, the concealed blade whispering free in a fluid motion. "Inside," he growled, shoving her through the door as shadows lengthened in the hall. The first figure emerged at the landing, eyes glowing unnatural red.
created_at"2026-02-20T19:16:13.068Z" 2/20/2026, 7:16:13 PM
model"x-ai/grok-4-fast"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency4710
moderation_latency(null)
generation_time20599
tokens_prompt4556
tokens_completion2177
native_tokens_prompt4145
native_tokens_completion2424
native_tokens_completion_images0
native_tokens_reasoning531
native_tokens_cached159
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"
usage0.00201715
router(null)
provider_responses
0
endpoint_id"c9586d9d-97ff-40ca-ae94-22504d6f9b7e"
id"2268181e-b304-434c-454e-129f9b8ae6b3"
is_byokfalse
latency134
model_permaslug"x-ai/grok-4-fast"
provider_name"xAI"
status200
api_type"completions"
id"gen-1771614973-k1yo2rgzIb2C8nH5DUow"
upstream_id"2268181e-b304-434c-454e-129f9b8ae6b3"
total_cost0.00201715
cache_discount0.00002385
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
totalTags21
adverbTagCount0
adverbTags(empty)
dialogueSentences32
tagDensity0.656
leniency1
rawRatio0
effectiveRatio0
96.55% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1449
totalAiIsmAdverbs1
found
0
adverb"slightly"
count1
highlights
0"slightly"
100.00% AI-ism character names
Target: 0 AI-default names (17 tracked, −20% each)
codexExemptions(empty)
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
20.63% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1449
totalAiIsms23
found
0
word"silk"
count2
1
word"pulse"
count2
2
word"flicked"
count1
3
word"echoed"
count1
4
word"weight"
count1
5
word"traced"
count1
6
word"lilt"
count1
7
word"tracing"
count2
8
word"reminder"
count1
9
word"sanctuary"
count1
10
word"pulsed"
count1
11
word"throb"
count1
12
word"facade"
count1
13
word"unspoken"
count1
14
word"aftermath"
count1
15
word"chill"
count1
16
word"raced"
count1
17
word"glinting"
count1
18
word"echoing"
count1
19
word"footsteps"
count1
highlights
0"silk"
1"pulse"
2"flicked"
3"echoed"
4"weight"
5"traced"
6"lilt"
7"tracing"
8"reminder"
9"sanctuary"
10"pulsed"
11"throb"
12"facade"
13"unspoken"
14"aftermath"
15"chill"
16"raced"
17"glinting"
18"echoing"
19"footsteps"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"eyes widened/narrowed"
count1
highlights
0"eyes narrowed"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences86
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount2
narrationSentences86
filterMatches(empty)
hedgeMatches
0"tried to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences97
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen48
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1442
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions12
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions37
wordCount1170
uniqueNames15
maxNameDensity0.6
worstName"Aurora"
maxWindowNameDensity1
worstWindowName"Ptolemy"
discoveredNames
Ptolemy4
Eva3
Moreau1
London2
Marseille3
Brick1
Lane1
Aurora7
Evan2
Cardiff2
Welsh1
Lucien6
French1
Marseillais1
Attraction2
persons
0"Ptolemy"
1"Eva"
2"Moreau"
3"Aurora"
4"Evan"
5"Lucien"
6"Attraction"
places
0"London"
1"Marseille"
2"Brick"
3"Lane"
4"Cardiff"
globalScore1
windowScore1
83.33% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences75
glossingSentenceCount2
matches
0"quite human"
1"as if echoing his words"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1442
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences97
matches(empty)
56.57% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs26
mean55.46
std19.3
cv0.348
sampleLengths
053
148
223
327
457
554
663
753
856
969
1094
1160
1297
1362
1461
1570
1672
1779
1865
1967
2048
2146
2237
2325
2431
2525
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences86
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs204
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount1
semicolonCount0
flaggedSentences1
totalSentences97
ratio0.01
matches
0"But she'd seen the cost—his world of deals with demons, information brokered in shadowed clubs."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1176
adjectiveStacks0
stackExamples(empty)
adverbCount27
adverbRatio0.02295918367346939
lyAdverbCount4
lyAdverbRatio0.003401360544217687
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences97
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences97
mean14.87
std8.55
cv0.575
sampleLengths
018
117
218
316
410
522
69
714
818
94
105
116
1210
1315
1421
155
1613
1734
187
195
2023
2124
2211
2311
2416
2519
267
2724
284
2920
308
3114
3235
3320
3420
3514
3618
379
3824
399
4010
4115
424
432
4423
456
4617
479
4820
4915
76.98% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats2
diversityRatio0.4742268041237113
totalSentences97
uniqueOpeners46
82.30% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences81
matches
0"Just him, filling the doorway."
1"Instead, she stepped into the"
ratio0.025
42.22% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount36
totalSentences81
matches
0"She yanked the door open,"
1"His charcoal suit hung impeccable,"
2"She froze, the chain still"
3"he said, voice smooth as"
4"She gripped the doorframe, nails"
5"He tilted his head, a"
6"His gaze flicked past her"
7"She didn't invite him in."
8"His cane tapped once against"
9"He leaned closer, close enough"
10"His black eye held hers,"
11"He chuckled, low and without"
12"He straightened, cane now firm"
13"She crossed her arms, the"
14"Her voice dropped, edged with"
15"He reached out, fingers brushing"
16"She didn't pull away."
17"His touch lingered, thumb tracing"
18"She shoved his hand away,"
19"He caught her wrist, gentle"
ratio0.444
52.59% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount66
totalSentences81
matches
0"Aurora twisted the third deadbolt"
1"The cat wound between her"
2"She yanked the door open,"
3"Lucien Moreau stood there instead,"
4"His charcoal suit hung impeccable,"
5"She froze, the chain still"
6"Ptolemy hissed low and bolted"
7"he said, voice smooth as"
8"Aurora's pulse hammered in her"
9"She gripped the doorframe, nails"
10"He tilted his head, a"
11"His gaze flicked past her"
12"She didn't invite him in."
13"The air out here carried"
14"His cane tapped once against"
15"He leaned closer, close enough"
16"His black eye held hers,"
17"Aurora's hand shot to her"
18"He chuckled, low and without"
19"He straightened, cane now firm"
ratio0.815
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences81
matches(empty)
ratio0
36.47% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences47
technicalSentenceCount7
matches
0"Instead, she stepped into the hall, pulling the door shut behind her with a thud that echoed down the narrow Brick Lane stairwell."
1"Aurora's hand shot to her left sleeve, covering the crescent scar that had itched lately, faint lines branching from it like veins of ink."
2"The scar pulsed under his fingers, a warm throb that mirrored the heat pooling low in her belly."
3"Damn the way his presence unravelled her cool-headed facade, exposing the girl who'd once dreamed of law degrees and quiet Cardiff evenings."
4"Lucien's free hand slid to her waist, bunching her jumper, fingers splaying over bare skin."
5"She bit his lip, drawing a hiss, tasting the faint copper that wasn't quite human."
6"Aurora's mind raced, fragments of their history colliding: the laughter in Marseille's ports, the arguments over his deceptions, the night she'd bandaged his wo…"
53.57% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags21
uselessAdditionCount3
matches
0"She shoved, but her palm lingered a beat too long on his chest, feeling the steady thrum beneath the crisp shirt"
1"But she leaned in, their faces inches apart, the air thick with unspoken accusations"
2"He retrieved, the blade's hilt glinting briefly as he gripped it"
0.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags6
fancyCount5
fancyTags
0"He chuckled (chuckle)"
1"she murmured (murmur)"
2"he whispered (whisper)"
3"His cane clattered (clatter)"
4"he growled (growl)"
dialogueSentences32
tagDensity0.188
leniency0.375
rawRatio0.833
effectiveRatio0.313
80.0408%