Run: 2026-02-20-01KHY96CZY3QB5H5764HHETZ6A

Run Details

Duration:
24.7s
Cost:
$0.000338
Provider:
DeepInfra

Model input

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

Model response

AI
The brass of Silas’s door groaned in protest, a sound that sliced through the muted murmur of the bar like a shard of glass. Not a polite, hesitant creak, but a full-throated complaint, as if it resented being disturbed. I hadn’t expected a fanfare, not really, but the sheer volume of the noise startled me from the half-finished crossword puzzle sprawled across the chipped Formica table. Ptolemy, my tabby, launched himself off the worn velvet armchair with a disgruntled yowl, landing squarely on my lap and kneading his paws into my jeans. He glared at the doorway with the kind of profound disapproval usually reserved for particularly egregious puddles. Then he stepped in. Lucien Moreau. He wasn't a dramatic entry. No swirling cloak, no dramatic flourish. Just Lucien, clad in the eternally impeccable charcoal suit, the platinum blond slicked back with a precision that bordered on militant. The ivory-handled cane, usually a silent sentinel beside him, rested casually against his thigh, a miniature, menacing weapon disguised as elegance. He didn't announce himself, didn't even offer a cursory apology for the door’s suffering. He simply stood there, a sculpted statue of controlled intensity, surveying the cramped confines of my flat above Silas’s with an expression that suggested he’d rather be anywhere else. “Aurora,” he said, the word a careful articulation of syllables, each one precisely placed. It wasn’t a greeting. It wasn’t an invitation. It was an observation. Like identifying a particularly unpleasant specimen in a natural history museum. Ptolemy, sensing the shift in atmosphere, retreated to the shadowed corner of the armchair, his tail twitching with agitation. I didn’t move, didn’t offer a word of welcome. I’d been anticipating this, dreading it, for the past six months, and the suddenness of his arrival did little to alter the knot tightening in my stomach. “Lucien,” I replied, my voice deliberately neutral. It felt brittle, strained, like a stretched piece of string. “To what do I owe the pleasure?” He didn’t step fully into the room, remaining anchored to the threshold. The space between us felt vast, charged with a history I’d spent a considerable amount of time trying to bury. "A matter of urgency," he stated, his heterochromatic eyes – amber and black swirling in a disconcerting dance – fixed on me. “One that requires your… expertise.” I raised a skeptical eyebrow. My expertise? I was a delivery girl for a Chinese restaurant, not a wizard or a bloodhound. “I sell dumplings, Lucien. Not secrets.” His lips curved into a ghost of a smile, a brief flash of something dangerously alluring beneath the carefully constructed façade. "Not dumplings, Aurora. Information. Specifically, information regarding a certain… acquisition.” He gestured vaguely towards the window with his cane. "A delicate transaction. One that's attracting unwanted attention." The window overlooked Brick Lane, a chaotic tapestry of street food stalls, flashing neon signs, and the relentless, hurried pulse of London. The air, usually thick with the aroma of curries and exhaust fumes, felt suddenly colder, somehow. I shifted slightly in my chair, pulling my cardigan tighter around my shoulders. “Unwanted attention from whom?” “Let’s just say individuals who prefer things to remain… discreet. Let's also agree to say this is confidential. An absolute non-negotiable. Three deadbolts on this door mean nothing, you understand? Not really." He said it with an icy detachment that suggested he knew exactly what he was doing, and that I was, at best, a mildly interesting pawn in his game. I took a slow sip of my lukewarm tea, stalling for time. “And why, precisely, do you need *my* assistance with this ‘discreet’ transaction? You always did have a penchant for dragging me into your… endeavors." The word hung in the air, laced with a particular brand of bitterness. “Your instincts are sharper than most, Aurora. You have a way of seeing patterns others miss. And frankly, your previous… involvement with the subject matter is highly relevant.” He didn't elaborate, and I didn't press him. The silence stretched, punctuated only by the low thrum of the bar's music and Ptolemy’s increasingly agitated purr. “The last time we worked together,” I said, deliberately sharpening the edge of the memory, "it ended with you in a hospital bed and me fleeing the country.” A flicker of something – annoyance? regret? – crossed his face, quickly masked by a carefully cultivated expression of indifference. "A regrettable incident. A misunderstanding. I’ve learned my lessons.” “Have you?” I asked, my voice dangerously low. "Because it seems to me you have a talent for attracting chaos, and a remarkable ability to leave me cleaning up the mess." He moved further into the room, his steps deliberate, measured. The scent of expensive cologne and something darker, something faintly metallic, filled the small space. It was a smell I hadn’t encountered in years, a ghost of a past I’d desperately tried to forget. He stopped a few feet away, his amber eye boring into mine. “This is different, Aurora. This isn’t about gambling debts or misplaced affections. This involves something… older. Something far more dangerous.” He paused, a subtle shift in his posture. "A piece of Avaros is coming to London, and I require assistance in securing it before it falls into the wrong hands. And frankly, you are the only one who might be able to understand what we're dealing with.” I felt a sudden, unsettling chill. Avaros. He hadn’t mentioned Avaros in years. That name alone was enough to send a shiver down my spine, a visceral reminder of the darkness that lurked beneath the veneer of London’s glamorous underworld. “And what exactly are ‘the wrong hands’?” "Let's just say that if this falls into the wrong possession, the consequences will be catastrophic. And my source of funding, and a very important client, will not be pleased.” He was casually tossing words around like jewels, revealing only fragments of a much larger, more unsettling picture. “I need you to track down a Mr. Silas Vance. He’s been in contact with several known collectors.” Silas Vance. The name was a punch to the gut. I hadn't spoken to him in six years, not since… "Silas Vance is a collector, Lucien. Not a criminal." "He *is* involved in some rather… unsavory dealings,” he said, his voice hardening. "And he's using a false identity. He goes by 'Mr. Thorne'. A small antique shop in Mayfair. He's got a surprisingly heavy security system, but don't let that fool you. He is expecting a delivery. A specific amulet. It’s ornate, dark iron, and pulsing with a… unstable energy. I want to know everything about it before it vanishes." I pushed myself to my feet, ignoring the protesting groan of the armchair. "And what's in it for me, Lucien? Besides a potential trip back to the hospital?” He didn’t answer immediately. He simply watched me, his gaze unwavering, a disconcerting mix of calculation and something that felt dangerously close to… desire. Finally, he spoke, his voice dropping to a low murmur. “Let’s just say, Aurora, that bringing this to a close would erase certain… debts. Debts that extend back further than you might imagine.” He extended a hand, offering a small, intricately carved wooden box. Inside, nestled on a bed of crimson velvet, lay a single, obsidian feather. "A token of my appreciation. For your cooperation. And, perhaps, a reminder of what we once shared. A truce, maybe?” I stared at the feather, then back at Lucien. The scent of him, sharp and intoxicating, filled the small room. The past, dormant for so long, suddenly surged back to life, a turbulent current threatening to pull me under. I knew, with a sickening certainty, that stepping into this game would be reckless, dangerous. But something about Lucien – the darkness in his eyes, the subtle hint of vulnerability beneath his carefully constructed exterior – was undeniably compelling. And, perhaps, a touch of the old thrill, the familiar pull of the unknown, was impossible to resist. I took a deep breath, meeting his gaze. "Tell me everything about Silas Vance," I said, my voice steady, betraying none of the turmoil raging beneath the surface. As I turned to face the window, a floorboard creaked beneath my feet. Ptolemy, sensing the shift in momentum, launched himself at my leg, his claws digging into my jeans. I scooped him up, burying my face in his warm, familiar fur, and knew, with a chilling clarity, that my carefully constructed life was about to be irrevocably shattered. And that Lucien Moreau, the man I'd spent the last six months trying to forget, was suddenly, undeniably, back in my life. Just as a sleek black car pulled up outside, its tinted windows obscuring the faces of the occupants. And a sharp, insistent rap at the door. Not a polite knock. A demand.
created_at"2026-02-20T19:42:27.867Z" 2/20/2026, 7:42:27 PM
model"google/gemma-3-4b-it"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency365
moderation_latency(null)
generation_time24463
tokens_prompt4581
tokens_completion2344
native_tokens_prompt4448
native_tokens_completion1996
native_tokens_completion_images(null)
native_tokens_reasoning0
native_tokens_cached0
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"
usage0.0003376
router(null)
provider_responses
0
endpoint_id"d3de3bd4-81bc-48fb-924f-2a87b2a36e75"
id"chatcmpl-RRvg03V87LEDll74DEyew9mc"
is_byokfalse
latency80
model_permaslug"google/gemma-3-4b-it"
provider_name"DeepInfra"
status200
api_type"completions"
id"gen-1771616547-FvSXC6eVy8q6i3vv6zWM"
upstream_id"chatcmpl-RRvg03V87LEDll74DEyew9mc"
total_cost0.0003376
cache_discount(null)
upstream_inference_cost0
provider_name"DeepInfra"

Evaluation details

Result Evaluator Details Meta Data
57.14% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags14
adverbTagCount2
adverbTags
0"He gestured vaguely [vaguely]"
1"jewels revealing only [only]"
dialogueSentences28
tagDensity0.5
leniency1
rawRatio0.143
effectiveRatio0.143
45.54% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1469
totalAiIsmAdverbs16
found
0
adverb"really"
count2
1
adverb"precisely"
count2
2
adverb"deliberately"
count2
3
adverb"carefully"
count4
4
adverb"suddenly"
count3
5
adverb"slightly"
count1
6
adverb"quickly"
count1
7
adverb"very"
count1
highlights
0"really"
1"precisely"
2"deliberately"
3"carefully"
4"suddenly"
5"slightly"
6"quickly"
7"very"
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)
0.00% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1469
totalAiIsms32
found
0
word"velvet"
count2
1
word"profound"
count1
2
word"sentinel"
count1
3
word"intensity"
count1
4
word"anticipating"
count1
5
word"stomach"
count1
6
word"charged"
count1
7
word"dance"
count1
8
word"eyebrow"
count1
9
word"constructed"
count3
10
word"chaotic"
count1
11
word"tapestry"
count1
12
word"pulse"
count1
13
word"pawn"
count1
14
word"silence"
count1
15
word"flicker"
count1
16
word"remarkable"
count1
17
word"measured"
count1
18
word"chill"
count1
19
word"down my spine"
count1
20
word"reminder"
count2
21
word"potential"
count1
22
word"unwavering"
count1
23
word"desire"
count1
24
word"familiar"
count2
25
word"chilling"
count1
26
word"shattered"
count1
highlights
0"velvet"
1"profound"
2"sentinel"
3"intensity"
4"anticipating"
5"stomach"
6"charged"
7"dance"
8"eyebrow"
9"constructed"
10"chaotic"
11"tapestry"
12"pulse"
13"pawn"
14"silence"
15"flicker"
16"remarkable"
17"measured"
18"chill"
19"down my spine"
20"reminder"
21"potential"
22"unwavering"
23"desire"
24"familiar"
25"chilling"
26"shattered"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"hung in the air"
count1
highlights
0"hung in the air"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells0
narrationSentences81
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences81
filterMatches(empty)
hedgeMatches
0"tried to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences95
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen62
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans2
markdownWords2
totalWords1471
ratio0.001
matches
0"my"
1"is"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions18
unquotedAttributions1
matches
0"Finally, he spoke, his voice dropping to a low murmur."
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions23
wordCount1035
uniqueNames11
maxNameDensity0.48
worstName"Lucien"
maxWindowNameDensity1.5
worstWindowName"Lucien"
discoveredNames
Silas3
Formica1
Moreau2
Lucien5
Chinese1
Brick1
Lane1
London2
Ptolemy4
Avaros2
Vance1
persons
0"Silas"
1"Moreau"
2"Lucien"
3"Ptolemy"
4"Vance"
places
0"Brick"
1"Lane"
2"London"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences65
glossingSentenceCount0
matches(empty)
64.04% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches2
per1kWords1.36
wordCount1471
matches
0"Not a polite, hesitant creak, but a full-throated complaint, as if it resented being disturbed"
1"not really, but the sheer volume of the noise startled me from the half-fini"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences95
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs29
mean50.72
std26.22
cv0.517
sampleLengths
0109
16
296
337
479
559
628
748
855
961
1049
1154
1228
1329
1431
1556
1667
1747
1866
1920
209
2171
2228
2324
2477
2596
2628
2781
2832
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences81
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs160
matches
0"was doing"
22.56% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount6
semicolonCount0
flaggedSentences4
totalSentences95
ratio0.042
matches
0"\"A matter of urgency,\" he stated, his heterochromatic eyes – amber and black swirling in a disconcerting dance – fixed on me."
1"A flicker of something – annoyance?"
2"– crossed his face, quickly masked by a carefully cultivated expression of indifference."
3"But something about Lucien – the darkness in his eyes, the subtle hint of vulnerability beneath his carefully constructed exterior – was undeniably compelling."
66.03% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1032
adjectiveStacks0
stackExamples(empty)
adverbCount61
adverbRatio0.05910852713178295
lyAdverbCount42
lyAdverbRatio0.040697674418604654
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences95
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences95
mean15.48
std11.44
cv0.739
sampleLengths
024
115
227
326
417
54
62
75
86
921
1021
1114
1229
1314
144
154
164
1711
1819
199
2027
217
2210
237
2412
2520
2622
275
285
292
3015
316
3221
3319
348
3522
3616
3713
384
3961
4012
4137
4236
4318
4428
456
461
4713
489
498
51.93% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats9
diversityRatio0.3684210526315789
totalSentences95
uniqueOpeners35
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences74
matches
0"Then he stepped in."
1"Just Lucien, clad in the"
2"Finally, he spoke, his voice"
ratio0.041
0.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount43
totalSentences74
matches
0"I hadn’t expected a fanfare,"
1"He glared at the doorway"
2"He wasn't a dramatic entry."
3"He didn't announce himself, didn't"
4"He simply stood there, a"
5"he said, the word a"
6"It wasn’t a greeting."
7"It wasn’t an invitation."
8"It was an observation."
9"I didn’t move, didn’t offer"
10"I’d been anticipating this, dreading"
11"I replied, my voice deliberately"
12"It felt brittle, strained, like"
13"He didn’t step fully into"
14"he stated, his heterochromatic eyes"
15"I raised a skeptical eyebrow."
16"I was a delivery girl"
17"His lips curved into a"
18"He gestured vaguely towards the"
19"I shifted slightly in my"
ratio0.581
61.35% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount59
totalSentences74
matches
0"The brass of Silas’s door"
1"I hadn’t expected a fanfare,"
2"Ptolemy, my tabby, launched himself"
3"He glared at the doorway"
4"He wasn't a dramatic entry."
5"The ivory-handled cane, usually a"
6"He didn't announce himself, didn't"
7"He simply stood there, a"
8"he said, the word a"
9"It wasn’t a greeting."
10"It wasn’t an invitation."
11"It was an observation."
12"Ptolemy, sensing the shift in"
13"I didn’t move, didn’t offer"
14"I’d been anticipating this, dreading"
15"I replied, my voice deliberately"
16"It felt brittle, strained, like"
17"He didn’t step fully into"
18"The space between us felt"
19"he stated, his heterochromatic eyes"
ratio0.797
100.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences74
matches
0"And, perhaps, a touch of"
1"Just as a sleek black"
ratio0.027
0.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences43
technicalSentenceCount9
matches
0"The brass of Silas’s door groaned in protest, a sound that sliced through the muted murmur of the bar like a shard of glass."
1"Not a polite, hesitant creak, but a full-throated complaint, as if it resented being disturbed."
2"Just Lucien, clad in the eternally impeccable charcoal suit, the platinum blond slicked back with a precision that bordered on militant."
3"He simply stood there, a sculpted statue of controlled intensity, surveying the cramped confines of my flat above Silas’s with an expression that suggested he’d…"
4"Ptolemy, sensing the shift in atmosphere, retreated to the shadowed corner of the armchair, his tail twitching with agitation."
5"That name alone was enough to send a shiver down my spine, a visceral reminder of the darkness that lurked beneath the veneer of London’s glamorous underworld."
6"He simply watched me, his gaze unwavering, a disconcerting mix of calculation and something that felt dangerously close to…"
7"I knew, with a sickening certainty, that stepping into this game would be reckless, dangerous."
8"Ptolemy, sensing the shift in momentum, launched himself at my leg, his claws digging into my jeans."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags14
uselessAdditionCount4
matches
0"I replied, my voice deliberately neutral"
1"He said, and that I was, at best, a mildly interesting pawn in his game"
2"I asked, my voice dangerously low"
3"he said, his voice hardening"
78.57% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags9
fancyCount2
fancyTags
0"he stated (state)"
1"jewels revealing only (reveal)"
dialogueSentences28
tagDensity0.321
leniency0.643
rawRatio0.222
effectiveRatio0.143
74.9054%