Run: 2026-02-20-01KHY9D0KFHZHC567N7NBRRG8E

Run Details

Duration:
1m 10s
Cost:
$0.001214
Provider:
Parasail

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 chipped porcelain felt cool against my lips, the Earl Grey doing little to thaw the chill that had settled in my bones long before the November rain started. I'd just settled into the worn armchair, Ptolemy already kneading his paws into my thigh, when the insistent rapping came. Three sharp knocks, precise, deliberate. Not a friendly visitor. I knew who it was before I reached the door. Three deadbolts clicked open, each a small act of defiance against the impending disruption. I pulled the door inward, bracing myself. He filled the doorway, a charcoal silhouette against the dim hallway light of Silas’s building, impeccably dressed as always. Lucien. “Rory.” His voice was smooth, a low current that still had the power to disrupt my equilibrium. “Lucian,” I replied, keeping my tone even. No welcome, no invitation inside. Just a statement of fact. He didn’t comment on my lack of hospitality, merely shifted his weight, the movement subtly revealing the expensive cut of his suit. Rain beaded on the shoulders of his tailored overcoat, and a trace of the city’s grit clung to the polished leather of his shoes. He hadn’t changed. Still the epitome of dangerous refinement. “May I?” he asked, tilting his head, a ghost of a smile playing on his lips. It was a calculated gesture, designed to unsettle. I stepped aside, reluctantly allowing him entry. Ptolemy, assessing the newcomer with a disdainful flick of his tail, moved to sit beneath the coffee table as far from Lucien as possible. The flat immediately felt smaller, the air thicker with unspoken history. “Charming,” he commented, surveying the chaotic beauty of Eva’s flat. Books stacked precariously on every surface, maps unfurled across the floor, research notes pinned to a corkboard that spanned an entire wall. “Still living amongst the relics, I see.” “Someone has to protect knowledge from the barbarians,” I said dryly, placing the tea cup back on the side table. It clinked, the sound amplified in the small space. He ignored the barb, turning his gaze back to me. His eyes, that unsettling combination of amber and black, held a question, a searching quality that I refused to meet directly. I busied myself with straightening a stack of papers on the coffee table, anything to avoid his scrutiny. “I need your help.” The words were laced with an urgency that barely concealed his usual arrogance. It was an odd combination, and oddly compelling. “I’m swamped with deliveries for the Golden Empress,” I said, deliberately obtuse. "Yu-Fei will kill me if I disappear." “This isn’t a request you can refuse, Rory.” He wasn’t asking anymore. I finally met his gaze then, challenging him. “Oh? And what makes you think that?” He moved further into the flat, not invitingly, but with a sense of ownership, his presence dominating the room. He reached inside his coat and produced a small, intricately carved wooden box. He set it on the coffee table between us. “This was delivered to my…associates, last night. Addressed to you.” I frowned, examining the box. It was old, the wood darkened with age, symbols carved into its surface that I didn’t recognize. Just looking at it sent a shiver down my spine. “I’ve never seen this before.” “Don’t lie to me.” His voice was dangerously soft. “I’m not,” I snapped, bristling at his accusation. “I receive packages all day. I don't memorize every single one." He raised an eyebrow, unconvinced. “This isn’t a takeaway menu, Rory. The symbols are Avarossian. Old dialect. I had to pull a favour to get a translation. It speaks of a summoning. A… retrieval.” Retrieval. That word struck a chord of dread. It was the language used by the collectors, the ones who dealt in forbidden objects and dangerous magic. The ones I’d spent the last five years trying to avoid. “What kind of retrieval?” Lucian’s lips thinned. He pulled out a folded piece of parchment from his inner pocket, handing it to me. The ink was faded, the script elegant and archaic. “The translation. It references something called ‘The Obsidian Shard.’ Apparently, your father was… interested in it.” My breath hitched. Brendan Carter, my father, the respected barrister, had a past he rarely spoke of, a past filled with whispers of antiquarian societies and esoteric research. I’d always dismissed it as idle tales, stories to explain his absentmindedness, his habit of losing himself in ancient texts. “My father died ten years ago,” I said, my voice barely a whisper. “What does this have to do with anything?” “Someone believes the Shard is connected to him. To you, perhaps. And they want it back.” He paused, letting the implication hang in the air. “They’re not…gentle people, Rory.” I traced the symbols on the parchment with my finger, a knot of fear tightening in my stomach. “Who sent this?” “I’m working on it. But they’re careful. Experienced. They've erased their trail, but I noticed a unique signature in the delivery – an herbal blend unique to a particular trader in Marrakech. A favour owed to an old contact means I know he's been hired.” "And you came to me why? You usually favour doing things yourself." He let out a low, humourless chuckle. "Oh, I could handle this. Easily. But this isn't about handling. It’s about what comes *after*. The Shard…it’s dangerous. It attracts…attention. Attention we both could do without." He was right. I’d skirted the edges of that world long enough to know that “attention” in this context meant power, and power inevitably meant conflict. A conflict I was determined to avoid. “So, what do you want me to do?” I asked, resigned. It was a loaded question: *Why are you here, Lucien? What do you really want?* “Your father kept meticulous records. Journals, letters, notes. I suspect he hid something relating to this Shard within them. You know his system. You know where to look. I need you to find it.” I stared at him, a wave of anger washing over me. “You want me to sift through my father’s history, a history he purposefully kept hidden from me, because you’re too lazy to do it yourself?” “Don’t pretend you’re offended, Rory. Self-preservation, remember? Because if they find the Shard, and they find out about your connection to your father’s research…” He trailed off, letting the threat hang unsaid. The silence stretched, punctuated only by the rhythmic ticking of a clock on the mantelpiece. Ptolemy, sensing my distress, rubbed against my leg, offering a small measure of comfort. I took a deep breath, forcing myself to think rationally. “And what happens when I find this…Shard information? You’ll swoop in and take it?” “We’ll deal with it together. I’ll provide protection, resources.” A flicker of something that might have been concern crossed his face. Or it was just a trick of the light. “You’re not equipped to handle this alone, Rory. Not anymore.” His words were a subtle reminder of our past, of the mess we’d made, of the reasons we’d gone our separate ways. The memories surfaced, unwelcome and sharp: stolen moments in smoky bars, whispered secrets, the broken promises. I hadn’t seen him in three years, not since… “Don't,” I said, cutting him off before he could offer any hollow apologies or justifications. "Just don't." “I’m not asking for forgiveness, Rory, I'm asking for your assistance.” He reached out, his fingers brushing against my arm. It was a fleeting touch, yet it sent a jolt through me, a ghost of the connection we once shared. I flinched away, pulling my arm back. “I need to think.” “You don’t have time to think.” He was right, of course. The urgency in his voice wasn’t manufactured. Whatever was happening, it was happening quickly. Suddenly, a crash from the hallway. The sound of splintering wood, followed by a muffled curse. Lucian’s hand moved to the ivory handle of his cane, his knuckles whitening. His eyes, that impossible combination of amber and black, narrowed in warning. “We have company,” he said, his voice devoid of emotion. “And I doubt they’re here to borrow a cup of sugar.”
created_at"2026-02-20T19:46:04.552Z" 2/20/2026, 7:46:04 PM
model"google/gemma-3-27b-it"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency734
moderation_latency(null)
generation_time69663
tokens_prompt4581
tokens_completion2192
native_tokens_prompt4452
native_tokens_completion1906
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"
usage0.00121386
router(null)
provider_responses
0
endpoint_id"2f608ade-87b1-46ed-8ae7-2714dddf2abb"
id"cmpl-04d61309e5af432d90df22880a252057"
is_byokfalse
latency696
model_permaslug"google/gemma-3-27b-it"
provider_name"Parasail"
status200
api_type"completions"
id"gen-1771616764-4OY1cfxc5tcro1q2IJQT"
upstream_id"cmpl-04d61309e5af432d90df22880a252057"
total_cost0.00121386
cache_discount(null)
upstream_inference_cost0
provider_name"Parasail"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags14
adverbTagCount1
adverbTags
0"I said dryly [dryly]"
dialogueSentences42
tagDensity0.333
leniency0.667
rawRatio0.071
effectiveRatio0.048
81.54% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1354
totalAiIsmAdverbs5
found
0
adverb"reluctantly"
count1
1
adverb"deliberately"
count1
2
adverb"really"
count1
3
adverb"quickly"
count1
4
adverb"suddenly"
count1
highlights
0"reluctantly"
1"deliberately"
2"really"
3"quickly"
4"suddenly"
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)
26.14% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1354
totalAiIsms20
found
0
word"porcelain"
count1
1
word"chill"
count1
2
word"disrupt"
count1
3
word"weight"
count1
4
word"calculated"
count1
5
word"unspoken"
count1
6
word"chaotic"
count1
7
word"sense of"
count1
8
word"down my spine"
count1
9
word"eyebrow"
count1
10
word"whisper"
count1
11
word"implication"
count1
12
word"traced"
count1
13
word"stomach"
count1
14
word"determined"
count1
15
word"silence"
count1
16
word"rhythmic"
count1
17
word"flicker"
count1
18
word"reminder"
count1
19
word"fleeting"
count1
highlights
0"porcelain"
1"chill"
2"disrupt"
3"weight"
4"calculated"
5"unspoken"
6"chaotic"
7"sense of"
8"down my spine"
9"eyebrow"
10"whisper"
11"implication"
12"traced"
13"stomach"
14"determined"
15"silence"
16"rhythmic"
17"flicker"
18"reminder"
19"fleeting"
33.33% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches3
maxInWindow3
found
0
label"wave of emotion"
count1
1
label"sent a shiver through"
count2
highlights
0"a wave of anger"
1"sent a shiver down"
2"sent a jolt through"
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells1
narrationSentences85
matches
0"a wave of anger"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount0
narrationSentences85
filterMatches(empty)
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences109
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen44
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans2
markdownWords11
totalWords1353
ratio0.008
matches
0"after"
1"Why are you here, Lucien? What do you really want?"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions19
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions13
wordCount934
uniqueNames9
maxNameDensity0.32
worstName"Ptolemy"
maxWindowNameDensity1
worstWindowName"Ptolemy"
discoveredNames
Earl1
Grey1
November1
Ptolemy3
Silas1
Lucien3
Eva1
Books1
Carter1
persons
0"Earl"
1"Grey"
2"Ptolemy"
3"Silas"
4"Lucien"
5"Eva"
6"Books"
7"Carter"
places(empty)
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences67
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.739
wordCount1353
matches
0"not invitingly, but with a sense of ownership, his presence dominating the room"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences109
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs50
mean27.06
std13.7
cv0.506
sampleLengths
058
110
241
317
417
555
624
742
839
929
1049
114
1221
1319
1412
1515
1641
1710
1837
199
2019
2134
2237
234
2428
2516
2648
2721
2829
2921
3045
3112
3234
3333
3426
3534
3636
3732
3839
3914
4040
4147
4217
4311
4436
454
4625
4716
4825
4921
92.88% Passive voice overuse
Target: ≤2% passive sentences
passiveCount3
totalSentences85
matches
0"were laced"
1"was faded"
2"was determined"
84.39% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount3
totalVerbs173
matches
0"wasn’t asking"
1"was happening, was happening"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences109
ratio0
matches(empty)
92.78% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount934
adjectiveStacks0
stackExamples(empty)
adverbCount40
adverbRatio0.042826552462526764
lyAdverbCount24
lyAdverbRatio0.02569593147751606
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences109
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences109
mean12.41
std7.85
cv0.632
sampleLengths
029
120
25
34
410
514
67
719
81
917
107
115
125
1322
1424
153
166
1716
188
197
2024
2111
2210
2322
247
2520
269
2710
2821
2918
304
3113
328
3312
347
3512
368
377
3819
3913
409
4110
425
4317
4410
455
469
478
4811
495
54.13% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats6
diversityRatio0.3577981651376147
totalSentences109
uniqueOpeners39
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount3
totalSentences83
matches
0"Just a statement of fact."
1"Just looking at it sent"
2"Suddenly, a crash from the"
ratio0.036
0.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount53
totalSentences83
matches
0"I'd just settled into the"
1"I knew who it was"
2"I pulled the door inward,"
3"He filled the doorway, a"
4"His voice was smooth, a"
5"I replied, keeping my tone"
6"He didn’t comment on my"
7"He hadn’t changed."
8"he asked, tilting his head,"
9"It was a calculated gesture,"
10"I stepped aside, reluctantly allowing"
11"he commented, surveying the chaotic"
12"I said dryly, placing the"
13"It clinked, the sound amplified"
14"He ignored the barb, turning"
15"His eyes, that unsettling combination"
16"I busied myself with straightening"
17"It was an odd combination,"
18"I said, deliberately obtuse"
19"He wasn’t asking anymore"
ratio0.639
20.24% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount73
totalSentences83
matches
0"The chipped porcelain felt cool"
1"I'd just settled into the"
2"I knew who it was"
3"I pulled the door inward,"
4"He filled the doorway, a"
5"His voice was smooth, a"
6"I replied, keeping my tone"
7"He didn’t comment on my"
8"Rain beaded on the shoulders"
9"He hadn’t changed."
10"he asked, tilting his head,"
11"It was a calculated gesture,"
12"I stepped aside, reluctantly allowing"
13"Ptolemy, assessing the newcomer with"
14"The flat immediately felt smaller,"
15"he commented, surveying the chaotic"
16"Books stacked precariously on every"
17"I said dryly, placing the"
18"It clinked, the sound amplified"
19"He ignored the barb, turning"
ratio0.88
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences83
matches(empty)
ratio0
81.63% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences35
technicalSentenceCount3
matches
0"The chipped porcelain felt cool against my lips, the Earl Grey doing little to thaw the chill that had settled in my bones long before the November rain started…"
1"It was the language used by the collectors, the ones who dealt in forbidden objects and dangerous magic."
2"Ptolemy, sensing my distress, rubbed against my leg, offering a small measure of comfort."
53.57% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags14
uselessAdditionCount2
matches
0"I said, my voice barely a whisper"
1"he said, his voice devoid of emotion"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags10
fancyCount2
fancyTags
0"he commented (comment)"
1"I snapped (snap)"
dialogueSentences42
tagDensity0.238
leniency0.476
rawRatio0.2
effectiveRatio0.095
80.6880%