Run: 2026-02-20-01KHY9GGYW475CBV7SFDJD1GR1

Run Details

Duration:
23.2s
Cost:
$0.000308
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 knob protested with a rusty shriek as Lucien Moreau pushed it open, the sound swallowed almost instantly by the overflowing chaos of Aurora’s flat. Dust motes danced in the weak afternoon light filtering through the grimy window overlooking Brick Lane, illuminating stacks of books threatening to topple, a half-disassembled music player lying on a velvet armchair, and a disconcerting number of porcelain skulls arranged haphazardly on a shelf. The air hung thick with the scent of Earl Grey tea, something vaguely metallic, and a lingering, almost feral, warmth. He didn’t bother to knock. He’d learned, after a particularly disastrous attempt at a polite “hello” six months prior, that Rory Carter preferred to operate on a system of calculated intrusion. He stepped inside, the worn Persian rug muffling his movements, and immediately registered the disconcerting absence of Ptolemy, Rory’s tabby. A single, meticulously placed origami crane sat on the coffee table, constructed from a sheet of deep crimson paper – an absurdly elegant gesture in this environment. He ran a gloved hand over the cane resting against the leg of the table, the ivory cool against the dampness of his skin. Six months. Six months of carefully constructed silences, deliberate avoidance, and a persistent, unsettling feeling that he was perpetually teetering on the edge of something precipitous. The door swung shut behind him with a soft, decisive click, and a voice, low and laced with an almost painful weariness, sliced through the quiet. "You’re early.” Rory stood in the doorway, leaning against the frame, arms crossed, a single, bright blue eye fixed on him with an expression that could generously be described as glacial. Her black hair, usually pulled back in a practical braid, had been allowed to cascade down her back in unruly waves. A smudge of charcoal dust adorned her cheek – a testament to her latest project, he presumed, involving a rather intricate rendering of a gargoyle. He hadn’t seen her properly in months, hadn’t deliberately sought her out. His presence here was a cold, calculated maneuver, fueled by a creeping suspicion that he was losing something vital. “Traffic was… persuasive,” he offered, his voice carefully neutral, attempting to mimic the detached elegance he’d cultivated over the years. He didn’t bother to preen. He knew, instinctively, that Rory wasn't interested in appearances. “And, honestly, I wasn’t sure if you’d even *let* me in.” She pushed herself away from the door, moving with a fluid grace that hadn’t diminished with time. She crossed the room, bypassing the coffee table and the skulls, and began to methodically straighten a precarious stack of books. “You’re a delightfully predictable man, Lucien. That’s… almost endearing.” Her tone held a sliver of something akin to amusement. “Predictability is a useful survival mechanism,” he replied, taking a measured step further into the room. “Especially in your line of work.” He gestured vaguely at the clutter, a subtle reminder of the shadowy world they’d both navigated. “It’s a rather messy profession,” she admitted, her fingers tracing the spine of a particularly ancient-looking tome. “Dealing with echoes. Whispers. And occasionally, desperate clients.” “Desperate clients often have underlying truths,” he observed, his gaze lingering on the crescent-shaped scar on her left wrist – a fragile reminder of a past she’d worked tirelessly to bury. “Truths worth uncovering.” She didn't acknowledge the scar. Instead, she pulled a small, silver flask from her pocket and poured a dark liquid into a chipped mug. "Earl Grey. Your usual.” He hesitated, then moved to stand beside her, allowing a respectful distance. "You remembered.” It wasn’t a question. It was a statement of fact, tinged with a hint of something he couldn't quite decipher. "Memory’s a peculiar thing, isn't it?" she said, taking a slow sip of the tea. “It tends to cling to the things that matter most.” Her eyes, so startlingly blue against her dark hair, seemed to pierce through him. "Like a persistent ghost." A silence descended, thick and uncomfortable, punctuated only by the rhythmic tick-tock of a grandfather clock tucked away in a corner – a sound that seemed abnormally loud in the confined space. He could smell the faint, metallic tang again, stronger now. Blood. “I received a rather intriguing message,” he said, breaking the silence. “Regarding a certain… missing person.” Rory’s hand tightened around the mug, the knuckles white. “And you’re investigating?” “It’s a regrettable necessity,” he replied, his voice carefully controlled. “The nature of my business, you see. I have a… vested interest in solutions.” He tapped the ivory handle of his cane, a subtle display of authority. “Vested interests rarely involve sentimental attachments,” she pointed out, her voice dry. “Sentimental attachments can be… surprisingly effective,” he countered, letting his gaze meet hers directly. The silence stretched again, heavier this time, laced with the unspoken history between them. He could feel the pull, the magnetic tension that had defined their brief, explosive affair six months ago – an affair cut short by a misplaced word, a shattered trust, and a desperate need to escape. Suddenly, a sharp, insistent rapping echoed from the front door. The sound startled them both. “That’ll be Eva,” Rory said, her voice barely a whisper. “She’s expecting me for a ‘study session’.” She used the word ‘expecting’ with a noticeable edge. Before he could respond, the door burst open, revealing Eva’s chaotic frame, framed by a tangle of dark hair and a laptop precariously balanced on her knee. Ptolemy, her tabby cat, sauntered in behind her, weaving through the clutter with infuriating nonchalance. “Sorry to barge in!” Eva exclaimed, her face flushed with excitement. “I’ve just found something… fascinating. It’s about the Harwood case. There’s a connection to the ritual site near Hampstead Heath.” She thrust a glossy photograph at Rory. “Look! A symbol. The same one we’ve been tracking.” Rory took the photograph, examining it with a professional detachment. “Intriguing,” she murmured. “But decidedly messy.” As she turned back to Lucien, her eyes flickered momentarily, a flicker of something that could have been regret, or perhaps irritation. "Lucien," she said, her voice low and urgent, "I need to talk to you about something. Something important." He stepped closer, deliberately closing the distance between them. The scent of Earl Grey mingled with the metallic tang, creating a heady, unsettling combination. “I imagine you do," he said, his voice a low murmur, his eyes locked on hers, a subtle, dangerous glint in their amber depths. "That's why you summoned me, after all." The ticking of the grandfather clock seemed to accelerate, each tick a measured pulse in the growing tension. The origami crane on the coffee table seemed to watch them, a silent, crimson witness to the rekindling of a dangerous, forbidden flame. And in that small, cluttered flat above Silas' bar, surrounded by the detritus of Rory's research and Lucien's carefully curated darkness, something old, something undeniably captivating, was about to ignite once more.
created_at"2026-02-20T19:47:59.607Z" 2/20/2026, 7:47:59 PM
model"google/gemma-3-4b-it"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency39
moderation_latency(null)
generation_time23061
tokens_prompt4581
tokens_completion1944
native_tokens_prompt4448
native_tokens_completion1622
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"
usage0.00030768
router(null)
provider_responses
0
endpoint_id"d3de3bd4-81bc-48fb-924f-2a87b2a36e75"
id"chatcmpl-RJapj1dQ3ztxd9DdtTzvUca5"
is_byokfalse
latency39
model_permaslug"google/gemma-3-4b-it"
provider_name"DeepInfra"
status200
api_type"completions"
id"gen-1771616879-rOclEFmzOs0XIP4THRbn"
upstream_id"chatcmpl-RJapj1dQ3ztxd9DdtTzvUca5"
total_cost0.00030768
cache_discount(null)
upstream_inference_cost0
provider_name"DeepInfra"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags21
adverbTagCount1
adverbTags
0"He gestured vaguely [vaguely]"
dialogueSentences33
tagDensity0.636
leniency1
rawRatio0.048
effectiveRatio0.048
69.64% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1153
totalAiIsmAdverbs7
found
0
adverb"carefully"
count4
1
adverb"deliberately"
count2
2
adverb"suddenly"
count1
highlights
0"carefully"
1"deliberately"
2"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)
0.00% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1153
totalAiIsms39
found
0
word"velvet"
count1
1
word"porcelain"
count1
2
word"warmth"
count1
3
word"calculated"
count2
4
word"constructed"
count2
5
word"testament"
count1
6
word"intricate"
count1
7
word"predictable"
count1
8
word"measured"
count2
9
word"reminder"
count2
10
word"navigated"
count1
11
word"tracing"
count1
12
word"echoes"
count1
13
word"tinged"
count1
14
word"silence"
count3
15
word"rhythmic"
count1
16
word"intriguing"
count2
17
word"unspoken"
count1
18
word"could feel"
count1
19
word"magnetic"
count1
20
word"tension"
count2
21
word"shattered"
count1
22
word"echoed"
count1
23
word"whisper"
count1
24
word"chaotic"
count1
25
word"fascinating"
count1
26
word"flickered"
count1
27
word"flicker"
count1
28
word"glint"
count1
29
word"depths"
count1
30
word"pulse"
count1
highlights
0"velvet"
1"porcelain"
2"warmth"
3"calculated"
4"constructed"
5"testament"
6"intricate"
7"predictable"
8"measured"
9"reminder"
10"navigated"
11"tracing"
12"echoes"
13"tinged"
14"silence"
15"rhythmic"
16"intriguing"
17"unspoken"
18"could feel"
19"magnetic"
20"tension"
21"shattered"
22"echoed"
23"whisper"
24"chaotic"
25"fascinating"
26"flickered"
27"flicker"
28"glint"
29"depths"
30"pulse"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches0
maxInWindow0
found(empty)
highlights(empty)
100.00% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells1
narrationSentences62
matches
0"d with excitement"
50.69% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount4
narrationSentences62
filterMatches(empty)
hedgeMatches
0"began to"
1"seemed to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences73
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen45
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans1
markdownWords1
totalWords1154
ratio0.001
matches
0"let"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions15
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions24
wordCount925
uniqueNames12
maxNameDensity0.86
worstName"Rory"
maxWindowNameDensity2
worstWindowName"Rory"
discoveredNames
Lucien2
Moreau1
Aurora1
Brick1
Lane1
Earl2
Grey2
Rory8
Carter1
Persian1
Ptolemy2
Eva2
persons
0"Lucien"
1"Moreau"
2"Aurora"
3"Earl"
4"Grey"
5"Rory"
6"Carter"
7"Eva"
places
0"Brick"
1"Lane"
globalScore1
windowScore1
5.77% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences52
glossingSentenceCount3
matches
0"something akin to amusement"
1"quite decipher"
2"seemed abnormally loud in the confined space"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1154
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences73
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs26
mean44.38
std27.79
cv0.626
sampleLengths
0121
197
228
3106
445
557
638
725
834
928
1034
1143
1243
1316
1412
1537
1612
1764
1815
1926
2042
2147
2216
2340
2455
2573
99.60% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences62
matches
0"been allowed"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs148
matches
0"was losing"
0.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount5
semicolonCount0
flaggedSentences5
totalSentences73
ratio0.068
matches
0"A single, meticulously placed origami crane sat on the coffee table, constructed from a sheet of deep crimson paper – an absurdly elegant gesture in this environment."
1"A smudge of charcoal dust adorned her cheek – a testament to her latest project, he presumed, involving a rather intricate rendering of a gargoyle."
2"“Desperate clients often have underlying truths,” he observed, his gaze lingering on the crescent-shaped scar on her left wrist – a fragile reminder of a past she’d worked tirelessly to bury."
3"A silence descended, thick and uncomfortable, punctuated only by the rhythmic tick-tock of a grandfather clock tucked away in a corner – a sound that seemed abnormally loud in the confined space."
4"He could feel the pull, the magnetic tension that had defined their brief, explosive affair six months ago – an affair cut short by a misplaced word, a shattered trust, and a desperate need to escape."
73.31% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount778
adjectiveStacks0
stackExamples(empty)
adverbCount43
adverbRatio0.055269922879177376
lyAdverbCount28
lyAdverbRatio0.03598971722365039
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences73
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences73
mean15.81
std9.37
cv0.593
sampleLengths
026
144
220
35
426
520
627
724
82
924
1026
112
1229
1321
1425
1512
1619
1720
185
199
2011
2117
2221
2319
2416
2522
2617
278
2831
293
305
3119
324
3312
346
3516
3615
3724
384
3932
4010
411
4211
435
449
453
4610
4727
4812
4914
76.26% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats6
diversityRatio0.5068493150684932
totalSentences73
uniqueOpeners37
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences59
matches
0"Instead, she pulled a small,"
1"Suddenly, a sharp, insistent rapping"
ratio0.034
0.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount35
totalSentences59
matches
0"He didn’t bother to knock."
1"He’d learned, after a particularly"
2"He stepped inside, the worn"
3"He ran a gloved hand"
4"Her black hair, usually pulled"
5"He hadn’t seen her properly"
6"His presence here was a"
7"he offered, his voice carefully"
8"He didn’t bother to preen."
9"He knew, instinctively, that Rory"
10"She pushed herself away from"
11"She crossed the room, bypassing"
12"Her tone held a sliver"
13"he replied, taking a measured"
14"He gestured vaguely at the"
15"she admitted, her fingers tracing"
16"he observed, his gaze lingering"
17"She didn't acknowledge the scar."
18"He hesitated, then moved to"
19"It wasn’t a question"
ratio0.593
10.85% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount53
totalSentences59
matches
0"The brass knob protested with"
1"Dust motes danced in the"
2"The air hung thick with"
3"He didn’t bother to knock."
4"He’d learned, after a particularly"
5"He stepped inside, the worn"
6"A single, meticulously placed origami"
7"He ran a gloved hand"
8"The door swung shut behind"
9"Rory stood in the doorway,"
10"Her black hair, usually pulled"
11"A smudge of charcoal dust"
12"He hadn’t seen her properly"
13"His presence here was a"
14"he offered, his voice carefully"
15"He didn’t bother to preen."
16"He knew, instinctively, that Rory"
17"She pushed herself away from"
18"She crossed the room, bypassing"
19"Her tone held a sliver"
ratio0.898
84.75% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences59
matches
0"Before he could respond, the"
ratio0.017
47.62% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences30
technicalSentenceCount4
matches
0"Rory stood in the doorway, leaning against the frame, arms crossed, a single, bright blue eye fixed on him with an expression that could generously be described…"
1"A silence descended, thick and uncomfortable, punctuated only by the rhythmic tick-tock of a grandfather clock tucked away in a corner – a sound that seemed abn…"
2"He could feel the pull, the magnetic tension that had defined their brief, explosive affair six months ago – an affair cut short by a misplaced word, a shattere…"
3"As she turned back to Lucien, her eyes flickered momentarily, a flicker of something that could have been regret, or perhaps irritation."
29.76% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags21
uselessAdditionCount4
matches
0"he replied, his voice carefully controlled"
1"she pointed out, her voice dry"
2"Rory said, her voice barely a whisper"
3"she said, her voice low and urgent,"
28.79% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags11
fancyCount4
fancyTags
0"she admitted (admit)"
1"he observed (observe)"
2"Eva exclaimed (exclaim)"
3"she murmured (murmur)"
dialogueSentences33
tagDensity0.333
leniency0.667
rawRatio0.364
effectiveRatio0.242
72.5680%