Run: 2026-02-20-01KHY9SQY9N67HBDQDZ2S7Q6B3

Run Details

Duration:
31.2s
Cost:
$0.001445
Provider:
Seed

Model input

System
You are an expert and award-winning novel writer in the dark Literary Fiction genre. Your readers are hooked on your stories and can't wait to read the book you have in store. <important> - MUST: Start each chapter in medias res (in the middle of action). AVOID talking about the weather, time of day, the position of the sun, or other boring stuff. - The instructions/summary are just a that, a summary. Feel free to add details, stretch sections and add interesting transitions/descriptions/fillers. - When called for it, have fast-paced action, but otherwise take things slow. This is an experience, and not for people with short attention spans. Enjoy the wine, not slurp Red Bull. - Add descriptions when transitioning places/times/etc, or when coming by new places (e.g. a corner shop, a cafe, etc.). But remember: NOT at the start or end of a chapter. - MUST: AVOID ending in internal monologue, reminiscing or waiting for the next day. A good chapter end is when we're ending right when shit hits the fan. We want to have the reader be excited for what comes next. So no reminiscing, contemplating or summarizing the day. It's popcorn time! </important>
User/Human
Take into account the following glossary of characters/locations/items/lore... when writing your response: <codex> <character id="4412" name="Aurora Carter" aliases="Rory, Laila, Aurora, Carter, Malphora" pronouns="she/her" species="Human" storyRole="Protagonist"> <eyeColor>bright blue</eyeColor> <hair>straight shoulder-length black</hair> <height>5'6"</height> <age>25</age> <scar>small crescent-shaped scar on her left wrist from a childhood accident</scar> <description>Aurora, referred to by her friends as Rory, is cool-headed, intelligent, and known for quick out-of-the-box thinking.</description> <backstory>Born in Cardiff to an Irish barrister father (Brendan Carter) and Welsh teacher mother (Jennifer Carter née Ellis), Rory reluctantly pursued Pre-Law at Cardiff University. She fled to London at the behest of her childhood friend Eva after leaving an abusive ex named Evan. By day, Rory works part-time as a delivery person for Yu-Fei Cheung's Golden Empress restaurant. She lives in a flat above Silas' bar.</backstory> </character> <character id="4413" name="Silas Blackwood" aliases="Silas, Si, the Spymaster" pronouns="he/him" species="Human" storyRole="Mentor"> <eyeColor>hazel</eyeColor> <hair>grey-streaked auburn</hair> <height>6'1"</height> <age>58</age> <beard>neatly trimmed, matching his grey-streaked auburn hair</beard> <limp>slight limp in his left leg from an old knee injury</limp> <signetRing>silver signet ring, always worn on his right hand</signetRing> <description>Silas is a retired intelligence operative turned bar owner. He carries himself with quiet authority.</description> <backstory>Former MI6 field agent who retired after a botched operation in Prague left him with a permanent knee injury. He opened "The Raven's Nest" bar in Soho as a front for his network of contacts.</backstory> </character> <location id="854" name="The Raven's Nest" aliases="the Nest, Raven, Silas' bar" realm="Earth"> <signColor>distinctive green neon sign above the entrance</signColor> <secretRoom>hidden back room accessible through a bookshelf, used for clandestine meetings</secretRoom> <description>A dimly lit bar in Soho, London. The walls are covered with old maps and black-and-white photographs.</description> </location> </codex> <proseGuidelines> <styleGuide> - Write in past tense and use British English spelling and grammar - Keep a Flesch reading ease score of 60 - Respect the the Royal Order of Adjectives: The order is: opinion, size, age, shape, color, origin, material, purpose, followed by the noun itself (e.g., "a lovely little old rectangular green French silver whittling knife") - Respect the ablaut reduplication rule (e.g. tick-tock, flip-flop) - Write in active voice - Passive voice: <bad>The book was read by Sarah.</bad> - Active voice: <good>Sarah read the book.</good> - Reduce the use of passive verbs - <bad>For a moment, I was tempted to throw in the towel.</bad> - <good>For a moment, I felt tempted to throw in the towel.</good> - Avoid misplaced modifiers that can cause confusion when starting with "-ing" words: - <bad>Considering going to the store, the empty fridge reflected in Betty's eyes.</bad> - <good>Betty stared into the empty fridge. It was time to go to the store.</good> - Avoid redundant adverbs that state the obvious meaning already contained in the verb: - <bad>She whispered quietly to her mom.</bad> - <good>She whispered to her mom.</good> - Use stronger, more descriptive verbs over weak ones: - <bad>Daniel drove quickly to his mother's house.</bad> - <good>Daniel raced to his mother's house.</good> - Omit adverbs that don't add solid meaning like "extremely", "definitely", "truly", "very", "really": - <bad>The movie was extremely boring.</bad> - <good>The movie was dull.</good> - Use adverbs to replace clunky phrasing when they increase clarity: - <bad>He threw the bags into the corner in a rough manner.</bad> - <good>He threw the bags into the corner roughly.</good> - Avoid making simple thoughts needlessly complex: - <bad>After I woke up in the morning the other day, I went downstairs, turned on the stove, and made myself a very good omelet.</bad> - <good>I cooked a delicious omelet for breakfast yesterday morning.</good> - Never backload sentences by putting the main idea at the end: - <bad>I decided not to wear too many layers because it's really hot outside.</bad> - <good>It's sweltering outside today, so I dressed light.</good> - Omit nonessential details that don't contribute to the core meaning: - <bad>It doesn't matter what kind of coffee I buy, where it's from, or if it's organic or not—I need to have cream because I really don't like how the bitterness makes me feel.</bad> - <good>I add cream to my coffee because the bitter taste makes me feel unwell.</good> - Always follow the "show, don't tell" principle. For instance: - Telling: <bad>Michael was terribly afraid of the dark.</bad> - Showing: <good>Michael tensed as his mother switched off the light and left the room.</good>- Telling: <bad>I walked through the forest. It was already Fall, and I was getting cold.</bad> - Showing: <good>Dry orange leaves crunched under my feet. I pulled my coat's collar up and rubbed my hands together.</good>- Add sensory details (sight, smell, taste, sound, touch) to support the "showing" (but keep an active voice) - <bad>The room was filled with the scent of copper.</bad> - <good>Copper stung my nostrils. Blood. Recent.</good> - Use descriptive language more sporadically. While vivid descriptions are engaging, human writers often use them in bursts rather than consistently throughout a piece. When adding them, make them count! Like when we transition from one location to the next, or someone is reminiscing their past, or explaining a concept/their dream... - Avoid adverbs and clichés and overused/commonly used phrases. Aim for fresh and original descriptions. - Avoid writing all sentences in the typical subject, verb, object structure. Mix short, punchy sentences with long, descriptive ones. Drop fill words to add variety. Like so: <good>Locked. Seems like someone doesn't want his secrets exposed. I can work with that.</good> - Convey events and story through dialogue. It is important to keep a unique voice for every character and make it consistent. - Write dialogue that reveals characters' personalities, motivations, emotions, and attitudes in an interesting and compelling manner - Leave dialogue unattributed. If needed, only use "he/she said" dialogue tags and convey people's actions or face expressions through their speech. Dialogue always is standalone, never part of a paragraph. Like so: - <bad>"I don't know," Helena said nonchalantly, shrugging her shoulders</bad> - <good>"No idea" "Why not? It was your responsibility"</good> - Avoid boring and mushy dialog and descriptions, have dialogue always continue the action, never stall or include unnecessary fluff. Vary the descriptions to not repeat yourself. Avoid conversations that are just "Let's go" "yes, let's" or "Are you ready?" "Yes I'm ready". Those are not interesting. Think hard about every situtation and word of text before writing dialogue. If it doesn't serve a purpose and it's just people talking about their day, leave it. No one wants to have a normal dinner scene, something needs to happen for it to be in the story. Words are expensive to print, so make sure they count! - Put dialogue on its own paragraph to separate scene and action. - Use body language to reveal hidden feelings and implied accusations- Imply feelings and thoughts, never state them directly - NEVER use indicators of uncertainty like "trying" or "maybe" - NEVER use em-dashes, use commas for asides instead </styleGuide> <voiceGuide> Each character in the story needs to have distinct speech patterns: - Word choice preferences - Sentence length tendencies - Cultural/educational influences - Verbal tics and catchphrases Learn how each person talks and continue in their style, and use their Codex entries as reference. <examples> - <bad>"We need to go now." "Yes, we should leave." "I agree."</bad> <good>"Time's up." "Indeed, our departure is rather overdue." "Whatever, let's bounce."</good> - Power Dynamic Example: <bad> "We need to discuss the contract." "Yes, let's talk about it." "I have concerns." </bad> <good> "A word about the contract." "Of course, Mr. Blackwood. Whatever you need." "The terms seem..." A manicured nail tapped the desk. "Inadequate." "I can explain every-" "Can you?" </good> </examples> </voiceGuide> <dialogueFlow> When writing dialogue, consider that it usually has a goal in mind, which gives it a certain flow. Make dialogue sections also quite snappy in the back and forth, and don't spread the lines out as much. It's good to have details before, after, or as a chunk in-between, but we don't want to have a trail of "dialogue breadcrumbs" spread throughout a conversation. <examples> - Pattern 1 - Question/Deflection/Revelation: <good> "Where were you last night?" "Work. The usual." "Lipstick's an interesting shade for spreadsheets." </good> - Pattern 2 - Statement/Contradiction/Escalation: <good> "Your brother's clean." "Tommy doesn't touch drugs." "I'm holding his tox screen." </good> - Pattern 3 - Observation/Denial/Truth: <good> "That's a new watch." "Birthday gift." "We both know what birthdays mean in this business." </good> - Example - A Simple Coffee Order: <bad> "I'll have a coffee." "What size?" "Large, please." </bad> <good> "Black coffee.""Size?""Large. Been a long night." "That bodega shooting?" "You watch too much news." "My brother owns that store." </good> This short exchange: - Advances plot (reveals connection to crime) - Shows character (cop working late) - Creates tension (unexpected connection) - Sets up future conflict (personal stake) - Example - Dinner Scene: <bad> "Pass the salt." "Here you go." "Thanks." </bad> <good> "Salt?" "Perfect as is. Mother's recipe." "Mother always did prefer... bland things." "Unlike your first wife?" </good> - Example - Office Small Talk: <bad> "Nice weather today." "Yes, very nice." "Good for golf." </bad> <good> "Perfect golf weather." "Shame about your membership." "Temporary suspension. Board meets next week." "I know. I called the vote." </good> </examples> </dialogueFlow> <subtextGuide> - Layer dialogue with hidden meaning: <bad>"I hate you!" she yelled angrily.</bad> <good>"I made your favorite dinner." The burnt pot sat accusingly on the stove.</good> - Create tension through indirect communication: <bad>"Are you cheating on me?"</bad> <good>"Late meeting again?" The lipstick stain on his collar caught the light.</good> <examples> - Example 1 - Unspoken Betrayal: <bad> "Did you tell them about our plans?" "No, I would never betray you." "I don't believe you." </bad> <good> "Funny. Johnson mentioned our expansion plans today." "The market's full of rumors." "Mentioned the exact numbers, actually." The pen in his hand snapped. </good> - Example 2 - Failed Marriage: <bad> "You're never home anymore." "I have to work late." "I miss you." </bad> <good> "Your dinner's in the microwave. Again." "Meetings ran long." "They always do." She folded the same shirt for the third time. </good> - Example 3 - Power Struggle: <bad> "You can't fire me." "I'm the boss." "I'll fight this." </bad> <good> "That's my father's nameplate you're sitting behind." "Was." "The board meeting's on Thursday." </good> </examples> </subtextGuide> <sceneDetail> While writing dialogue makes things more fun, sometimes we need to add detail to not have it be a full on theatre piece. <examples> - Example A (Power Dynamic Scene) <good> "Where's my money?" The ledger snapped shut. "I need more time." "Interesting." He pulled out a familiar gold pocket watch. My mother's. "Time is exactly what you bargained with last month." "That was different-" "Was it?" The watch dangled between us. "Four generations of O'Reillys have wound this every night. Your mother. Your grandmother. Your great-grandmother.Shall we see who winds it next?" </good> - Example B (Action Chase) It's much better to be in the head of the character experiencing it, showing a bit of their though-process, mannerisms and personality: <good> Three rules for surviving a goblin chase in Covent Garden: Don't run straight. Don't look back. Don't let them herd you underground. I broke the first rule at Drury Lane. Rookie mistake. The fruit cart I dodged sailed into the wall behind me. Glass shattered. Someone screamed about insurance. *Tourist season's getting rough*, the scream seemed to say. Londoners adapt fast. "Oi! Market's closed!" The goblin's accent was pure East End. They're evolving. Learning. I spotted the Warren Street tube station sign ahead. *Shit.* There went rule three. </good> - Example C (Crime Scene Investigation) <good> "Greek." Davies snapped photos of the symbols. "No, wait. Reverse Greek." "Someone's been watching too many horror films." I picked up a receipt from the floor. Occult supply shop in Camden. Paid by credit card. *Amateur hour*. "Could be dangerous though," Davies said. "Remember Bristol?" "Bristol was Sanskrit. And actual cultists." I pointed to the nearest symbol. "This genius wrote 'darkness' backwards but used a Sigma instead of an S. It's summoning Instagram followers at best." "Speaking of followers..." Davies pointed to heavy foot traffic in the dust. Multiple sets. All new trainers. *Ah.* "Anyone check local uni paranormal societies?" </good> - Example D (Dialogue-heavy) <good> "Found your card in her wallet." The detective slid it across the table. Worn edges. Folded corner. Three years old at least. "Standard practice. I work missing persons." "Funny thing about missing persons.Eventually they stop being missing. Turn up in the Thames. Under motorways. In pieces." "I don't-" "You found four last year. All breathing." She opened a file. "This would've been your first dead one. If we hadn't found her first." The card felt heavier somehow. </good> </examples> </sceneDetail> <sceneOpenings> KEY RULE: Never open with more than one paragraph of description, no matter how beautiful. Description should be earned through action and dialogue. Instead of opening with setting description, open with: - A character doing something specific - A line of dialogue that raises questions - An unexpected observation - A moment of tension or conflict - Start with a hook that's 1-2 sentences maximum - Follow with a smaller paragraph that provides immediate context - Vary paragraph size from the start to create visual interest </sceneOpenings> </proseGuidelines> Write a chapter based on the following instructions: <instructions> Write a fully fleshed out scene of at least 1000 words in the literary fiction genre. Two old friends who haven't seen each other in years run into each other unexpectedly at a bar. One of them has changed significantly. Through their conversation and the tension between who they were and who they've become, reveal the weight of time and unspoken regret. Use the codex entries above as your world reference for characters and setting. Only include the prose of the scene without any markdown or commentary. </instructions>

Model response

AI
The bell above the bar jingles as Rory pushes through it, the door creaking like an old ship’s plank. She pauses, palm to the frame, and squints. The Raven’s Nest is supposed to be dead this late—drawstring bags of spent coffee grounds sit by the trash, and the green neon sign flickers, half-burned out. But there’s a glow behind the bar, faint, like a single candle in a well. Her boots scuff the linoleum. Delivery past eight means Yu-Fei’s fresh garlic chicken is likely cold, but the tip was a tenner, so she’d bitten off the protest. Now, she sets the carrier down, notices the whiskey decanter is gone from the shelf—*he always keeps it*—and her throat tightens. Silas doesn’t close early unless… “Evening, Rory.” The voice is lower, rumbly, like gravel in a tin cup. She spins. Silas is behind the bar, not his usual stool, but perched on a crate, his back to the mirror. His auburn hair is flatter than she remembers, the grey streaks more pronounced, but his posture—*that* doesn’t change. Shoulders back, jaw set, like he’s still waiting for a comms beep in his ear. He’s got his coat off, revealing a white shirt rolled to his elbows, and his signet ring glints on his right hand, gold light catching the stone. “Jesus,” she says, and her voice cracks. She swallows, wipes her palm on her cargo pants. “Thought you were in bed. Knee’s been acting up.” “Knees hate saints,” he says, and it’s the same joke he told when she was sixteen, sneaking into the hidden room after curfew, covered in ash from a witness interview gone wrong. “You’re late.” “Yu-Fei’s kitchen’s a maze. She thinks ‘quick’ is a swear word.” She nods at the carrier. “Garlic chicken. Tenner tip. You want some?” He shakes his head. “Aurora.” The first name. Not *Rory*, not *Carter*. *Aurora*. Like he’s about to ask her to name the stars. She freezes. “What? Did I mess up the delivery? The order was for Mr. Hale on Charing Cross—” “Eva got married last week.” Her chest constricts. She can’t breathe. Eva. Her best friend, the one who’d driven her to London at three a.m. with a duffel and a thermos of tea, screaming about Evan’s knuckles on her door. *“He’s not worth it, Rory. You’re smarter than this.”* “You heard from her?” Silas shifts, the crate groaning. “A mutual friend. Bit of a fuss. She’s in Dublin now. Runs a yoga studio. Says she still keeps the photo of us at the pier—” He stops, and she sees it: the way his fingers tap the bar, fast, like he’s counting seconds. “You never wrote.” “I wrote letters,” she says, sharp. “Addressed to you, to *the bar*. They came back stamped ‘return to sender.’” He flinches. “I didn’t get them. A year after you left, the flat… it sold. I thought—” “You thought I didn’t want to be found.” “I thought you’d burned every bridge.” *Burned.* The word tastes like ash. She runs a hand over her wrist, the crescent scar catching the light. Evan’s knife, slipped. Eva’s tears, the way she’d held her, saying, *“He’ll kill you. You have to go.”* “I did burn,” she says, quiet now. “Evan. For a while, I thought… burning bridges was the only way to stay alive.” Silas is on his feet before she realizes he’s moving, his left leg dragging. “Don’t.” “Don’t what?” “Diminish it.” He stops in front of her, too close, and she smells sandalwood and motor oil, the scent of his cologne from when he’d taught her to pick locks at twenty-one. “You think I don’t know what it’s like to burn? Prague. Fire. A man with a gun in my face, a child in the crossfire—” He cuts himself off, jaw tight. “You were *fifteen*. Stumbling into my life, bleeding from a broken wrist, saying you wanted to ‘fix the world, one lie at a time.’ That’s not someone who burns bridges. That’s someone who *needs* a bridge.” She steps back. “You didn’t fight for me.” “I didn’t *know* how.” His voice cracks, and she sees it then—*the regret*, raw and ugly, in his hazel eyes. “You kept saying Evan would ‘take care of you.’ I thought… I thought you could handle it. That you didn’t need me.” “I needed you,” she whispers. “I needed *anyone*. But you were too busy being the spymaster, saving the world. I was just… Rory Carter, with a broken wrist and a dream that got burned.” He reaches out, hesitates, then rests a hand on her arm. His skin is warm, calloused—she remembers how he’d taught her to shoot a revolver, how his hands had covered hers, steadying her as she pulled the trigger. “You’re not Rory Carter anymore. You’re *Aurora*. And Aurora doesn’t need a lie.” The bell jingles again, and a gust of wind slams the door. Rory jumps, her hand flying to the knife in her boot—*old habit, from Evan*—but the person on the threshold is a regular, a skinny bloke with a lisp, and she lets it fall. Silas follows her gaze, sighs. “Ian’s lost his key again. Should’ve fixed that lock years ago.” “You should’ve retired,” she says, before she can stop herself. He stiffens. “And let you burn out alone? I tried, you know. To find you. To send money. You sent it back. Said you ‘didn’t want charity.’” “I wanted *help*. Not charity.” She crosses her arms, but the tension in her shoulders eases, just a little. “What are you doing here, anyway? It’s after midnight.” “Waiting for you.” The words hang. She blinks. “For me? Why?” “Because you’re not the only one who burns bridges. Some of us like to build them back up. Slowly.” He nods at the carrier. “Garlic chicken’s going cold, by the way. Yu-Fei’s gonna skin you.” She manages a smile. “Good. Let her. I’m too tired to argue.” Silas unlocks a drawer, pulls out two glasses and the last of the whiskey. “Tea?” he offers. “Tea’s for mornings. Save the whiskey.” He pours, the liquid gold sloshing into the glasses. They clink. Outside, a car backfires. She tenses, then relaxes, her thumb brushing the scar on her wrist. “Evan’s dead,” she says, quiet. Silas stills. His glass hovers halfway to his mouth. “I heard. A usefully timed ‘accident.’” “Yu-Fei delivered his takeaway the night he died. Said he was drunk, muttering about a girl with blue eyes.” She looks at Silas, at the way his fingers clamp around the glass, at the way his jaw tightens. “You knew, didn’t you?” “Evan was a liability.” “A *liability*? He hit me, Silas. He *broke* my wrist. You could’ve… you could’ve had him arrested.” “You were in love with him.” It’s not a question. “I was *scared*,” she says, and it’s the first time she’s said it out loud, the words hot and thick. “He made me feel small. Like I was nothing without him. And you… you never saw me as anything but a project. A kid with a grudge.” “Then why did you come back?” “Because the bar’s here. Because Eva’s here. Because… I don’t know. I thought maybe you could still fix me.” He sets his glass down. “I can’t fix you, Aurora. But I can *watch* you. If you’ll let me.” A car door slams in the street. Somewhere, a radio plays a song from 2012—*Rory’s* year, before Evan. She closes her eyes, remembers the way she’d felt, back then: *alive*, even with a broken wrist. Silas stands, his limp worse now, but he doesn’t rush. He waits. A car horn blares. Farther down the street, a police siren wails. “Tonight,” she says, finally, “I’ll let you watch. Tomorrow… tomorrow, you can help me burn something that *needs* burning.” He smiles, and it’s the first time she’s seen it since she left—close-lipped, but real. “Agreed. But no more whiskey before noon. You know Yu-Fei’s rules about hangovers.” She rolls her eyes, but she’s smiling now. She grabs the carrier, starts to walk toward the kitchen, then pauses. “Oh. Silas?” He looks up. “Yeah?” “Thanks.” “Told you I didn’t come here to watch.” He leans back on the bar, opens a drawer, and pulls out a pack of cigarettes—*her* cigarettes, the ones she’d left behind five years ago. “Light me up, will you? Before Ian breaks his neck trying to climb the doorframe.” She grins, fumbles in her pocket for a lighter. The flame catches, and the room is suddenly warm, the neon sign flickering to life, green light washing over them. Somewhere, a clock chimes midnight. And for the first time in years, Aurora Carter doesn’t feel like she’s burning. She feels like she’s *starting* again. The bell jingles once more, and Rory’s head snaps up. Eva’s face is in the window, lit by the streetlamp, her yoga pants loose, her hair braided, a bouquet of daisies in her hand. “*Send help*,” Rory mouths, grinning. Eva winks, turns, and disappears into the night. Silas follows her gaze, smirks. “Told you bridges are for rebuilding.” Rory doesn’t argue. She grabs her keys, tucks the lighter into her pocket, and heads for the door. “Tea first,” she says. “Then we talk about bridges.” “Deal.” And as she slips outside, the neon sign blinks, casting green shadows over the scar on her wrist—fainter now, but still there, a reminder of where she came from, and where she’s going. The world outside is cold, but warm air leaks from the open door of the bar, and for the first time in years, Aurora Carter doesn’t feel alone. The chapter ends with Rory stepping into the night, the bar’s light bleeding behind her, and Silas watching until she’s out of sight—his signet ring catching the moonlight, a promise, quiet and unspoken, that no bridge is ever truly burned.
created_at"2026-02-20T19:53:01.672Z" 2/20/2026, 7:53:01 PM
model"bytedance-seed/seed-1.6-flash-20250625"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency744
moderation_latency(null)
generation_time31085
tokens_prompt4618
tokens_completion3922
native_tokens_prompt4570
native_tokens_completion3673
native_tokens_completion_images(null)
native_tokens_reasoning1171
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"
usage0.00144465
router(null)
provider_responses
0
endpoint_id"e01a1227-001b-44d4-a376-90850668fa84"
id"0217716171819034288fe53d7c9130f34413480585e6836caa590"
is_byokfalse
latency461
model_permaslug"bytedance-seed/seed-1.6-flash-20250625"
provider_name"Seed"
status200
api_type"completions"
id"gen-1771617181-LWvx8puIJleFtoA5O4Ag"
upstream_id"0217716171819034288fe53d7c9130f34413480585e6836caa590"
total_cost0.00144465
cache_discount(null)
upstream_inference_cost0
provider_name"Seed"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags22
adverbTagCount1
adverbTags
0"He leans back [back]"
dialogueSentences69
tagDensity0.319
leniency0.638
rawRatio0.045
effectiveRatio0.029
90.94% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1656
totalAiIsmAdverbs3
found
0
adverb"slowly"
count1
1
adverb"suddenly"
count1
2
adverb"truly"
count1
highlights
0"slowly"
1"suddenly"
2"truly"
100.00% AI-ism character names
Target: 0 AI-default names (16 tracked, −20% each)
codexExemptions
0"Blackwood"
found(empty)
100.00% AI-ism location names
Target: 0 AI-default location names (33 tracked, −20% each)
codexExemptions(empty)
found(empty)
90.94% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1656
totalAiIsms3
found
0
word"tension"
count1
1
word"reminder"
count1
2
word"unspoken"
count1
highlights
0"tension"
1"reminder"
2"unspoken"
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
emotionTells0
narrationSentences98
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences98
filterMatches(empty)
hedgeMatches
0"starts to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences144
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen44
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans27
markdownWords50
totalWords1645
ratio0.03
matches
0"he always keeps it"
1"that"
2"Rory"
3"Carter"
4"Aurora"
5"“He’s not worth it, Rory. You’re smarter than this.”"
6"the bar"
7"Burned."
8"“He’ll kill you. You have to go.”"
9"fifteen"
10"needs"
11"know"
12"the regret"
13"anyone"
14"Aurora"
15"old habit, from Evan"
16"help"
17"liability"
18"broke"
19"scared"
20"watch"
21"Rory’s"
22"alive"
23"needs"
24"her"
25"starting"
26"Send help"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions26
unquotedAttributions0
matches(empty)
83.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions37
wordCount1031
uniqueNames10
maxNameDensity1.07
worstName"Silas"
maxWindowNameDensity2.5
worstWindowName"Silas"
discoveredNames
Rory8
Raven1
Nest1
Yu-Fei1
London1
Evan4
Silas11
Aurora3
Carter3
Eva4
persons
0"Rory"
1"Raven"
2"Yu-Fei"
3"Evan"
4"Silas"
5"Aurora"
6"Carter"
7"Eva"
places
0"London"
globalScore0.967
windowScore0.833
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences57
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches1
per1kWords0.608
wordCount1645
matches
0"not his usual stool, but perched on a crate, his back to the mirror"
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount0
totalSentences144
matches(empty)
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs75
mean21.93
std19
cv0.866
sampleLengths
069
154
22
311
42
579
625
734
823
95
1018
1118
125
1344
144
1552
1619
1717
188
196
2037
2122
2215
232
2499
258
2642
2734
2851
2945
3016
3110
3227
3328
343
358
3635
3712
3817
396
4011
4116
425
4315
4442
454
4617
4710
4847
496
98.10% Passive voice overuse
Target: ≤2% passive sentences
passiveCount2
totalSentences98
matches
0"is supposed"
1"is gone"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs182
matches(empty)
0.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount14
semicolonCount0
flaggedSentences11
totalSentences144
ratio0.076
matches
0"The Raven’s Nest is supposed to be dead this late—drawstring bags of spent coffee grounds sit by the trash, and the green neon sign flickers, half-burned out."
1"Now, she sets the carrier down, notices the whiskey decanter is gone from the shelf—*he always keeps it*—and her throat tightens."
2"His auburn hair is flatter than she remembers, the grey streaks more pronounced, but his posture—*that* doesn’t change."
3"“I didn’t *know* how.” His voice cracks, and she sees it then—*the regret*, raw and ugly, in his hazel eyes."
4"His skin is warm, calloused—she remembers how he’d taught her to shoot a revolver, how his hands had covered hers, steadying her as she pulled the trigger."
5"Rory jumps, her hand flying to the knife in her boot—*old habit, from Evan*—but the person on the threshold is a regular, a skinny bloke with a lisp, and she lets it fall."
6"Somewhere, a radio plays a song from 2012—*Rory’s* year, before Evan."
7"He smiles, and it’s the first time she’s seen it since she left—close-lipped, but real."
8"“Told you I didn’t come here to watch.” He leans back on the bar, opens a drawer, and pulls out a pack of cigarettes—*her* cigarettes, the ones she’d left behind five years ago."
9"And as she slips outside, the neon sign blinks, casting green shadows over the scar on her wrist—fainter now, but still there, a reminder of where she came from, and where she’s going."
10"The chapter ends with Rory stepping into the night, the bar’s light bleeding behind her, and Silas watching until she’s out of sight—his signet ring catching the moonlight, a promise, quiet and unspoken, that no bridge is ever truly burned."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1040
adjectiveStacks0
stackExamples(empty)
adverbCount26
adverbRatio0.025
lyAdverbCount7
lyAdverbRatio0.006730769230769231
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences144
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences144
mean11.42
std9.57
cv0.837
sampleLengths
019
18
227
315
45
523
621
75
82
911
102
1119
1218
1315
1427
157
169
179
1832
192
2016
217
224
231
243
254
261
2710
282
2916
305
313
323
331
3413
3515
369
374
385
3944
403
416
4213
432
4415
458
466
476
4813
493
56.02% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats6
diversityRatio0.3611111111111111
totalSentences144
uniqueOpeners52
78.43% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences85
matches
0"Somewhere, a radio plays a"
1"Somewhere, a clock chimes midnight."
ratio0.024
12.94% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount44
totalSentences85
matches
0"She pauses, palm to the"
1"Her boots scuff the linoleum."
2"His auburn hair is flatter"
3"He’s got his coat off,"
4"she says, and her voice"
5"She swallows, wipes her palm"
6"he says, and it’s the"
7"She nods at the carrier"
8"He shakes his head."
9"Her chest constricts."
10"She can’t breathe."
11"Her best friend, the one"
12"He stops, and she sees"
13"she says, sharp"
14"She runs a hand over"
15"she says, quiet now"
16"He stops in front of"
17"He cuts himself off, jaw"
18"She steps back."
19"His voice cracks, and she"
ratio0.518
30.59% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount73
totalSentences85
matches
0"The bell above the bar"
1"She pauses, palm to the"
2"The Raven’s Nest is supposed"
3"Her boots scuff the linoleum."
4"Delivery past eight means Yu-Fei’s"
5"Silas doesn’t close early unless…"
6"The voice is lower, rumbly,"
7"Silas is behind the bar,"
8"His auburn hair is flatter"
9"Shoulders back, jaw set, like"
10"He’s got his coat off,"
11"she says, and her voice"
12"She swallows, wipes her palm"
13"he says, and it’s the"
14"She nods at the carrier"
15"He shakes his head."
16"The first name."
17"Her chest constricts."
18"She can’t breathe."
19"Her best friend, the one"
ratio0.859
58.82% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount1
totalSentences85
matches
0"Now, she sets the carrier"
ratio0.012
100.00% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences34
technicalSentenceCount1
matches
0"The chapter ends with Rory stepping into the night, the bar’s light bleeding behind her, and Silas watching until she’s out of sight—his signet ring catching th…"
34.09% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags22
uselessAdditionCount4
matches
0"she says, sharp"
1"He cuts, jaw tight"
2"she says, quiet"
3"she says, finally,"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags11
fancyCount2
fancyTags
0"she whispers (whisper)"
1"Rory mouths (mouth)"
dialogueSentences69
tagDensity0.159
leniency0.319
rawRatio0.182
effectiveRatio0.058
84.4738%