Run: 2026-02-20-01KHYABS7Y65MBRJNZJ5Q11BNF

Run Details

Duration:
26.7s
Cost:
$0.002316
Provider:
xAI

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
Rory slammed the delivery bag onto the scarred oak counter, the zipper's rasp cutting through the bar's low hum. A pint glass teetered, foam spilling over in a lazy cascade. She wiped her hand on her jeans, ignoring the sticky residue, and scanned the room for Silas. The Raven's Nest pulsed with its usual Friday crowd—shadowy figures hunched over half-empty whiskies, the air thick with cigarette smoke that clung to the old maps pinned to the walls like forgotten secrets. "Evening, love. Another round for the lads?" Silas emerged from behind the bar, his slight limp barely noticeable as he slid a rag across the surface. His hazel eyes flicked to the bag, then back to her face, the silver signet ring glinting under the dim lamps. She nodded, unzipping the bag to reveal steaming containers of chow mein and spring rolls from the Golden Empress. "Yu-Fei's special tonight. Said to tell you it's on the house if you stop poaching his best delivery girl." Silas chuckled, a low rumble that didn't reach his eyes. He uncapped a bottle of lager and pushed it her way. "Poaching implies I pay you more than minimum wage. Sit. You've been running all day." Rory hesitated, her fingers tracing the small crescent scar on her wrist out of habit. The bar felt heavier tonight, the black-and-white photographs on the walls staring down like silent witnesses. She perched on a stool, the leather creaking under her weight, and took a swig. Bitter hops bit her tongue, grounding her. That's when the door swung open with a force that rattled the green neon sign outside. A woman strode in, her heels clicking sharp against the floorboards. Tall, with cropped blonde hair that framed a face sharpened by angles Rory almost recognised. She wore a tailored black coat over a silk blouse, pearls at her throat like armour. Her eyes—dark, assessing—swept the room and locked on Rory. "Rory Carter? Bloody hell, is that you?" The voice hit like a gut punch, laced with a Cardiff lilt softened by years away. Eva. Childhood Eva, who used to braid Rory's hair with wildflowers and whisper dreams of escaping their sleepy town. But this Eva carried herself like she owned the shadows, her lipstick a slash of red that screamed success, or at least its illusion. Rory's throat tightened. She set the bottle down, glass clinking hard. "Eva Ellis? What the—" Eva crossed the room in three strides, enveloping Rory in a hug that smelled of expensive perfume and something sharper, like gin and city grit. "Look at you. Still got that scowl. God, it's been... what, five years? Since you bolted from uni." "Seven," Rory corrected, pulling back. Eva's arms felt foreign, too firm, as if hugging strangers had become routine. Up close, fine lines etched around her eyes, and a faint bruise shadowed her jaw—makeup couldn't quite hide it. Rory's stomach twisted. "What are you doing in a dive like this? Soho's not exactly your scene anymore." Eva laughed, a bright sound that turned heads. She signalled Silas with a flick of her fingers. "Whisky, neat. And whatever she's having." She slid onto the stool beside Rory, crossing her legs with practiced grace. "Business. Always business. You know me—chasing deals in the smoke. But you... still slinging takeaways? Thought you'd be ruling courtrooms by now, Ms Pre-Law." Silas poured the whisky, his movements deliberate, the ice cubes clinking like warnings. He shot Rory a glance—hazel eyes narrowing—before retreating to polish glasses at the far end. The bar's murmur picked up again, but Rory felt exposed, the weight of old maps pressing in. Rory shrugged, picking at the label on her bottle. "Courtrooms sounded like cages. London called. Deliveries pay the rent." She didn't mention Evan, the bruises that mirrored the one on Eva's jaw, the flat above this very bar that Silas had offered without questions. Seven years since Eva's frantic call: *Get out, Rory. He's not worth the grave.* Seven years since Rory packed a bag and vanished into the night, leaving Cardiff's grey streets behind. Eva sipped her drink, the amber liquid catching the light. "Fair enough. I heard you ditched it all. Your dad was livid—Brendan ranting about family legacy over Sunday roast." Her tone dipped, playful but probing. "Mum sends her love, by the way. Jennifer's still teaching those snotty kids Welsh poetry. Thinks you're wasting away here." The words stung, a reminder of the life Rory had torched. She forced a grin. "Wasting away with a pint in hand? Sounds idyllic. What's your excuse? Last I heard, you were climbing corporate ladders in Manchester. Now you're haunting London bars?" Eva's fingers tightened on her glass, knuckles whitening. She glanced at Silas, who pretended to rearrange bottles, his grey-streaked hair catching the lamplight. "Ladders get slippery. Moved to the City last year—finance, mergers, the usual rat race. Pays for the pearls." She touched the necklace, a ghost of a smile fading. "But it's not all champagne. Deals go south. People change." Rory studied her. The Eva she remembered chased sunsets on Barry Island, feet in the surf, promising they'd conquer the world together. This version reeked of boardrooms and broken promises, her posture rigid like she carried invisible chains. "You look... different. Sharper. Like you've been through the grinder." Eva's laugh came sharper this time, edged with something brittle. "Grinder? Try the meat hook. Divorced Tom last spring—remember him, the banker with the flashy car? Turns out he preferred his secretary's ledgers." She downed the whisky, signalling Silas for another. "And you? Still single? Or did some London lad finally tame that wild streak?" Silas delivered the refill, his limp more pronounced as he leaned in. "Easy on the pace, miss. House rules." His voice held quiet authority, the kind that brooked no argument. Eva met his gaze, unflinching, and he backed away, but not before Rory caught the flicker of recognition in his eyes—like he'd sized her up and filed her under threats. Rory sipped her lager to buy time. "No taming required. Work keeps me busy. Deliveries, odd jobs. Keeps the ghosts at bay." She meant Evan, the ex whose fists had mapped her skin, but Eva's knowing look said she understood. They'd shared secrets as girls—Eva's own run-ins with her stepfather's belt, the way they'd plot escapes in whispered nights. "Ghosts," Eva echoed, swirling her glass. The ice melted, diluting the whisky to pale gold. "Funny how they follow you. I ran into Brendan last month—your dad. He's retired now, golfing in Ireland with Mum. Asked about you. Said you vanished like smoke." Her voice softened, regret threading through. "We lost touch after you left. I called a few times, but... life." Rory's scar itched, a phantom ache. "Yeah. Life." She remembered the voicemails—Eva's voice cracking with worry, then fading to silence as Rory rebuilt in London. Silas had become the anchor then, his bar a sanctuary, his stories of old ops a distraction from the nights she bolted awake, tasting blood. The door creaked again, but this time a group of suits piled in, their laughter booming. Eva leaned closer, her breath warm against Rory's ear. "Truth? I'm here on a lead. Some dodgy merger—offshore accounts, the works. Thought Soho's underbelly might have ears." Her eyes darted to Silas, who wiped the counter with deliberate strokes. "That one's got stories. The limp? Old war wound?" "Classified," Rory said, a warning in her tone. Silas wasn't one to spill, but his network hummed beneath the bar's surface—contacts from Prague shadows to London alleys. "Why tell me? We haven't spoken in years." Eva's fingers drummed the counter, nails painted crimson. "Because you're still Rory. The one who thought outside boxes, who dragged me out of that party when things turned sour. I need that now. Things are... complicated." She hesitated, the bruise on her jaw darkening in the low light. Rory caught the tremor in her hand, the way she tugged her sleeve down, hiding what looked like fresh marks. Complicated. The word hung between them, heavy as the smoke curling from a nearby table. Rory's mind raced—Eva, always the golden girl, now frayed at the edges. Had the ladders led to falls? Regret coiled in Rory's gut, unspoken apologies for the silence, for not reaching back. "Complicated how?" Rory pressed, her voice low. The bar's hum faded, the photographs watching. Eva opened her mouth, then clamped it shut as Silas approached, a fresh round in hand. But his eyes fixed on the door, where a man in a trench coat lingered, scanning the room. Tall, broad-shouldered, with a face Rory didn't recognise but Eva did—her colour drained. "Him," Eva whispered, gripping Rory's arm. "That's why I'm here. He's the complication." The man pushed forward, his gaze locking on Eva. The air thickened, the bar's warmth turning clammy. Silas's hand slipped beneath the counter, fingers brushing what Rory knew was a hidden latch to the back room. The man's coat bulged oddly, a glint of metal beneath. Eva stood, her chair scraping back. "We need to move. Now." Rory's heart hammered, the scar on her wrist burning as she rose. The past crashed into the present—old friends, old wounds—and the bar, once a haven, felt like a trap snapping shut. The man advanced, his hand diving into his pocket, and Silas's voice cut through, calm but lethal. "Out the back. Both of you."
created_at"2026-02-20T20:02:52.815Z" 2/20/2026, 8:02:52 PM
model"x-ai/grok-4-fast"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency8144
moderation_latency(null)
generation_time26187
tokens_prompt4618
tokens_completion2424
native_tokens_prompt4203
native_tokens_completion2996
native_tokens_completion_images0
native_tokens_reasoning904
native_tokens_cached151
num_media_prompt(null)
num_input_audio_prompt(null)
num_media_completion0
num_search_results(null)
origin"https://ncbench.com/"
is_byokfalse
finish_reason"stop"
native_finish_reason"completed"
usage0.00231595
router(null)
provider_responses
0
endpoint_id"c9586d9d-97ff-40ca-ae94-22504d6f9b7e"
id"fb75af9c-c061-45ce-d479-97a21bc6926a"
is_byokfalse
latency794
model_permaslug"x-ai/grok-4-fast"
provider_name"xAI"
status200
api_type"completions"
id"gen-1771617772-cS3UN8954WEUggGuffrI"
upstream_id"fb75af9c-c061-45ce-d479-97a21bc6926a"
total_cost0.00231595
cache_discount0.00002265
upstream_inference_cost0
provider_name"xAI"

Evaluation details

Result Evaluator Details Meta Data
100.00% Adverbs in dialogue tags
Target: ≤10% dialogue tags with adverbs
totalTags17
adverbTagCount0
adverbTags(empty)
dialogueSentences35
tagDensity0.486
leniency0.971
rawRatio0
effectiveRatio0
96.87% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1598
totalAiIsmAdverbs1
found
0
adverb"very"
count1
highlights
0"very"
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)
21.78% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1598
totalAiIsms25
found
0
word"scanned"
count1
1
word"pulsed"
count1
2
word"flicked"
count1
3
word"glinting"
count1
4
word"tracing"
count1
5
word"weight"
count2
6
word"silk"
count1
7
word"lilt"
count1
8
word"whisper"
count1
9
word"etched"
count1
10
word"stomach"
count1
11
word"grave"
count1
12
word"reminder"
count1
13
word"race"
count1
14
word"flicker"
count1
15
word"echoed"
count1
16
word"silence"
count2
17
word"sanctuary"
count1
18
word"raced"
count1
19
word"unspoken"
count1
20
word"scanning"
count1
21
word"warmth"
count1
22
word"glint"
count1
highlights
0"scanned"
1"pulsed"
2"flicked"
3"glinting"
4"tracing"
5"weight"
6"silk"
7"lilt"
8"whisper"
9"etched"
10"stomach"
11"grave"
12"reminder"
13"race"
14"flicker"
15"echoed"
16"silence"
17"sanctuary"
18"raced"
19"unspoken"
20"scanning"
21"warmth"
22"glint"
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
narrationSentences90
matches(empty)
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount1
narrationSentences90
filterMatches(empty)
hedgeMatches
0"tended to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences108
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen40
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans1
markdownWords8
totalWords1572
ratio0.005
matches
0"Get out, Rory. He's not worth the grave."
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions13
unquotedAttributions0
matches(empty)
15.68% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions87
wordCount1154
uniqueNames15
maxNameDensity2.69
worstName"Rory"
maxWindowNameDensity4.5
worstWindowName"Rory"
discoveredNames
Silas15
Raven1
Nest1
Friday1
Golden1
Empress1
Rory31
Cardiff2
Eva25
Evan2
Seven2
Barry1
Island1
London2
Prague1
persons
0"Silas"
1"Raven"
2"Rory"
3"Eva"
4"Evan"
places
0"Golden"
1"Cardiff"
2"Barry"
3"Island"
4"London"
5"Prague"
globalScore0.157
windowScore0.167
56.25% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences80
glossingSentenceCount3
matches
0"quite hide it"
1"looked like fresh marks"
2"felt like a trap snapping shut"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1572
matches(empty)
100.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount1
totalSentences108
matches
0"bar that Silas"
75.68% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs34
mean46.24
std19.18
cv0.415
sampleLengths
080
147
238
336
453
567
67
759
815
943
1055
1160
1245
1375
1455
1542
1661
1748
1855
1960
2059
2162
2250
2364
2435
2568
2647
2714
2847
2913
3046
3111
3249
336
100.00% Passive voice overuse
Target: ≤2% passive sentences
passiveCount0
totalSentences90
matches(empty)
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs215
matches(empty)
0.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount14
semicolonCount0
flaggedSentences11
totalSentences108
ratio0.102
matches
0"The Raven's Nest pulsed with its usual Friday crowd—shadowy figures hunched over half-empty whiskies, the air thick with cigarette smoke that clung to the old maps pinned to the walls like forgotten secrets."
1"Her eyes—dark, assessing—swept the room and locked on Rory."
2"Up close, fine lines etched around her eyes, and a faint bruise shadowed her jaw—makeup couldn't quite hide it."
3"He shot Rory a glance—hazel eyes narrowing—before retreating to polish glasses at the far end."
4"Eva met his gaze, unflinching, and he backed away, but not before Rory caught the flicker of recognition in his eyes—like he'd sized her up and filed her under threats."
5"They'd shared secrets as girls—Eva's own run-ins with her stepfather's belt, the way they'd plot escapes in whispered nights."
6"\"Yeah. Life.\" She remembered the voicemails—Eva's voice cracking with worry, then fading to silence as Rory rebuilt in London."
7"Silas wasn't one to spill, but his network hummed beneath the bar's surface—contacts from Prague shadows to London alleys."
8"Rory's mind raced—Eva, always the golden girl, now frayed at the edges."
9"Tall, broad-shouldered, with a face Rory didn't recognise but Eva did—her colour drained."
10"The past crashed into the present—old friends, old wounds—and the bar, once a haven, felt like a trap snapping shut."
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1173
adjectiveStacks1
stackExamples
0"over half-empty whiskies,"
adverbCount27
adverbRatio0.023017902813299233
lyAdverbCount2
lyAdverbRatio0.0017050298380221654
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences108
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences108
mean14.56
std8.06
cv0.554
sampleLengths
019
111
217
333
426
521
619
719
810
911
1015
1115
1216
1315
147
1516
1611
1715
1816
199
207
2116
221
2318
2424
253
268
274
2825
2918
305
3113
3219
333
3415
358
369
3719
3824
3913
4015
4117
429
4335
449
4522
4610
4725
4820
4911
71.30% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats3
diversityRatio0.4444444444444444
totalSentences108
uniqueOpeners48
0.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount0
totalSentences88
matches(empty)
ratio0
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount25
totalSentences88
matches
0"She wiped her hand on"
1"His hazel eyes flicked to"
2"She nodded, unzipping the bag"
3"He uncapped a bottle of"
4"She perched on a stool,"
5"She wore a tailored black"
6"Her eyes—dark, assessing—swept the room"
7"She set the bottle down,"
8"She signalled Silas with a"
9"She slid onto the stool"
10"He shot Rory a glance—hazel"
11"She didn't mention Evan, the"
12"He's not worth the grave.*"
13"Her tone dipped, playful but"
14"She forced a grin."
15"She glanced at Silas, who"
16"She touched the necklace, a"
17"She downed the whisky, signalling"
18"His voice held quiet authority,"
19"She meant Evan, the ex"
ratio0.284
5.45% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount80
totalSentences88
matches
0"Rory slammed the delivery bag"
1"A pint glass teetered, foam"
2"She wiped her hand on"
3"The Raven's Nest pulsed with"
4"Silas emerged from behind the"
5"His hazel eyes flicked to"
6"She nodded, unzipping the bag"
7"Silas chuckled, a low rumble"
8"He uncapped a bottle of"
9"Rory hesitated, her fingers tracing"
10"The bar felt heavier tonight,"
11"She perched on a stool,"
12"That's when the door swung"
13"A woman strode in, her"
14"She wore a tailored black"
15"Her eyes—dark, assessing—swept the room"
16"The voice hit like a"
17"Childhood Eva, who used to"
18"Rory's throat tightened."
19"She set the bottle down,"
ratio0.909
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences88
matches(empty)
ratio0
85.71% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences50
technicalSentenceCount4
matches
0"The Raven's Nest pulsed with its usual Friday crowd—shadowy figures hunched over half-empty whiskies, the air thick with cigarette smoke that clung to the old m…"
1"Childhood Eva, who used to braid Rory's hair with wildflowers and whisper dreams of escaping their sleepy town."
2"Eva crossed the room in three strides, enveloping Rory in a hug that smelled of expensive perfume and something sharper, like gin and city grit."
3"She glanced at Silas, who pretended to rearrange bottles, his grey-streaked hair catching the lamplight."
36.76% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags17
uselessAdditionCount3
matches
0"Her tone dipped, playful but probing"
1"She touched, a ghost of a smile fading"
2"Rory pressed, her voice low"
35.71% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags5
fancyCount4
fancyTags
0"Rory corrected (correct)"
1"She didn't (do)"
2"Rory pressed (press)"
3"Eva whispered (whisper)"
dialogueSentences35
tagDensity0.143
leniency0.286
rawRatio0.8
effectiveRatio0.229
73.1735%