Run: 2026-03-03-01KJTYYZSFR5TEJC32DRXMQT9N

Run Details

Duration:
4m 43s
Cost:
$0.004745
Provider:
Seed

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 door swings open an inch, the brass chain catching with a high, sharp clink, and I freeze mid-twist of the third deadbolt. I’d slammed all three home ten minutes ago, after Eva left for her parent-teacher conferences, after Ptolemy knocked over a bowl of her research notes and I’d spent an hour chasing him around the sofa. Garam masala drifts up through the floorboards, thick and spiced with garlic, the scent of the curry house below clinging to the frayed edge of the doormat. Behind me, the tabby cat’s claws skitter across the velvet sofa, knocking over a half-empty mug of tea. I don’t look away from the man on my doorstep, not even to shush him. He’s wearing a tailored charcoal suit, the fabric pressed so sharp it could cut paper, his slicked-back platinum blond hair glinting under the streetlight seeping through the frosted glass panel beside the door. The ivory tip of his cane taps the scuffed wood floor, a steady, rhythmic tap-tap-tap that matches the hammering of my pulse at my throat, the metallic tang of adrenaline pricking the back of my tongue. His eyes catch the light, and I have to look away for half a second—one amber, one black, the heterochromatic pair I’d spent an hour begging him to explain, the pair he’d lied about by saying he wore tinted contacts for work. That’s how it started, the lie that broke us. I thought he was just a smooth-talking human fixer, the guy I hired to scare off Evan when my abusive ex tracked me from Cardiff to London. I thought he dealt with lost packages and missing pets, not the supernatural underworld of incantations and demon realms. Then I walked in on him without his contacts, saw the truth, and he didn’t bother to cover it up. He just shrugged and said it was none of my business. I grabbed my bag and left, didn’t look back, didn’t answer his calls or his texts for three months. Now he’s standing on my doorstep, his cane still tapping out that steady rhythm, and his face is tight, like he’s been holding his breath for a long time. “I didn’t think you’d still be in Brick Lane,” he says, his voice soft with the faint Marseiliais lilt he’d hidden at first, the lilt that used to make me forget how angry Evan made me. I twist my left wrist, the thin crescent scar peeking out from the rolled cuff of my jumper, the same scar I got when I fell on a metal fence at seven years old, the same scar Evan grabbed last month when he cornered me outside the tube station. I slide the deadbolt home, yanking the chain fully loose so I can push the door shut, but he’s faster. He presses the ivory tip of his cane under the edge of the door, holding it open, his fingers tightening around the carved handle until his knuckles bleach white. “Get off my doorstep, Lucien,” I say, my voice sharper than I intend it to be. “I don’t want to talk to you.” He shifts his weight, and the suit’s shoulder pads shift under the fabric, a small, familiar detail that makes my chest ache despite myself. “I need your help,” he says. “Evan tracked you here.” That stops me cold. I’d thought I’d hidden this flat well, told no one except Eva, the friend who’d picked me up when I fled Cardiff, who’d let me crash on her sofa until I could afford the room above Silas’ bar. I’d moved from that flat two months ago, told no one where I was going except Eva, who lives here, in this cramped one-bedroom flat above the curry house, every surface covered with her research notes on ancient folklore. “How did you find me?” I ask, my voice quieter now, the anger flicking out like a match in a strong wind. “Went to your flat above the bar,” he says, and the words hang in the air between us, thick and heavy. “Silas said you’d moved on. Said you left a forwarding address with the post office. I checked.” I’d given the post office a fake address, a box at the corner shop down Brick Lane. I’d thought he’d give up after a week, after he realized I didn’t want to talk to him. Now I know he’s been looking for me for three months, that he’s tracked my movements from the restaurant where I work, that he knows where Eva lives. My blood runs cold. “Who else knows?” I ask, my hand drifting to the pepper spray tucked in the pocket of my jeans, the can of OC spray I keep for late-night delivery runs. “Just me,” he says, and his eyes flick to the crescent scar on my wrist, like he’s remembering the night Evan grabbed me, like he’s remembering the way I cried in his car after Evan left me with bruises up my arm. I pull my wrist away, tucking it under my arm, and his face falls, just a little. “I’m not here to fight, Rory. I’m here to warn you. Evan found out about the other side. About Avaros. About my father. He stole a binding charm from a collector I work with, a charm that can trap me in my human form, strip away the part of me that’s not human.” My throat tightens. I’d forgotten about the supernatural parts of that night, forgotten the way Lucien’s eyes had shifted when he was angry, the way his voice had dropped to a rumble that made the windows rattle. I’d tried to push it all away, to pretend that I’d just met a guy with a strange eye condition, that the weird symbols on his office walls were just modern art. But Evan isn’t the type to let go of a grudge. He’d found out about Lucien, and he’d use that to hurt me, to hurt anyone who’d tried to help me. “What does he want?” I ask, and the words hang in the air, the garam masala scent making my stomach twist. “He wants me to bring him to you,” Lucien says, and the cane taps once, loud in the quiet of the flat. “He wants to finish what he started in Cardiff. He wants to make you pay for leaving him. And he’s going to use the binding charm to make sure I can’t stop him.” I glance over my shoulder, at the research notes scattered across Eva’s kitchen table, at the open scrolls covered in ink and charcoal, at Ptolemy curled up on the windowsill, his tail flicking at the streetlight outside. Eva’s working late tonight, covering for a colleague who’s sick, so she won’t be home for another two hours. I’m alone here, with a man I hate and a secret I can’t outrun. “You lied to me,” I say, my voice breaking a little, despite my best efforts to keep it steady. “You lied to me about everything. About who you are, what you do, all of it.” He nods, his jaw tight, and I can see the way his hands are shaking, the way he’s gripping his cane so tight his fingers are white. “I was afraid,” he says, and the words are quiet, almost lost in the sound of a delivery bike clattering past the curry house entrance. “I was afraid you’d leave me. I’d never met anyone who didn’t run when they found out about my father, about what I am. You were the first person who made me feel normal, even when you were angry at me. I didn’t know how to tell you. I was scared.” I want to laugh at that, at the idea that he was scared, when I’d been terrified of Evan for years, when I’d fled my home and my career and everything I knew to get away from him. But I don’t laugh. I just stare at him, at the man who’d held me when I cried after Evan cornered me, who’d paid for my taxi home when I couldn’t walk straight from the shock, who’d lied to me about the most important thing in his life. “You should have told me,” I say, and the words are softer now, the anger fading into something sharper, something like hurt. “You should have trusted me enough to tell me.” He nods, and this time, his eyes glisten, the amber and black irises shifting in the streetlight. “I know,” he says. “I know I was an idiot. I’m sorry, Rory. More than anything.” A loud, coarse laugh drifts up from the street below, and my blood runs cold. I recognise that laugh anywhere. It’s Evan’s. I turn to look through the frosted glass panel beside the door, and I see him, leaning against the brick wall of the curry house, a scowl on his face, a small silver charm dangling from his fingers. He looks up, and our eyes meet through the glass, and he grins, wide and cruel. Then he pushes off the wall and starts walking up the stairs to the flat.
created_at"2026-03-03T23:01:37.742Z" 3/3/2026, 11:01:37 PM
model"bytedance-seed/seed-2.0-mini-20260224"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency2320
moderation_latency(null)
generation_time282862
tokens_prompt4556
tokens_completion11430
native_tokens_prompt4464
native_tokens_completion10747
native_tokens_completion_images(null)
native_tokens_reasoning8797
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"
usage0.0047452
router(null)
provider_responses
0
endpoint_id"9265aa87-9657-4d40-b9d7-2a70318e57d9"
id"021772578897875ef9a07adf34cf0fac1320e81624057e02058af"
is_byokfalse
latency2320
model_permaslug"bytedance-seed/seed-2.0-mini-20260224"
provider_name"Seed"
status200
api_type"completions"
id"gen-1772578897-XiGurPVVxkmA2Zh9Cf2S"
upstream_id"021772578897875ef9a07adf34cf0fac1320e81624057e02058af"
total_cost0.0047452
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
totalTags14
adverbTagCount0
adverbTags(empty)
dialogueSentences22
tagDensity0.636
leniency1
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1530
totalAiIsmAdverbs0
found(empty)
highlights(empty)
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)
57.52% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1530
totalAiIsms13
found
0
word"velvet"
count1
1
word"glinting"
count1
2
word"rhythmic"
count1
3
word"pulse"
count1
4
word"lilt"
count2
5
word"weight"
count1
6
word"familiar"
count1
7
word"charm"
count4
8
word"stomach"
count1
highlights
0"velvet"
1"glinting"
2"rhythmic"
3"pulse"
4"lilt"
5"weight"
6"familiar"
7"charm"
8"stomach"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches0
maxInWindow0
found(empty)
highlights(empty)
96.75% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells2
narrationSentences59
matches
0"was angry"
1"was scared"
46.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount2
hedgeCount2
narrationSentences59
filterMatches
0"know"
1"see"
hedgeMatches
0"tried to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences68
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen53
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1529
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions26
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions26
wordCount1264
uniqueNames9
maxNameDensity0.71
worstName"Evan"
maxWindowNameDensity1.5
worstWindowName"Eva"
discoveredNames
Eva6
Ptolemy2
Evan9
Cardiff2
London1
Marseiliais1
Brick1
Lane1
Lucien3
persons
0"Eva"
1"Ptolemy"
2"Evan"
3"Lucien"
places
0"Cardiff"
1"London"
2"Brick"
3"Lane"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences51
glossingSentenceCount1
matches
0"something like hurt"
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1529
matches(empty)
19.61% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount3
totalSentences68
matches
0"work, that he"
1"pretend that I’d"
2"recognise that laugh"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs26
mean58.81
std34.23
cv0.582
sampleLengths
0118
1111
2105
329
436
598
623
734
881
922
1038
1167
1230
13112
14100
1521
1655
1770
1835
19103
2086
2131
2233
2322
2454
2515
99.32% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences59
matches
0"been terrified"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount1
totalVerbs222
matches
0"was going"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount1
semicolonCount0
flaggedSentences1
totalSentences68
ratio0.015
matches
0"His eyes catch the light, and I have to look away for half a second—one amber, one black, the heterochromatic pair I’d spent an hour begging him to explain, the pair he’d lied about by saying he wore tinted contacts for work."
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount773
adjectiveStacks0
stackExamples(empty)
adverbCount15
adverbRatio0.019404915912031046
lyAdverbCount1
lyAdverbRatio0.00129366106080207
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences68
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences68
mean22.49
std12.57
cv0.559
sampleLengths
023
135
227
318
415
533
636
742
89
927
1019
1120
1211
1319
1429
1536
1649
1720
1829
1916
207
2124
226
234
244
2538
2639
2722
2821
2917
3017
3118
3228
334
3430
3542
3617
3753
383
3934
4032
4111
4220
4321
4422
4533
4637
4719
4814
4919
37.25% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats13
diversityRatio0.3382352941176471
totalSentences68
uniqueOpeners23
100.00% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount2
totalSentences56
matches
0"Then I walked in on"
1"Then he pushes off the"
ratio0.036
0.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount41
totalSentences56
matches
0"I’d slammed all three home"
1"I don’t look away from"
2"He’s wearing a tailored charcoal"
3"His eyes catch the light,"
4"I thought he was just"
5"I thought he dealt with"
6"He just shrugged and said"
7"I grabbed my bag and"
8"he says, his voice soft"
9"I twist my left wrist,"
10"I slide the deadbolt home,"
11"He presses the ivory tip"
12"I say, my voice sharper"
13"He shifts his weight, and"
14"I’d thought I’d hidden this"
15"I’d moved from that flat"
16"I ask, my voice quieter"
17"he says, and the words"
18"I’d given the post office"
19"I’d thought he’d give up"
ratio0.732
22.50% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount49
totalSentences56
matches
0"The door swings open an"
1"I’d slammed all three home"
2"Garam masala drifts up through"
3"I don’t look away from"
4"He’s wearing a tailored charcoal"
5"The ivory tip of his"
6"His eyes catch the light,"
7"That’s how it started, the"
8"I thought he was just"
9"I thought he dealt with"
10"He just shrugged and said"
11"I grabbed my bag and"
12"he says, his voice soft"
13"I twist my left wrist,"
14"I slide the deadbolt home,"
15"He presses the ivory tip"
16"I say, my voice sharper"
17"He shifts his weight, and"
18"That stops me cold."
19"I’d thought I’d hidden this"
ratio0.875
100.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount2
totalSentences56
matches
0"Now he’s standing on my"
1"Now I know he’s been"
ratio0.036
30.08% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences38
technicalSentenceCount6
matches
0"The ivory tip of his cane taps the scuffed wood floor, a steady, rhythmic tap-tap-tap that matches the hammering of my pulse at my throat, the metallic tang of …"
1"He presses the ivory tip of his cane under the edge of the door, holding it open, his fingers tightening around the carved handle until his knuckles bleach whit…"
2"He shifts his weight, and the suit’s shoulder pads shift under the fabric, a small, familiar detail that makes my chest ache despite myself."
3"I’d moved from that flat two months ago, told no one where I was going except Eva, who lives here, in this cramped one-bedroom flat above the curry house, every…"
4"I’d forgotten about the supernatural parts of that night, forgotten the way Lucien’s eyes had shifted when he was angry, the way his voice had dropped to a rumb…"
5"Eva’s working late tonight, covering for a colleague who’s sick, so she won’t be home for another two hours."
17.86% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags14
uselessAdditionCount3
matches
0"I say, my voice sharper than I intend it to be"
1"he says, and the words are quiet, almost lost in the sound of a delivery bike clattering past the curry house entrance"
2"I say, and the words are softer now, the anger fading into something sharper, something like hurt"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags13
fancyCount0
fancyTags(empty)
dialogueSentences22
tagDensity0.591
leniency1
rawRatio0
effectiveRatio0
80.8961%