Run: 2026-03-03-01KJTZPHWA3RVEGG5DCEZR2D5Z

Run Details

Duration:
4m 30s
Cost:
$0.004505
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 glass towel caught on a chip in the highball glass, and Rory twisted it free, wiping at the condensation that beaded along the rim. She hummed the first verse of a Welsh folk tune her mother used to sing while she straightened the stack of glasses behind the bar, her left wrist brushing the cool oak counter every time she moved. The green neon of The Raven’s Nest sign bleached the edges of the maps lining the walls, turning the faded British coastlines into sickly lime. A Muddy Waters track droned from the jukebox in the corner, the kind of slow blues Silas insisted was the only proper background noise for a bar. The door’s bell jingled, sharp and bright, cutting through the bassline. Rory didn’t look up, wiping the last streak from the glass. “Draft beer’s on tap, house wine’s in the rack behind you. We’ve got pork scratchings if you’re hungry.” The footsteps stopped two feet from the bar, and for a second, she thought Silas had wandered over to complain about her off-key humming. Then a voice cut through the track’s guitar riff, soft and familiar, like a memory she’d tucked away in a box at the back of her closet. “Rory? Jesus, it really is you.” She dropped the towel. It fluttered to the floor, and the highball glass caught on the edge of the counter, teetering for half a heartbeat before she grabbed it, her fingers closing so tight around the stem her knuckles whitened. She’d not heard that voice in four years. Not since she’d packed a single duffel bag and fled Cardiff in the back of Eva’s rusted Vauxhall Corsa. She looked up, and the neon gilded the edge of Eva’s tailored blazer, the sharp line of her bobbed hair, the gold watch glinting on her left wrist. Eva’s hands were smooth, no paint stains under the nails, no calluses from hauling paint cans around the campus studio they’d shared for two years. She wore a suit that cost more than Rory’s entire delivery bike, and her shoes clicked on the oak floor when she shifted her weight. She hadn’t changed that much, Rory thought, except for the tightness around her eyes, the way she tucked a strand of hair behind her ear like she was nervous, something she’d never done back in Cardiff. “I didn’t think I’d see this side of the M4,” Rory said, setting the glass down hard enough that the beer taps rattled. Eva laughed, a short, tight little sound that didn’t reach her eyes. “Cardiff’s got a new bypass now. Figures you’d still measure the world by which motorway you’re on.” Rory nodded at the suit, at the polished shoes. “You look like you’ve swallowed a corporate merger whole.” Eva’s hand flew to her blazer lapel, like she’d forgotten she was wearing it. “I am at a corporate conference. Wandered past, saw the sign. Remembered you used to talk about this bar.” She nodded at the maps on the wall, at the black and white photos of Soho street corners from the 1950s. “I never thought you’d actually found it.” Rory’s gaze flicked to the delivery bag slung over the back of the bar stool, crumpled Golden Empress receipts sticking out of the top, a single failed takeaway container tucked under the armrest. “It’s the bar above my flat. I cover for Silas whenever his knee acts up.” Silas pushed off the wall at the far end of the bar, his left leg shifting slightly to take the weight off his bad knee, his signet ring glinting on his right hand as he set two glasses of draft beer on the counter. The sound of his limp was soft, the scrape of his boot on the floorboards, and Rory flushed—she’d forgotten he was there, had forgotten how to relax around anyone who wasn’t a hangry delivery customer or a regular regular. “Covering tonight,” Silas said, nodding at Eva. “Rory’s done five runs already this afternoon. Delivered a sushi platter to a man who complained the wasabi wasn’t ‘authentic enough’ in Soho Square.” Eva’s eyes widened, and she picked up one of the glasses, running her finger along the rim. “You still deliver? I thought you’d… I thought you’d gotten away from that.” “Gotten away from what?” Rory asked, pouring herself a glass of beer, her hands steady now, the tightness in her chest loosening a little. “Washing glasses and hauling noodles? It pays the rent. And Silas lets me sleep on the couch when I don’t feel like climbing the stairs.” Silas clapped her on the shoulder, his hand heavy, and walked back to the corner, leaning against the wall again, leaving them alone. The Muddy Waters track changed, a slower, softer one, and the neon light flickered for a second, dimming before brightening again. Eva took a sip of her beer, her lips pressing around the glass so tight her knuckles whitened. “I’m sorry I didn’t come sooner. I meant to. When you first moved, I—” She stopped, swallowing, like she was forcing the words down. Rory leaned against the bar, her forearm brushing the crescent scar on her wrist, the faint raised line still visible after ten years. “I wasn’t angry you didn’t come. I was angry you left. Went back to Cardiff, got that job at the design studio, never called. I thought you’d forgotten about me.” Eva’s head snapped up, and her eyes glistened, bright blue in the neon light, just like Rory’s. “I didn’t forget. Dad’s funeral was three months after you left. I tried to call you, but your number was disconnected. I wrote letters, sent emails, nothing came back. I thought you’d… I thought you’d decided to start over without me.” Rory froze. She’d changed her number the day she left, had blocked every number Evan had, had told Eva to delete any contact she had with him. She’d never told Eva that, had assumed she’d just blocked her by mistake. “I changed my number the day I left,” she said, her voice quieter now. “I didn’t want him to find me.” Eva’s free hand flew to her mouth, and she set down her glass, the beer sloshing over the rim onto the oak counter. “Oh, Rory. I had no idea. I thought you’d… I thought you’d gone back to Evan.” The regret hit Rory then, heavy and warm, like the beer in her glass. She’d spent four years thinking Eva had abandoned her, had spent every lonely night in her tiny flat above the bar wondering why her best friend had left her alone in London, while she’d spent the same four years mourning her father, trying to reach Rory, never knowing she’d cut off every line of contact. “I was scared to go back to Cardiff,” Rory said, wiping the beer from the counter with the edge of her sleeve. “Scared he’d find me. Scared I’d go back to him.” Eva reached across the bar, and for a second, Rory hesitated, then she took Eva’s hand. Eva’s fingers were smooth, no paint stains, no calluses, but they were warm, and the same shape they’d always been, the same way she’d hold Rory’s hand when they were drunk after a late studio session, when they’d talk about quitting pre-law and opening a bookstore in Cardiff. “I should have come sooner,” Eva said, her voice breaking. “I should have found you. I missed you, Rory. So much.” Rory’s eyes burned, and she looked away, at the map of the Welsh coast on the wall, the lime green glow turning the cliffs into something foreign, something she hadn’t seen in four years. “I missed you too. God, I missed you so much.” Silas cleared his throat from the corner, and Rory looked over, seeing him holding a plate of salted peanuts, setting it down between them. “Don’t let me interrupt,” he said, his voice quiet, steady. “But the conference ends at six tomorrow. You’ve got time.” Eva nodded, and she picked up a peanut, popping it into her mouth. Rory picked one up too, the salt stinging her dry lips, and for the first time all night, she relaxed, the tightness in her chest loosening, the scar on her wrist no longer feeling like a weight. The jukebox shifted to a faster track, some old rock and roll, and the bar filled with the sound of a group of tourists laughing as they pushed through the door. Silas walked back to the bar, his limp barely noticeable now, and greeted them with a sharp nod. Rory looked back at Eva, and she smiled, the same smile she’d given her back in the Cardiff studio, when they’d stayed up all night painting posters for a student protest. “Tell me about the merger,” she said, nodding at Eva’s blazer. Eva laughed, this time a real laugh, loud and warm, and she leaned across the bar, her elbow brushing Rory’s. “It’s awful. They want me to rebrand all the company’s products to look like ‘distressed vintage road signs.’ I told them it’s a crime against graphic design.” Rory grinned, the same grin they’d shared when Eva had accidentally spilled acrylic paint all over Rory’s pre-law textbook. “I knew you’d hate it.” The staircase behind the bar creaked, loud enough to cut through the tourists’ chatter. Heavy footsteps, scuffing the floorboards, the kind of boots that made a sharp, heavy sound against the wood. The door to the upstairs flats slammed open, and a man stood in the doorway, broad-shouldered, his hair cut short, his face twisted with rage. Rory’s pulse hammered against her ribcage, loud enough to drown out the jukebox. She recognized him instantly. Evan. The man she’d spent three years trying to outrun. He stared right at her, and his lips curled into a snarl. “There you are. Thought you could hide from me, Carter?” Silas’s hand moved under the bar, and Rory heard the soft creak of a baseball bat being slid across the floorboards. Eva’s grip on her hand tightened, her fingers white against Rory’s, and she leaned forward, her eyes fixed on Evan.
created_at"2026-03-03T23:14:29.927Z" 3/3/2026, 11:14:29 PM
model"bytedance-seed/seed-2.0-mini-20260224"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency768
moderation_latency(null)
generation_time270246
tokens_prompt4618
tokens_completion11198
native_tokens_prompt4522
native_tokens_completion10133
native_tokens_completion_images(null)
native_tokens_reasoning7878
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"
usage0.0045054
router(null)
provider_responses
0
endpoint_id"9265aa87-9657-4d40-b9d7-2a70318e57d9"
id"0217725796700424d21f3e3e165e25fcf12f86815b4407f1b738f"
is_byokfalse
latency768
model_permaslug"bytedance-seed/seed-2.0-mini-20260224"
provider_name"Seed"
status200
api_type"completions"
id"gen-1772579669-VFCMNOMDqj97NGEnvExu"
upstream_id"0217725796700424d21f3e3e165e25fcf12f86815b4407f1b738f"
total_cost0.0045054
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
totalTags11
adverbTagCount0
adverbTags(empty)
dialogueSentences30
tagDensity0.367
leniency0.733
rawRatio0
effectiveRatio0
94.10% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1695
totalAiIsmAdverbs2
found
0
adverb"really"
count1
1
adverb"slightly"
count1
highlights
0"really"
1"slightly"
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)
64.60% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1695
totalAiIsms12
found
0
word"footsteps"
count2
1
word"familiar"
count1
2
word"fluttered"
count1
3
word"glinting"
count2
4
word"weight"
count3
5
word"flicked"
count1
6
word"flickered"
count1
7
word"pulse"
count1
highlights
0"footsteps"
1"familiar"
2"fluttered"
3"glinting"
4"weight"
5"flicked"
6"flickered"
7"pulse"
100.00% Cliché density
Target: ≤1 cliche(s) per 800-word window
totalCliches1
maxInWindow1
found
0
label"eyes widened/narrowed"
count1
highlights
0"eyes widened"
99.36% Emotion telling (show vs. tell)
Target: ≤3% sentences with emotion telling
emotionTells2
narrationSentences65
matches
0"was nervous"
1"d with rage"
100.00% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount0
hedgeCount0
narrationSentences65
filterMatches(empty)
hedgeMatches(empty)
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences85
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen55
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans0
markdownWords0
totalWords1694
ratio0
matches(empty)
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions14
unquotedAttributions0
matches(empty)
33.33% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions81
wordCount1302
uniqueNames18
maxNameDensity2.07
worstName"Rory"
maxWindowNameDensity4
worstWindowName"Eva"
discoveredNames
Rory27
Welsh2
Raven1
Nest1
British1
Muddy2
Waters2
Silas8
Cardiff4
Eva23
Vauxhall1
Corsa1
Soho1
Golden1
Empress1
Evan3
London1
Heavy1
persons
0"Rory"
1"Raven"
2"Silas"
3"Eva"
4"Evan"
places
0"Welsh"
1"Cardiff"
2"Vauxhall"
3"Soho"
4"London"
globalScore0.463
windowScore0.333
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences59
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1694
matches(empty)
88.24% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount2
totalSentences85
matches
0"heard that voice"
1"changed that much"
96.76% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs38
mean44.58
std21.78
cv0.489
sampleLengths
0114
140
251
36
467
578
636
723
829
918
1061
1148
1283
1331
1430
1549
1644
1742
1853
1958
2040
2121
2239
2369
2432
2564
2621
2744
2844
2950
3080
3111
3247
3324
3457
3527
3622
3741
99.87% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences65
matches
0"being slid"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount2
totalVerbs213
matches
0"was wearing"
1"was forcing"
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount1
semicolonCount0
flaggedSentences1
totalSentences85
ratio0.012
matches
0"The sound of his limp was soft, the scrape of his boot on the floorboards, and Rory flushed—she’d forgotten he was there, had forgotten how to relax around anyone who wasn’t a hangry delivery customer or a regular regular."
94.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount1189
adjectiveStacks1
stackExamples
0"short, tight little sound"
adverbCount33
adverbRatio0.027754415475189236
lyAdverbCount6
lyAdverbRatio0.005046257359125316
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences85
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences85
mean19.93
std10.96
cv0.55
sampleLengths
025
137
225
327
411
511
618
724
827
96
104
1136
128
1319
1428
1525
1625
1736
1823
1912
2017
219
229
2314
2440
257
2633
2715
2844
2939
307
3124
3217
3313
3424
3525
3623
3721
3818
3924
4023
4130
4217
4341
442
4525
4613
4714
487
4923
42.94% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats6
diversityRatio0.29411764705882354
totalSentences85
uniqueOpeners25
52.91% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences63
matches
0"Then a voice cut through"
ratio0.016
100.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount17
totalSentences63
matches
0"She hummed the first verse"
1"She dropped the towel."
2"It fluttered to the floor,"
3"She’d not heard that voice"
4"She looked up, and the"
5"She wore a suit that"
6"She hadn’t changed that much,"
7"She nodded at the maps"
8"She stopped, swallowing, like she"
9"She’d changed her number the"
10"She’d never told Eva that,"
11"she said, her voice quieter"
12"She’d spent four years thinking"
13"he said, his voice quiet,"
14"she said, nodding at Eva’s"
15"She recognized him instantly."
16"He stared right at her,"
ratio0.27
0.00% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount60
totalSentences63
matches
0"The glass towel caught on"
1"She hummed the first verse"
2"The green neon of The"
3"A Muddy Waters track droned"
4"The door’s bell jingled, sharp"
5"Rory didn’t look up, wiping"
6"The footsteps stopped two feet"
7"She dropped the towel."
8"It fluttered to the floor,"
9"She’d not heard that voice"
10"She looked up, and the"
11"Eva’s hands were smooth, no"
12"She wore a suit that"
13"She hadn’t changed that much,"
14"Rory said, setting the glass"
15"Eva laughed, a short, tight"
16"Rory nodded at the suit,"
17"Eva’s hand flew to her"
18"She nodded at the maps"
19"Rory’s gaze flicked to the"
ratio0.952
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences63
matches(empty)
ratio0
51.67% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences47
technicalSentenceCount6
matches
0"It fluttered to the floor, and the highball glass caught on the edge of the counter, teetering for half a heartbeat before she grabbed it, her fingers closing s…"
1"She wore a suit that cost more than Rory’s entire delivery bike, and her shoes clicked on the oak floor when she shifted her weight."
2"The sound of his limp was soft, the scrape of his boot on the floorboards, and Rory flushed—she’d forgotten he was there, had forgotten how to relax around anyo…"
3"She’d spent four years thinking Eva had abandoned her, had spent every lonely night in her tiny flat above the bar wondering why her best friend had left her al…"
4"Rory picked one up too, the salt stinging her dry lips, and for the first time all night, she relaxed, the tightness in her chest loosening, the scar on her wri…"
5"Heavy footsteps, scuffing the floorboards, the kind of boots that made a sharp, heavy sound against the wood."
0.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags11
uselessAdditionCount3
matches
0"she said, her voice quieter now"
1"Eva said, her voice breaking"
2"he said, his voice quiet, steady"
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags8
fancyCount0
fancyTags(empty)
dialogueSentences30
tagDensity0.267
leniency0.533
rawRatio0
effectiveRatio0
80.5927%