Run: 2026-03-03-01KJV0HZZXNDG5X1X08A134MVX

Run Details

Duration:
4m 29s
Cost:
$0.004400
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 key sticks in the lock for the third time that evening, and I yank it hard enough to bend the enameled head, shouldering the door open before I remember I tripped over a fire escape rung on the way up. My shoulder slams into the frame, and I blink away stars, straight shoulder-length black hair falling into my eyes, ready to snarl at whoever loitered on the landing, only to freeze mid-insult. He’s leaning against the red brick wall beside the door, slicked-back platinum blond hair glowing silver under the sodium streetlight. Tailored charcoal suit, crease sharp enough to cut paper. Ivory-handled cane hooked over one arm, the faint scrape of concealed blade against metal pricking at my senses, a familiar sharp prickle I’d tried to forget for six months. The faint smell of sandalmwood and citrus, his cologne, drifts across the narrow landing, and my throat goes dry before I can speak. What the hell are you doing here? I don’t bother shifting the crumpled delivery bag slung over my arm, red and gold embroidery of Golden Empress still bright despite the rain that soaked through the lining halfway through my King’s Cross run. He pushes off the wall, one hand coming down to rest on the cane, and the scrape of the blade grows louder, a quiet reminder of the night we met in Silas’ bar, when he pulled that same cane on a pair of vampiric loan sharks who’d been threatening the bartender. I have a lead. He nods at the order slip peeking out of the bag, the one for Mrs. Hassan’s extra-spicy bhuna, the one she’d demanded after her grandson’s exam results. On the off chance you’d stop ignoring my calls. I step back, the heel of my boot slamming into a stack of unmarked law essays I left by the door last week, the ones I abandoned mid-proofreading after a 90-minute delivery to Croydon. I yank the door shut halfway, fumbling with the chain bolt until it clicks into place, pressing my palm flat against the cold wood between us. I told you I didn’t want your help. My voice cracks, and I hate it, hating that he can still crack me like this, hating that the smell of stale beer and pickled onions drifts up from Silas’ bar below, mixing with his cologne, taking me back to the night we danced to scratched Tom Waits records in the back room, when he’d sung *Rainbow Connection* off-key because I’d said I hated that song but smiled when he did it. You left a delivery vest at the bar last night. His voice is lower now, not angry, just steady, like he’s reciting a fact he’s double-checked three times. The name tag was pinned crookedly. I saw your wrist. The scar. You flinched when the parcel scissors snapped shut. My free hand flies to the crescent-shaped mark on my left wrist, the one Evan slammed in a window sash when I tried to leave him three years ago. I’d covered it with plastic bracelets for months before I finally stopped caring, stopped letting him control how I looked. You stalk me? I didn’t stalk you. He taps the cane against the landing boards once, sharp and deliberate, the sound echoing down the empty corridor. I’ve been standing two floors down every night since I saw that vest. Keeping an eye on the perimeter. Last night, a man lingered by your fire escape. Took a photo of your window with his phone. My blood runs cold. I’d written off the shadow I saw lingering by the metal ladder an hour earlier as a drunk binman, just a stupid paranoia from months of looking over my shoulder. I hadn’t texted Eva, hadn’t mentioned it to anyone, because I didn’t want to drag my only friend in London into this mess, didn’t want to admit how small I felt, how tired I was of carrying this alone. How do I know this isn’t a trick? I press my forehead to the door, the cold seeping through my hair, staring at the scuffed toe of his leather shoe, the one with the chipped sole from when he tripped over a pub table that same Tom Waits night. You flinched when I touched your wrist that night at the bar. He taps the cane again, and this time, the blade slides out just a fraction, the silver metal glinting under the streetlight. You didn’t flinch when I touched your face. You didn’t flinch when I pulled you close and kept you warm while the rain lashed against the windows. I fumble with the chain bolt, my fingers shaking, and unclip it with a sharp clatter. I can’t lie to myself, can’t keep pushing him away when he knows exactly what I’m feeling, exactly how scared I am. When the chain hits the floor, he doesn’t move right away, just stands there, his heterochromatic eyes fixed on mine, one amber, one black, like he’s trying to read every unspoken thought in my head. I don’t have anywhere else to go. I say it before I can stop myself, before I can hide how raw this all feels, how I’ve been waking up every night reaching for the empty spot next to my bed, how I’ve been ordering extra bhuna just to have someone to share the food with, even if it’s just me eating alone in my flat. He steps forward then, slow, like he’s approaching a skittish stray cat, and stops just out of arm’s reach, his eyes darting to the pepper spray canister tucked under the doormat, the one I bought after a stranger followed me home from the tube last month. I nod, barely perceptible, and he reaches out, his long fingers brushing the edge of my scar, not touching it, just hovering, like he’s asking permission. When I don’t pull away, he rests his palm against my skin, warm even through the thin cotton of my jumper, and for a second, the weight of the last six months lifts, just a little, like someone took an inch off my shoulders. I should have called. His voice is quiet, so quiet I almost miss it over the thrum of the traffic on the main road below. I should have fought harder to stay. I open my mouth to say something, to apologize, to tell him I missed him too, to tell him that I’ve been replaying that night in the bar a hundred times in my head, that I’m sorry I ran, that I’m sorry I left him with nothing but a note slipped under his bar door three days before I drove south. But then we hear it. Heavy, slow footsteps coming up the fire escape stairs, the metal rungs creaking under someone’s weight. My blood turns to ice. I yank my hand away from Lucien’s, fumbling for the pepper spray under the doormat, but he grabs my wrist before I can reach it, his fingers tight but not painful, his black eye narrowing, his amber one flaring bright, like something primal just woke up in him. It’s him. His voice is sharp, dangerous, the same tone he uses when he’s negotiating with supernatural gangsters in East London, the same tone he used to tell me to leave Evan before it was too late. I don’t move, my thumb slipping on the pepper spray canister, staring at the shadow that scrolls across the bottom of the front door, broad shoulders, the same shoulders that slammed me against a wall three years ago when I tried to walk out with only a single suitcase. The footsteps stop outside our flat door. Then a fist pounds against the wood, hard enough to shake the framed wildflower print my grandmother gave me above the couch. Rory. I know you’re in there. I can see your delivery bag by the door.
created_at"2026-03-03T23:29:29.116Z" 3/3/2026, 11:29:29 PM
model"bytedance-seed/seed-2.0-mini-20260224"
app_id182717
external_user(null)
streamedtrue
cancelledfalse
latency573
moderation_latency(null)
generation_time269083
tokens_prompt4556
tokens_completion10579
native_tokens_prompt4464
native_tokens_completion9883
native_tokens_completion_images(null)
native_tokens_reasoning8203
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"
usage0.0043996
router(null)
provider_responses
0
endpoint_id"9265aa87-9657-4d40-b9d7-2a70318e57d9"
id"021772580569227a139bd89baa39633285680c9471d15ef9d2960"
is_byokfalse
latency573
model_permaslug"bytedance-seed/seed-2.0-mini-20260224"
provider_name"Seed"
status200
api_type"completions"
id"gen-1772580569-CbhkhcOCFrafoA5soiiv"
upstream_id"021772580569227a139bd89baa39633285680c9471d15ef9d2960"
total_cost0.0043996
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
totalTags2
adverbTagCount0
adverbTags(empty)
dialogueSentences0
tagDensity1
leniency1
rawRatio0
effectiveRatio0
100.00% AI-ism adverb frequency
Target: <2% AI-ism adverbs (58 tracked)
wordCount1321
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)
65.93% AI-ism word frequency
Target: <2% AI-ism words (290 tracked)
wordCount1321
totalAiIsms9
found
0
word"familiar"
count1
1
word"reminder"
count1
2
word"echoing"
count1
3
word"glinting"
count1
4
word"unspoken"
count1
5
word"weight"
count2
6
word"footsteps"
count2
highlights
0"familiar"
1"reminder"
2"echoing"
3"glinting"
4"unspoken"
5"weight"
6"footsteps"
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
narrationSentences65
matches(empty)
10.99% Filter word density
Target: ≤3% sentences with filter/hedge words
filterCount3
hedgeCount3
narrationSentences65
filterMatches
0"know"
1"hear"
hedgeMatches
0"tried to"
100.00% Gibberish response detection
Target: ≤1% gibberish-like sentences (hard fail if a sentence exceeds 800 words)
analyzedSentences65
gibberishSentences0
adjustedGibberishSentences0
longSentenceCount0
runOnParagraphCount0
giantParagraphCount0
wordSaladCount0
repetitionLoopCount0
controlTokenCount0
maxSentenceWordsSeen73
ratio0
matches(empty)
100.00% Markdown formatting overuse
Target: ≤5% words in markdown formatting
markdownSpans1
markdownWords2
totalWords1321
ratio0.002
matches
0"Rainbow Connection"
100.00% Missing dialogue indicators (quotation marks)
Target: ≤10% speech attributions without quotation marks
totalAttributions10
unquotedAttributions0
matches(empty)
100.00% Name drop frequency
Target: ≤1.0 per-name mentions per 100 words
totalMentions21
wordCount1258
uniqueNames14
maxNameDensity0.48
worstName"You"
maxWindowNameDensity1.5
worstWindowName"You"
discoveredNames
Golden1
Empress1
King1
Cross1
Mrs1
Croydon1
You6
Evan2
Eva1
London2
Tom1
Waits1
Lucien1
East1
persons
0"King"
1"Cross"
2"Mrs"
3"You"
4"Evan"
5"Eva"
6"Tom"
7"Waits"
8"Lucien"
places
0"Croydon"
1"London"
2"East"
globalScore1
windowScore1
100.00% Narrator intent-glossing
Target: ≤2% narration sentences with intent-glossing patterns
analyzedSentences53
glossingSentenceCount0
matches(empty)
100.00% "Not X but Y" pattern overuse
Target: ≤1 "not X but Y" per 1000 words
totalMatches0
per1kWords0
wordCount1321
matches(empty)
0.00% Overuse of "that" (subordinate clause padding)
Target: ≤2% sentences with "that" clauses
thatCount5
totalSentences65
matches
0"hating that he hating that the"
1"saw that vest"
2"replaying that night ran, that I’m"
100.00% Paragraph length variance
Target: CV ≥0.5 for paragraph word counts
totalParagraphs30
mean44.03
std31.07
cv0.706
sampleLengths
073
181
27
386
440
560
68
772
848
949
103
1160
1273
138
1441
1561
1673
177
1858
19116
204
2128
2266
2316
2453
252
2684
277
2822
2915
99.87% Passive voice overuse
Target: ≤2% passive sentences
passiveCount1
totalSentences65
matches
0"was pinned"
100.00% Past progressive (was/were + -ing) overuse
Target: ≤2% past progressive verbs
pastProgressiveCount0
totalVerbs221
matches(empty)
100.00% Em-dash & semicolon overuse
Target: ≤2% sentences with em-dashes/semicolons
emDashCount0
semicolonCount0
flaggedSentences0
totalSentences65
ratio0
matches(empty)
100.00% Purple prose (modifier overload)
Target: <4% adverbs, <2% -ly adverbs, no adj stacking
wordCount231
adjectiveStacks0
stackExamples(empty)
adverbCount6
adverbRatio0.025974025974025976
lyAdverbCount1
lyAdverbRatio0.004329004329004329
100.00% Repeated phrase echo
Target: ≤20% sentences with echoes (window: 2)
totalSentences65
echoCount0
echoWords(empty)
100.00% Sentence length variance
Target: CV ≥0.4 for sentence word counts
totalSentences65
mean20.32
std16.69
cv0.821
sampleLengths
041
132
220
39
429
523
67
735
851
94
1015
1112
129
1334
1426
158
1672
1710
1818
196
204
212
228
2329
2420
253
264
2719
2813
296
309
319
324
3330
3439
358
3641
3712
3822
398
4019
4116
4222
4335
447
4558
4646
4726
4844
494
41.54% Sentence opener variety
Target: ≥60% unique sentence openers
consecutiveRepeats8
diversityRatio0.3230769230769231
totalSentences65
uniqueOpeners21
53.76% Adverb-first sentence starts
Target: ≥3% sentences starting with an adverb
adverbCount1
totalSentences62
matches
0"Then a fist pounds against"
ratio0.016
0.00% Pronoun-first sentence starts
Target: ≤30% sentences starting with a pronoun
pronounCount44
totalSentences62
matches
0"My shoulder slams into the"
1"He’s leaning against the red"
2"I don’t bother shifting the"
3"He pushes off the wall,"
4"I have a lead."
5"He nods at the order"
6"I step back, the heel"
7"I yank the door shut"
8"I told you I didn’t"
9"My voice cracks, and I"
10"You left a delivery vest"
11"His voice is lower now,"
12"I saw your wrist."
13"You flinched when the parcel"
14"My free hand flies to"
15"I’d covered it with plastic"
16"You stalk me?"
17"I didn’t stalk you."
18"He taps the cane against"
19"I’ve been standing two floors"
ratio0.71
64.84% Subject-first sentence starts
Target: ≤72% sentences starting with a subject
subjectCount49
totalSentences62
matches
0"The key sticks in the"
1"My shoulder slams into the"
2"He’s leaning against the red"
3"The faint smell of sandalmwood"
4"I don’t bother shifting the"
5"He pushes off the wall,"
6"I have a lead."
7"He nods at the order"
8"Hassan’s extra-spicy bhuna, the one"
9"I step back, the heel"
10"I yank the door shut"
11"I told you I didn’t"
12"My voice cracks, and I"
13"You left a delivery vest"
14"His voice is lower now,"
15"The name tag was pinned"
16"I saw your wrist."
17"You flinched when the parcel"
18"My free hand flies to"
19"I’d covered it with plastic"
ratio0.79
0.00% Subordinate conjunction sentence starts
Target: ≥2% sentences starting with a subordinating conjunction
subConjCount0
totalSentences62
matches(empty)
ratio0
83.33% Technical jargon density
Target: ≤6% sentences with technical-jargon patterns
analyzedSentences36
technicalSentenceCount3
matches
0"I step back, the heel of my boot slamming into a stack of unmarked law essays I left by the door last week, the ones I abandoned mid-proofreading after a 90-min…"
1"He steps forward then, slow, like he’s approaching a skittish stray cat, and stops just out of arm’s reach, his eyes darting to the pepper spray canister tucked…"
2"I don’t move, my thumb slipping on the pepper spray canister, staring at the shadow that scrolls across the bottom of the front door, broad shoulders, the same …"
100.00% Useless dialogue additions
Target: ≤5% dialogue tags with trailing filler fragments
totalTags2
uselessAdditionCount0
matches(empty)
100.00% Dialogue tag variety (said vs. fancy)
Target: ≤10% fancy dialogue tags
totalTags0
80.6754%